Festival Production Glossary: Essential Terms for New Producers (2026 Update)

Entering the world of festival production can feel like learning a new language. Industry veterans toss around abbreviations and jargon – “Did you camlock the gen-set and run 200 amps to FOH?” – that can leave newcomers bewildered. Many first-time producers have humorous anecdotes of misunderstanding simple requests because they didn’t know the terminology. This glossary is here to ensure you’re never left scratching your head. Below you’ll find an A-to-Z list of essential festival production terms, each explained with added context, examples, and insights so you can communicate like a pro.

Festival and Event Production Glossary

501(c)(3)

A provision in the U.S. tax code granting tax-exempt status to nonprofit organizations (charities, religious groups, educational institutions). These organizations don’t pay federal income tax, and donors can deduct contributions on their tax returns. In the festival world, some events operate under 501(c)(3) status to align with a cultural or charitable mission – for example, the Burning Man Project transitioned to a 501(c)(3) nonprofit organization in 2014. This structure can unlock eligibility for grants and public funding, as nonprofit-produced festivals focus on mission over profit, as seen in case studies of nonprofit-produced festivals. Budding producers should note that running a festival as a 501(c)(3) means greater transparency and reinvesting any surplus into the event or community.

53? trailer

The most common length for semi-truck trailers in North America, measuring 53 feet long. These are the workhorses for transporting staging, sound equipment, lighting rigs, and other large-scale festival gear. A major festival might require dozens of 53? trailers to move all its infrastructure from site to site. (For perspective, in Europe the standard trailer is usually about 13.6 meters or ~45 feet long, due to different road regulations.) New producers dealing with logistics should plan for adequate parking and loading dock access to accommodate these big rigs.

aluminum rolls

Thin sheets of aluminum metal wound into rolls. In event production, these have a variety of handy uses – from temporarily patching holes, to creating makeshift reflective light bounces, or wrapping cables and truss joints for weatherproofing. Aluminum rolls are essentially heavy-duty “foil” on a larger scale, and crews often keep a roll in the boneyard for quick fixes. They’re also useful for shielding equipment from radio frequency interference or moisture when needed.

amps (Amperes)

The unit of measure for electrical current. Understanding amperage is crucial for safely powering a festival. Every light, speaker, or piece of gear draws a certain number of amps, and overloading circuits can trip breakers (or worse, cause electrical fires). For example, a stage’s sound system might draw 50–100 A, and combined with lighting and video walls, a main stage often requires a 200–400 A service per phase. Pro Tip: Always consult a licensed electrician or power technician to calculate your total load – underestimating amperage needs can lead to outages at showtime. Smart power planning ensures you don’t blow a generator or leave attendees in the dark.

apparent power

The combination of real power and reactive power in an AC electrical system, measured in volt-amperes (VA). In practical terms, it’s the “total” power a device appears to draw. This matters when sizing generators and power distribution: most large generators are rated in kVA (kilovolt-amperes), which is the apparent power. However, not all of that is usable – if a generator is 500 kVA with a typical power factor of 0.8, it provides about 400 kW of real power. For festival producers, understanding apparent power helps in getting the right generator capacity. If you rent a 100 kVA generator thinking you have 100 kW and your stage needs exactly 100 kW of true power, you’ll come up short (since 100 kVA * 0.8 = 80 kW). The takeaway: account for power factor and always have a safety margin.

automatic external defibrillator (AED)

A life-saving device used to treat sudden cardiac arrest by sending an electric shock to the heart. Having AEDs on-site at large events is increasingly considered an essential safety measure. In fact, many countries and event safety guidelines recommend at least one AED for events above a certain size, and quick defibrillation can double or even triple a person’s chance of survival in cardiac emergencies. Festival medical teams or first aid tents will typically have AEDs available, and staff should be trained in CPR and AED use. Warning: Don’t overlook AED maintenance – the batteries and pads must be fresh; an AED is only effective if it’s functional in the heat of the moment.

back of house (BOH)

Areas of the festival not visible or accessible to the general public – essentially the “backstage” or operational zones. This includes production offices, catering tents, dressing rooms, equipment storage, generator compounds, and crew parking. The BOH is where the behind-the-scenes magic happens. Efficient BOH layout keeps the festival running smoothly (e.g. placing the artist green rooms near the stage for quick access, or situating the crew catering far from loud stages so staff can take breathers). New producers should design clear separation between BOH and FOH to maintain security and organization.

backend (artist backend)

In artist deals, “the backend” refers to the portion of a performer’s payment that is contingent on event revenue (usually after the festival). Typically, an artist might get a guaranteed fee upfront and then a backend percentage of ticket sales or profits if certain thresholds are met. For example, an act might take 80% of gross ticket revenue after the promoter has recouped costs. This term highlights that many artist contracts aren’t just flat fees – they have performance incentives. Budding festival producers should understand backend deals, as they affect budgeting and risk: if ticket sales soar, the artist may walk away with a big bonus, not the festival.

bag checks

A security measure where attendees’ bags are inspected upon entry to ensure no prohibited items get in. Bag checks can range from a quick peek inside small purses to thorough searches of camping backpacks. In recent years, festivals have tightened bag policies – many require transparent bags or set size limits to speed up screening. High-profile events increasingly use advanced tools like walk-through scanners or even AI-powered security screening, but for most festivals, trained staff manually checking bags and using metal detector wands is standard. The key is balancing thoroughness with efficiency. According to festival security screening guides, having clear protocols and well-trained teams keeps lines moving and catches contraband without creating huge wait times.
Context: A smooth bag check process sets the tone at the gate – friendly staff and organized lanes make attendees feel safe and welcome, rather than starting their day with frustration.

bil-jax

A brand known for staging, scaffolding, and modular event structures. “Bil-Jax” is often used to refer to the interlocking stage decks produced by the company. These decks are ubiquitous in the festival world – you’ll find Bil-Jax stage pieces supporting everything from the main stage floor to camera platforms and ADA viewing platforms. They’re heavy-duty, weather-resistant, and designed to lock together securely. When a production manager says “we need two more Bil-Jax at stage left,” they mean two more platform sections. For new producers, it’s worth noting that assembly requires manpower and sometimes special tools (like a hex key for the stage screws). Always ensure your stage providers supply the correct Bil-Jax pieces for the designs in your CAD drawings.

bill back

A process where one department or company charges another for provided services or goods, effectively reimbursing costs. In festival production, “bill backs” often occur with artists or vendors. For example, if an artist requests a very specific piece of gear or an elaborate hospitality rider item that isn’t standard, the festival might fulfill the request but bill the cost back to the artist’s settlement after the show. Another scenario: a security company might purchase extra barricades for an event and then bill the festival organizer for that expense. Keeping track of bill backs is important for post-event accounting; it ensures every party ultimately pays for their unique requirements. Tip: Be transparent about bill-back arrangements in advance to avoid disputes.

bobtail

A semi-truck without its trailer attached. You might hear “the truck is bobtailing to the warehouse” – meaning the tractor unit is driving solo to go pick up a load. In festival logistics, trucks sometimes arrive bobtail to maneuver in tight areas or because they dropped their trailer elsewhere. Bobtailing is also common when repositioning trucks on-site (e.g., a semi delivers stage gear, then bobtails over to the parking area to wait until load-out). One thing to keep in mind: bobtail trucks handle differently – without the trailer weight they can bounce a lot – so drivers exercise caution. For production scheduling, know whether a vendor is sending a full 53? trailer or just a bobtail cab so you allocate space accordingly.

boneyard

A designated area at an event site where equipment, empty road cases, and spare materials are stored when not in immediate use. Think of it as the on-site storage yard or “waiting area” for gear. After stage setup, all the empty flight cases and crates often get wheeled to the boneyard to clear the backstage. Need another box of gaff tape or a replacement cable mid-show? Someone will radio the quartermaster to fetch it from the boneyard. Organizing the boneyard efficiently is an underrated art – you want things accessible but out of the way. Experienced crew often create neat rows or label zones in the boneyard (audio cases here, lighting truss there) so that crucial item can be found in seconds even at 2 AM during load-out.

boom

An extendable arm used in various production contexts. There are “boom lifts” (cherry pickers) for elevating crew and gear, “microphone booms” on stands to position mics, and “camera booms” (jibs) for sweeping video shots. In festival lingo, if someone just says “boom,” context matters: a rigger asking for a boom likely means a boom lift, whereas a sound tech might mean a boom stand. Booms provide greater reach and flexibility – e.g., a boom lift helps hang a banner high above the stage or focus a light from above the crowd. One practical note: operating a boom lift requires certification in many places, and even an experienced operator should scout for overhead obstacles like power lines or tree branches when maneuvering on festival sites.

box trucks

Essentially medium-sized trucks with an enclosed, box-shaped cargo area (and an integrated cab). They’re smaller than semi-trailers and more maneuverable for city streets or tight festival sites. Common sizes range from 10 feet to 26 feet long. Festivals use box trucks to transport supplies like merchandise, catering provisions, smaller audio systems, or décor items. For example, a 24? box truck might deliver all the artist hospitality and backstage furnishings. Box trucks are great for “last mile” delivery – a semi might bring equipment to a city, then a box truck shuttles it to the venue if access roads are narrow. New producers renting box trucks should mind their ingress/egress routes and any permit requirements for trucks in city centers.

CAD (Computer-Aided Design)

Design software used for precise planning of layouts and structures. In festival production, CAD drawings are the blueprints for everything on site – stage plots, site maps, lighting rig diagrams, and more. Common programs include AutoCAD, Vectorworks, and SketchUp (for 3D visualizations). A detailed CAD site map will show stage locations, vendor booths, medical tents, entrances, and how everything fits in the venue. Why it matters: sharing CAD drawings with all departments (sound, lighting, site ops, security) ensures everyone is literally on the same page. If you’re new, it’s worth learning basics of reading CAD plans – it might show, for example, that the distance from FOH to stage is 30m, which affects what length of audio snakes you need. Pro producers often carry printed large-format CAD maps on-site for quick reference during build.

call time

The pre-scheduled time that crew, staff, or talent must report for duty. Essentially, it’s the “start your shift” or “be on set” time. If a stagehand has a 6:00 AM call time, they need to be checked in and ready to work at that hour. Call times are coordinated to ensure all hands are on deck when needed – for instance, you might stagger call times so riggers start early, then general crew later. Missing a call time or showing up late is a big no-no in production; it throws off tight schedules. As a new festival producer, expect to communicate multiple call times: load-in call times, soundcheck call times, show day call times, and so on. Always clarify whether call time means in position at the work site or meeting at a rendezvous point (some festivals have crew check-in first for credentials, then transit to site).

camlock

A heavy-duty electrical connector designed for high-current connections. Cam-Lok (often spelled without the ‘c’ in casual use) connectors link power cables from generators to distribution boxes and other large power feeds. They are typically color-coded (green, white, black, red, blue in North America) to denote ground, neutral, and hot legs for three-phase power. When you hear “run the camlocks,” it means connecting the feeder cables. These connectors twist and lock into place (hence the name cam-lock). Always ensure they’re properly locked – a loose camlock can heat up or arc under load. Many festivals use camlocks for hooking up 200 A or 400 A services. Tip: Keep camlock connections off the ground or covered with matting; they’re rugged but not completely waterproof, so IP65-rated covers or elevated cable trays are used in rainy conditions.

carrying production

Refers to the equipment and personnel an artist brings with them versus relying on what the festival provides locally. When an act is “carrying production,” they might be touring with their own audio console, monitor desk, backline (instruments and amps), lighting rig, or even staging elements. This contrasts with using “house” or festival-provided gear. For example, a headliner DJ might carry their own special LED wall and laser system – the festival has to accommodate that in the stage plans. Carrying production can also extend to crew: major artists tour with their own sound engineers or stage managers. From the festival producer’s angle, know what each artist is carrying in advance (this happens in the tech advance) so you don’t double-rent gear they don’t need, and you can allocate stage space and power for their unique setup.

cheeseborough

A type of clamp used extensively in stage rigging, also simply called a “cheese” or “cheeseboro.” It’s a two-part metal clamp (often swiveling) that can join two pipes or truss tubes at various angles. Cheeseboroughs are the unsung heroes that hold lighting trusses together, secure crossbars on scaffolding, or attach safety railings on elevated platforms. They come in “fixed 90°” or “swivel” varieties. The term is said to originate from an old company name or perhaps because the clamp’s teeth look like they could chew on a pipe (who knows!). For a budding producer, just remember: when the riggers ask for cheeseboroughs, they’re doing structural work – ensure only qualified riggers handle them, as improper use can lead to instability.

conduit

Protective tubing (metal or PVC) that houses electrical wires or cables. Conduit is used to shield cables from damage and keep them neatly in place, especially in high-traffic areas or when running cables underground/under roads. In outdoor festivals, you might bury conduit to run power across a field without creating a trip hazard. Or use short conduit sections to protect cables where they emerge from a generator. It’s part of safe, professional electrical practice and often required by electrical codes for any permanent or semi-permanent installation. While a weekend festival might rely more on cable ramps and gaffer’s tape for temporary cable runs, any wiring that’s in public areas or subject to potential wear could go inside conduit. Always consult an electrician to know where conduit is needed versus direct runs.

contraband

Any items illegal or prohibited at the event. This can include obvious things like drugs and weapons, but also event-specific bans: outside alcohol, professional cameras (if not allowed by policy), laser pointers, fireworks, drones, glass bottles, and so on. Security staff at ingress are tasked with keeping contraband out through bag checks and pat downs. Confiscated contraband is usually logged and disposed of or handed over to authorities depending on severity. One of the biggest concerns in recent years has been attendee safety regarding contraband drugs – many festivals ramped up messaging and even provided amnesty bins or free water to mitigate dangers. From a producer’s view, clearly communicate your prohibited items list to attendees before the event. This reduces arguments at the gate and speeds up entry searches and bag checks.

Deads (Deadweights)

Heavy weights used to secure stage elements, lighting stands, tents, or other structures. “Dead weight” can be concrete blocks, metal slabs, water barrels, or sandbags – anything with significant weight that can anchor something in place. In contexts like outdoor stages or big top tents, you might hear “We need to add more deads to the downstage left corner, the wind is picking up,” meaning they’re adding ballast to that side of the stage for stability. These weights prevent structures from tipping or moving, especially in wind. Always calculate how many deads you need for a structure based on its size and wind load (engineers often specify this). Safety tip: mark or barricade deadweights on the ground so crew (and forklifts) don’t accidentally run into them in the dark.

direct box (DI box)

A small electronic device that converts unbalanced, high-impedance instrument signals into balanced, low-impedance signals suitable for direct input to a mixing console. In plain language: it lets you plug a guitar, keyboard, or DJ mixer output straight into the pro audio system without noise or signal loss. DIs often have a “ground lift” switch to eliminate hum from grounding issues. On stage, the backline tech will connect, say, the bassist’s instrument through a DI box so the front-of-house console gets a clean feed. There are passive DIs (no power needed) and active DIs (require phantom power or a battery). For a festival producer, it’s good to have a bunch of DIs in your audio kit – they’re like the Swiss army knife for audio connections, ensuring that whatever weird gear an artist brings, you can interface it with your system.

DMX (Digital Multiplex)

A communication protocol (specifically DMX512) used for controlling stage lighting, effects machines, and other production equipment. Think of DMX as the language that intelligent lights speak. A lighting console sends DMX signals to dimmers or directly to fixtures, telling them intensity, color, movement, etc. One DMX “universe” consists of 512 channels; a single moving light might use 20+ channels of that to control its various parameters. Modern festivals often run multiple DMX universes for elaborate lighting rigs. For example, a main stage could have 8 universes to accommodate hundreds of LED fixtures. Cable-wise, DMX uses 3-pin or 5-pin XLR cables daisy-chained between lights (or increasingly, sent over network cable with Art-Net or sACN protocols). Important for new producers: DMX runs should be planned so that cable lengths and splits don’t cause signal delay or loss – too long a cable or too many fixtures daisy-chained can require a repeater or an optical splitter.

double time

A pay rate that is twice the standard hourly wage, often triggered after a certain threshold of hours worked or during specific times (like holidays or very late nights). For instance, a crew member might get paid 1.5x (“time and a half”) after 8 hours, but if they work beyond 12 hours in a day, it shifts to 2x (double time). Festivals frequently brush against overtime rules due to long load-in days and overnight work, so labor costs can balloon if you’re not careful. In some regions, working on a Sunday or past midnight automatically incurs double time. As a festival organizer, tightly scheduling shifts to avoid unnecessary double time is part of budgeting smartly. But also, know that sometimes it’s worth paying double time to push through and meet the critical path (e.g., finishing stage build before doors open). Always abide by labor laws – aside from cost, worker fatigue at double-time hours is a safety consideration.

duvetyne

A matte black, thick cotton fabric that is flame-resistant (often treated with fire retardant). In theatrical, film, and event production, duvetyne (also called “commando cloth”) is used for masking and light blocking. Got an unsightly metal fence or a power distro that shouldn’t be an eyesore? Cover it with duvetyne drape. Need to block light spill from backstage? Hang duvetyne curtains. It’s basically the black cloth that makes things disappear to the audience. Because it’s non-reflective, lights won’t glare off it and draw attention. A tip: duvetyne comes in different weights (commonly 12oz), and you should always ensure it’s fire-rated if it’s near stage lights or pyrotechnics. Experienced producers often keep spare duvetyne on hand for surprise needs (like an artist decides last-minute they want the drum riser skirted in black – duvetyne to the rescue!).

Edison outlets

Standard electrical outlets like those found in homes and offices – in the U.S., that’s the typical 120V wall outlet with two vertical slots and a ground hole (named after Thomas Edison in the context of early electrification). On a festival site, Edison outlets are provided by portable power distribution boxes for plugging in small appliances: phone chargers, laptops, fans, string lights, etc. They’re contrast to higher-voltage camlock or twist-lock connections used for heavy equipment. While Edisons are ubiquitous, festival producers must be mindful not to overload them – each circuit usually supports 15–20 amps. Also consider weather protection: outdoor Edison-style outlets should be in weatherproof enclosures to prevent shock hazards if it rains. International note – in the UK these would be standard 13A sockets, in Europe Schuko outlets, etc., but “Edison” specifically refers to North American-style plugs.

egress

The pathways or exits used to leave a venue or event space, especially under emergency conditions. Egress planning is absolutely vital for crowd safety. It encompasses designing exit routes, marking them with signage and lighting, and staffing them with security or stewards for guidance. A well-planned egress means that even a crowd of thousands can disperse quickly and safely if needed. History has taught hard lessons: In 2010, a poorly designed egress path at the Love Parade festival in Germany (a bottleneck tunnel exit) contributed to a tragic crowd crush. Modern festivals often work with crowd safety experts to calculate required exit flow – for example, “X meters of exit width per 100 people” – and to eliminate choke points like dead-end fences or narrow gates. As a producer, you should also coordinate with local authorities on egress plans; sometimes you might even hold a small drill with staff to walk through evacuating a venue. Pro Tip: Don’t just plan for egress at the end of the night – consider mid-event evacuations (for storms, etc.) and make sure exit paths remain unobstructed all festival long.

emergency action plan (EAP)

A detailed plan outlining the steps and protocols for various emergency situations at an event. This plan includes how to handle scenarios like severe weather, medical emergencies, fires, active security threats, or any crisis that could arise. A good EAP defines who makes decisions (chain of command), how communication flows (e.g., which radio channel for emergencies, when to use the PA for public instructions), where people should evacuate or shelter, and what outside resources are alerted (police, EMTs, etc.). In many jurisdictions, you’re required to submit an Emergency Action Plan as part of your permit. As of 2026, industry safety standards emphasize robust EAPs, requiring festivals to create a festival emergency action plan that staff are trained on. From experience, it’s not enough to have it on paper; do a briefing with your team so everyone knows their role if the worst happens. The EAP is about being prepared, not pessimistic – having it can save lives and proves to authorities and attendees that you prioritize safety.

emergency response plan (ERP)

Often used interchangeably with Emergency Action Plan, though sometimes distinguished by focus. An Emergency Response Plan typically details the on-the-ground immediate response steps and resources in an emergency. While the EAP might be more about protocols and decision-making, the ERP drills into things like: location of all fire extinguishers, the process for alerting on-site medics and how they coordinate with local hospitals, how a missing child is handled, etc. Think of it as the tactical handbook for emergencies. For a festival, you might combine EAP/ERP into one document. Key elements include contact lists of emergency services, site maps with emergency exits and medical tents highlighted, and scenario-specific checklists (e.g., “In case of lightning storm: stop show, instruct attendees to evacuate to cars or sturdy buildings, halt entry until all-clear” etc.). Having a solid ERP builds trust – both with your crew and with authorities – showing you have the expertise to manage crises swiftly and effectively.

expendable

Items expected to be used up or discarded over the course of the event. These are generally low-cost consumables like tape (gaffer’s tape, spike tape), batteries, zip ties, trash bags, light bulbs, glow sticks, earplugs, etc. In budgeting, expendables are often given a flat cost or a “shop fee.” For example, a lighting vendor might charge an expendables fee to cover all the gaff tape, color gels, and zip ties they’ll use. Once used, these items aren’t returned to inventory (you wouldn’t try to reuse a partly spent roll of tape on the next gig – it’s already on the cables). As a budding producer, tracking expendables can seem tedious, but it’s important for cost control and ensuring you don’t run out mid-event. Always order a bit extra of critical consumables (like spare batteries for mics or two more rolls of tape than you think) – it’s better to have a little left over than to scrape around when you suddenly need them.

flow-through barricade

A type of crowd control barrier that allows for controlled movement of people through certain points, rather than a hard stop. These barricades are designed with gaps or entryways to enable “flow-through” – for example, an opening that allows attendees to exit a pen or enter a new section in a metered way. They are often used in front-of-stage crowd barrier setups to create channels where security can pull people out or let someone exit from dense crowd areas. Flow-through barricades can help relieve crowd pressure by giving an escape route in otherwise packed zones. A common festival setup is a “D-shaped” or split barricade at the main stage: a section that splits the crowd into left and right pens, with a corridor down the middle – the ends of that barrier might have a flow-through opening for attendees to move out of the front if needed. When planning, consult with crowd management experts on where to place such openings so they don’t encourage an unauthorized entry but do provide safety relief.

fluff and fold

A colloquial term for laundry services, often offered for performers or touring crew during multi-day festivals. Artists on tour accumulate dirty clothes (performance outfits, towels, etc.), so festivals sometimes provide a “fluff & fold” service – basically laundering and returning items neatly folded. It’s considered a hospitality perk, typically for headliners or VIPs. For example, a band playing three nights in a row might hand off yesterday’s sweaty stage clothes in the morning and get them back clean by showtime. As a producer, if you offer this, coordinate with a local laundry vendor or have dedicated runners. It’s details like fluff and fold that can make an artist’s experience at your festival a bit more comfortable. Pro tip: Always label items/bags clearly to avoid rockstar wardrobe mix-ups!

FOH (Front of House)

Depending on context, FOH can mean either the public-facing areas of a venue (in general event terms) or the specific location in the audience where sound and lighting control is operated from. In festival production, when someone says “the FOH console,” they mean the main audio mixing desk positioned out in the crowd facing the stage. This FOH position is often on a riser so the engineers have a clear line of sight to the stage, and it’s typically centered and about two-thirds back from the stage for optimal sound mixing. FOH area might also host the lighting console and sometimes video control. The other meaning of FOH, as in front-of-house operations, refers to guest-facing services: ticketing, ushers, merch booths – essentially anything on the attendee side (contrasted with BOH, the staff-only zones). Both meanings share the concept of being front-facing. A helpful practice for new producers: make sure your FOH mix position isn’t blocking the view for VIP guests or camera platforms. Good design can integrate FOH so it’s unobtrusive (some festivals even artfully decorate FOH towers since thousands of eyes will be looking at it along with the stage).

frequency sweep

A method of testing and tuning an audio system by playing back tones that cover the entire audible frequency range (generally 20 Hz to 20 kHz). The audio team sends a sine wave that steadily increases in frequency (like a “whoooooop” from low rumble to high pitch) through the speakers. As this sweep plays, engineers walk the venue to detect uneven coverage, buzzes or rattles at certain frequencies, and to adjust the system EQ for a balanced sound. For example, if a particular frequency causes feedback or resonance in the tent, they’ll catch it during the sweep rather than during a live performance. Frequency sweeps are often done during soundcheck or system calibration when the venue is empty. It’s part of ringing out the system along with pink noise. Attendees rarely hear this (unless they come super early and listen in), but it’s one reason the music sounds good everywhere from the pit to the back – the system was fine-tuned across frequencies.

gaff tape (gaffer’s tape)

The all-purpose, heavy-duty cloth adhesive tape of the production world. Gaff tape is strong, tears by hand, sticks well but crucially does not leave sticky residue when removed – unlike duct tape. It’s typically matte finish (not shiny) and comes primarily in black, but also other colors for marking. Uses are endless: taping down cables to stages and floors, labeling gear, quick repairs on a set piece, bundling cords, even making a spur-of-the-moment belt or fixing a broken shoe (many a crew has gaff-taped their boots together when in a pinch!). Pro Tip: Always have a few extra rolls of gaff tape in your kit. It’s so indispensable that running out can slow down operations – you can’t safely tape down that loose cable without it. Fun fact: Some call it “100-mile-an-hour tape,” joking that it holds up even under high stress. At a festival, you might go through dozens of rolls, but it’s worth every penny for safety and professionalism.

gel

Thin, colored sheets (traditionally made of gelatin, now polyester) used to change the color of stage lights. Before modern LED fixtures allowed color changes digitally, lighting techs would insert gels in front of lamps to create washes of different colors. Even today, gels are used in theater and some festival lights – for instance, PAR cans or profile spots that aren’t LED. You’ll often hear the lighting crew talk about “gel frames” or “gel lists” for each song if it’s a traditional light rig. Gels also come in diffusion and color correction varieties (not just colors of the rainbow). They are expendables: bright lights can burn through gels, so spares are kept on hand. While LEDs have reduced gel use at large festivals (since an LED can simulate a gel color at the push of a fader), knowing how to work with gels is still a great skill for smaller productions or specific artistic needs. Keep in mind: gels are numbered by manufacturers (e.g., Roscolux #27 is Medium Red). If an artist rider calls for a certain gel number on conventional lights, make sure to get the right ones.

glamping (glamorous camping)

Camping at a festival with added luxuries and amenities not found in standard roughing-it. Glamping might involve pre-pitched upscale tents or yurts with actual beds, high-quality linens, electricity, private showers, and concierge services. It’s become a major trend as festivals cater to fans willing to pay more for comfort. Many multi-day music festivals now offer glamping packages, and they often sell out quickly. For example, Australia’s Splendour in the Grass and the UK’s Glastonbury have elaborate glamping villages with safari tents and even spa services. Globally, the glamping market has exploded (projected to reach $7.6 billion by 2032 according to glamping market statistics), and festivals are part of that growth – it’s a lucrative upsell. From a producer’s perspective, glamping can boost an event’s revenue and enhance attendee experience, but it requires additional infrastructure: security for the glamp site, dedicated check-in, maintenance staff, and high guest service standards (because those guests are effectively at a pop-up hotel). In short, glamping brings hotel-caliber expectations to the field – get ready to meet them if you offer it!

gooseneck

A flexible, snaking metal arm or tubing often used in stands and lamps to allow precise positioning. The term originates from its similarity to a goose’s neck that can bend. In production, you see goosenecks on things like podium microphones (so a speaker can adjust the mic to their height), console lamps (a small light with a gooseneck so an engineer can illuminate a sound board in a dark FOH booth), or even on some adjustable monitor mounts. They maintain whatever shape you bend them into. Gooseneck might also refer loosely to the curved coupling on certain trailers (though usually that’s a “gooseneck trailer”). The key advantage is flexibility and stability – you position it once and it stays put. Always be gentle but firm; forcing a gooseneck too much can wear it out or snap it if it’s cheap. They’re low-tech but essential bits of gear that make life easier on stage and in the tech areas.

greywater

Wastewater that is generated from sinks, showers, and other non-toilet sources – basically used water that isn’t fresh, but isn’t sewage (which would be “blackwater”). At festivals, greywater comes from things like artist and crew showers, hand-wash stations, or dishwashing in catering. It usually contains soap or food residue but not human waste. Properly handling greywater is an important environmental and sanitary task. On remote sites, producers will set up greywater holding tanks or bladder bags to collect it, then have a service pump and remove it. Some events use filtration systems to reuse greywater for dust suppression or irrigation (if allowed by local regulations and properly treated). With sustainability a big focus in 2026, many festivals are aiming to reduce water usage and manage greywater smartly. Tip: Never dump greywater on the ground – it can attract pests, create mud, and violate regulations. Always budget for disposal. Partnering with a water management vendor or consulting resources on festival water conservation best practices can give you best practices.

guest services

The department or functions dedicated to helping attendees have a smooth experience. Guest services can include information booths, lost-and-found, accessibility services (like mobility assistance or sign language interpreters), on-site ticketing issues, and general customer service. Essentially, if an attendee has a question or a problem, Guest Services handles it. In a festival context, you’ll often have a Guest Services tent near the entrance or a clearly marked booth on the festival map. They coordinate everything from issuing replacement wristbands to fielding complaints (“My tent got flooded, who can help?”). In 2026, guest services increasingly uses technology – e.g., a festival app might let attendees chat with guest services or find info without lining up. But the human element is key: a friendly, knowledgeable guest services team can turn a frustrated guest into a happy one. As a new producer, invest in training them well. One more facet: VIP Guest Services, which caters to high-tier ticket holders or artists’ guests, offering things like escorting to VIP areas, handling special requests (like dietary needs in VIP lounges), etc. This white-glove treatment can be a significant part of the festival’s reputation among influencers and industry folks.

heavy equipment

Large machinery used in the setup and teardown of festival sites. This category includes forklifts, telehandlers (like the Lull), scissor lifts, boom lifts, cranes, bulldozers, skid steers (Bobcats), and generators – essentially, any powered mechanical beast that does heavy lifting or moving. Festivals, especially greenfield ones (open field sites), often resemble construction zones during build and break. Heavy equipment is needed to unload trucks, erect stages, place concrete barriers, dig trenches for cables, move large tents into place, etc. A few pointers for new producers: Heavy equipment requires trained and certified operators – never let an unqualified volunteer hop on a forklift. Also, schedule heavy machinery tasks early in the build so you’re not threading a boom lift through a half-built site with workers everywhere (that’s a safety hazard). Fuel is another factor – diesel costs can add up, so plan for it in the budget. With 2026’s fuel prices fluctuating, budgeting for heavy equipment usage (and possibly exploring biofuel or electric alternatives if available) is part of the game.

IEMs (In-Ear Monitors)

Custom-fitted earpieces used by performers to hear a mix of the music (and themselves) during a live show. Instead of relying on floor wedge monitors (the speakers at the front of the stage), many artists now wear IEMs which receive a wireless feed of the monitor mix. This allows them to hear a clear, consistent sound at a controlled volume, which protects their hearing and ensures they can stay in time/tune. From a production standpoint, IEMs mean you’ll have fewer loud speakers on stage (good for controlling overall noise on stage and reducing feedback). However, they require a robust wireless RF system – each performer’s IEM pack operates like a small radio receiver. You might have seen singers pull one IEM out mid-show; that’s often to hear some crowd ambience or if there’s a tech issue. Modern tours carry their own IEM systems, but festivals also have generic units on hand. If you’re advancing a show and the band says “we need eight wireless IEM mixes,” make sure you have enough transmitters and that your frequency coordination avoids interference with other wireless gear (mics, radios, etc.). Quick anecdote: Some veteran rock artists still refuse to use IEMs, preferring old-school wedges – always check artist preferences!

IMAG (Image Magnification)

The use of large video screens to show live video feed of performers, so that even people far from the stage can see details of the performance. If you’ve been at a big festival and watched the giant LED screens flanking the main stage, that’s IMAG in action. Cameras around the stage (onstage, at FOH, on cranes or rail cams) capture the concert and a director live-edits a mix that goes to those screens. IMAG is crucial for events with big crowds – for instance, at a 50,000-capacity show, most people can’t see the artist’s face from the back, but IMAG brings the performance up close. Key for producers: invest in good screen tech (high-resolution LED walls that perform well even in daylight) and a quality video crew. Also, latency – ensure the video feed syncs with the audio; a noticeable delay between what you see on screen and hear from the stage is jarring. IMAG content can be mixed with graphics or pre-made visuals too. Just beware of relying solely on IMAG: if screens fail, you should still have a show that sounds great. And consider sightlines – don’t block someone’s view of the stage with a poorly placed screen support tower.

ingress

The process and design of getting attendees into the event – essentially, entry flow. Good ingress planning means ticket scanning gates, security checkpoints, and queue lanes are set up to welcome fans efficiently and safely. A smooth ingress avoids hours-long lines and temper flares at the gate. For large festivals, ingress can involve staggered entry times, dedicated VIP or staff entrances, and accessible lanes for those with disabilities. Technology has improved ingress notably: RFID wristbands and fast barcode scanners now allow entry verification in split seconds, effectively upgrading festival infrastructure basics. Major festivals like Coachella pioneered these systems years ago, and by 2026 even mid-sized festivals adopt them to meet fan expectations for quick entry. Still, technical hiccups can occur. Warning: Always have a backup plan for entry. One notable event in 2025 suffered massive entry delays when their networked scanning system failed – thousands waited for hours. To avoid this, keep handheld scanners or even printed check-in lists in reserve, and have IT support on-site for your ingress systems. Lastly, train your entry staff: a friendly, informed gate crew can turn a necessary inconvenience (security checks) into a positive first impression.

IP65

An Ingress Protection rating indicating a piece of equipment is “dust-tight and protected against water jets from any angle.” IP ratings are two-digit codes: the first number is protection against solids (6 means no dust ingress at all) and the second is protection against liquids (5 in this case means resistant to water jets). For outdoor events, using IP65 or higher-rated equipment (like lighting fixtures, cables, connectors) is critical to withstand rain, dust, and dirt. Weather is unpredictable – a sudden downpour shouldn’t fry your stage wash lights. For context, IP67 means dust-tight and waterproof to immersion (common for some outdoor LED fixtures or cable connectors), and IP54 might be splash-proof but not full rain-safe. Given the extreme weather events festivals have faced recently (e.g., the unseasonal storm that flooded Burning Man 2023), investing in high IP-rated gear is a risk management must. If you can’t get all IP65 kit, plan contingencies: cover projectors or sound consoles with tarps or tents when weather threatens. And remember, IP65 gear still isn’t indestructible – always handle equipment carefully after exposure to the elements, letting it dry out, etc.

jib

A type of camera crane with an arm that can swing and pivot, providing smooth, sweeping shots. In a festival context, you often see jibs at the front of the stage or FOH, sweeping over the crowd for those epic live stream and IMAG shots. A jib can move a camera vertically and horizontally in a fluid motion, allowing dynamic views like swooping from a close-up of the guitarist out to a wide shot of the audience. It adds a cinematic quality to the video production. Operating a jib is a skilled task; the camera operator might control the camera at the end of the jib remotely (pan, tilt, zoom) while another person, a jib operator, controls the arm’s movement. They need a clear space to operate to avoid hitting people or structures (which is why you’ll usually see a little perimeter around a jib). If you plan to have one, coordinate placement carefully so it doesn’t block audience sightlines or conflict with lighting sightlines (one reason jibs are often off to one side). The visual payoff is huge – some of those signature festival shots on YouTube are thanks to jibs capturing the scale and energy of the crowd.

kilowatt-hour (kWh)

A unit of energy measuring one kilowatt (1 kW) of power sustained for one hour. It’s commonly seen on electricity bills – it quantifies consumption over time. In a festival scenario, if you have a generator running a steady 50 kW load for 2 hours, that’s 100 kWh of energy used. Why do festival producers care? If you’re being charged for fuel or grid power usage, it might be calculated in kWh. It also helps in sustainable planning: tracking kWh can let you report how much energy your event used and potentially how much of that was from renewable sources (if you’re using solar or biofuel generators). Big picture: 1 kWh is roughly the energy to run a 1000W spotlight for one hour. Over a multi-day festival with tons of gear, the total kWh can be enormous – understanding this can push you to find more efficient equipment or shut things off when not needed. Some savvy events now monitor real-time kW loads on major stages to optimize generator use (e.g., shutting a generator during gaps to save fuel). But do be cautious – frequent on/off cycling isn’t good for some generators or equipment.

line array

A configuration of loudspeakers arranged in a vertical line, designed so their combined output is focused and can cover a large area efficiently. Those towering columns of speakers you see hanging on either side of a stage – that’s a line array. This design became the standard for big concerts and festivals because it projects sound evenly over long distances when properly calibrated. Line arrays typically consist of multiple speaker cabinets, each with specialized drivers (woofers, tweeters), rigged with precise angles between them to control vertical dispersion. The result: the people up front aren’t blasted with disproportionately loud sound and the folks 100 meters back can still hear clearly. Key things for producers: ensure there’s adequate rigging infrastructure to hang the line arrays safely (they are heavy and must be secured to a truss or roof). Also, line arrays often need tuning (via software and measurement mics) for each venue to handle unique acoustics like wind or nearby reflective surfaces. If an artist brings their own line array system (common on headline tours), coordinate space and weight capacity on your stage. Fun fact: before line arrays, huge “walls” of speakers were used in the ’70s and ’80s; the line array concept revolutionized live sound in the ’90s and is still evolving.

load-in

The process of bringing equipment and supplies into the venue/site in preparation for the event. “Load-in” is both a noun and a verb: as a noun, it’s the period (often multiple days) when everything is set up, and as a verb, “to load in” means to move gear inside. This phase can include unloading trucks, building stages, setting up audio/lighting, arranging vendor booths, decorating, etc. A well-scheduled load-in staggers deliveries and crew to avoid chaos. For instance, heavy equipment might load in first to build structures, then lighting and sound once the stage is up, then decor and branding last. Communication is key: having a load-in schedule telling each vendor and team when they can access the site prevents traffic jams (literally, of trucks at the gate). Also, be mindful of local regulations or labor rules, like what times of day you can make noise or if union labor is involved, requiring breaks, etc. Typically, load-in ends with a final soundcheck or rehearsal as the last step before opening gates.

load-out

The reverse of load-in – tearing down and removing everything after the event concludes. Sometimes called “strike” or “de-rigging,” load-out often happens at an intense pace, especially if the venue has a hard deadline to clear out. Crew joke that gravity makes load-out faster than load-in (it’s quicker to drop something than to rig it up), but in truth, careful planning is needed to load-out efficiently and safely when everyone is tired. Festivals typically have a load-out plan that might run through the night after the final performance: e.g., sound and backline gear is struck first, then lighting, then stage structures, etc., while other teams clean the site and remove infrastructure in parallel. Sorting and labeling during load-out is critical – every cable goes back in the right case, every rented item is accounted for – to avoid missing gear and costly charges later. Pro tip: feed your crew well and rotate shifts if possible; a smooth load-out can leave a lasting positive note for your production team (and the neighborhood – leaving a site without damage or debris helps for future editions).

loading dock

A designated area (typically a raised platform or bay) where trucks can back up to load or unload equipment. Big venues like arenas and convention centers have built-in loading docks with multiple bays. At a temporary festival site, you might create an improvised “loading dock” area using ramps or by designating an entry gate for trucks. The loading dock is the gateway for all your gear to get on and off site. Ideally, it’s close to where stages or storage areas are, to minimize pushing cases long distances. Logistically, managing the dock is an art: you’ll likely have a dock manager or at least a schedule for which truck comes in at what time. Nothing’s worse than trucks idling in a line because the dock is jammed with a crew that’s not ready. Also think about equipment like forklifts at the dock, and safety – crew with high-visibility vests, clear signals, and maybe a check-in booth to verify which deliveries are coming in. Efficient dock operations keep your whole production on schedule.

lull

A nickname for a particular type of telescopic telehandler (a combination forklift and small crane) often used on construction sites and festival builds. “Lull” is actually the name of a manufacturer (Lull Engineering) known for these telehandlers, but many crew use it generically like “Bobcat” for skid steer loader. A lull has a telescoping boom arm with forks that can lift heavy loads (pallets of equipment, truss sections) and extend out or up to high places. It’s more versatile than a standard forklift because it can reach further distances and higher elevations. On a festival site, a lull might be used to lift speaker stacks onto staging, to place lighting trusses on supports, or to unload trucks where no loading dock exists. Operating a lull requires skill – tipping is a risk if load limits aren’t respected, especially on uneven ground. So get a certified operator. Also, plan for any terrain issues: if your site is muddy or hilly, make sure to rent an all-terrain telehandler. The term might confuse newbies (“what’s a lull?”) – just remember it’s like a forklift on steroids with a big extending arm.

mags (magazines)

In the context of film (or old-school photography), “mags” refer to film magazines – the cartridges that hold reels of film for cameras. On a live event crew, you’re less likely to deal with film mags nowadays unless you’re doing a niche film shoot at a festival (most live broadcast uses digital cameras). However, in a broader production context, you might hear “mags” to mean any sort of cartridge or removable storage, or even printed magazines if media are around. Given that digital has largely supplanted analog film at events, this term is a bit of a throwback. That said, if you have a documentary crew capturing your festival on 16mm or 35mm film for an artsy project, they’ll have mags to reload every few minutes of footage. So just be aware – it could pop up, but it’s not everyday lingo on a modern festival unless you’re hanging with the cinematographers. (And no, it doesn’t mean “magazines” as in press/media in this context – that would just be “media”.)

media

Refers collectively to journalists, photographers, bloggers, and other press representatives attending to cover the event. Festivals typically issue media credentials to approved outlets and individuals, granting them access to designated areas like photo pits (the space between stage and crowd to take photos during the first few songs), press lounges, or interview areas. With the rise of influencer culture, “media” now might include content creators like YouTubers or Instagram influencers who are given special access in exchange for coverage. Managing media is a key PR function: you’ll have a media check-in, a press tent with Wi-Fi (so reporters can file stories), and possibly a media schedule (artist press conferences or interview slots). Pro tip: Have a clear media policy – for example, many festivals limit photographers to the first 3 songs of a set, no flash. Also, having a media escort or liaison can ensure photographers don’t wander into restricted zones. Positive media coverage can boost your festival’s profile, so treat the media folks well – but also enforce rules (like no backstage access beyond what’s agreed). It’s a balance of hospitality and security.

merch (merchandise)

Branded goods sold at events – everything from t-shirts, hoodies, and hats to posters, stickers, and even custom festival-branded items like water bottles or bandanas. For festivals, there are typically two kinds of merch: festival merch (with the festival’s name, year, lineup on it) and artist merch (bands selling their own shirts, albums, etc.). Managing merch is a whole sub-operation: you need spaces for booths, a system to handle sales (points of sale, cashless payments), inventory management, and sometimes even its own staff/volunteers separate from concessions. It’s also a significant revenue stream – at many festivals, merch can account for 5-10% of overall revenue when managing artist merchandise sales or more, and artists often rely on selling merch to make touring viable. Best practice is to negotiate revenue splits or booth fees with artists in advance to ensure smooth merchandise operations. Big events often handle artist merch centrally (festival takes a cut and runs the sales) vs. smaller events may let artists run their own tables, often negotiating revenue splits or booth fees with artists in advance based on revenue split models. Keep in mind: popular items may sell out on Day 1, so have a plan for restocking if possible or at least communicate when something is gone to avoid disappointed fans. And logistics – secure your merch area; sadly, theft can happen, and those boxes of shirts are worth thousands of dollars.

minute by minute

An extremely detailed event schedule breaking down activities by the minute. This fine-grained run-of-show document helps stage managers, production managers, and technical crew coordinate the precise timing of everything. For example, a section might read: “8:00pm – Intro music playback starts; 8:00pm-8:01pm – MC walks on stage, welcomes crowd; 8:01pm – Band X intro video on screens; 8:02pm – Band X live set starts with Song Y.” It can include cues for lighting, pyrotechnics, changeovers, etc. Obviously, live events rarely stick exactly to the minute-by-minute once things are rolling (flexibility is needed), but having it means everyone knows the intended flow and critical moments. Festivals often have separate minute-by-minutes for each stage, especially if broadcasting or webcasting (to coordinate with TV breaks or streaming schedules). As a new producer, you might start just with set times and a basic schedule, but as you take on bigger shows, you’ll end up creating minute-by-minute sheets for key portions (like a complex opening ceremony or a timed firework display at the end). They are the ultimate tools for synchronization – the closer an event mimics a live TV production, the more detailed the schedule gets.

overtime

Any hours worked by staff or crew beyond the standard work schedule (which typically incur higher pay rates). Overtime rules vary by region and contract. Commonly, working beyond 8 hours a day or 40 hours a week triggers overtime pay (often at 1.5x rate), and as mentioned earlier, double time can kick in after a further threshold. For a festival producer, overtime is a double-edged sword: it can motivate crew to push through a long night (since they’re getting extra pay), but it also can blow your budget quickly. It’s also a sign people are working very long hours, which can raise safety concerns from fatigue. Some crews will negotiate a set amount of overtime in advance (for example, a flat rate for a 12-hour day). When scheduling, try to stick to reasonable daily shifts and bring in extra personnel rather than working a small team to exhaustion. But if overtime is unavoidable, make sure to account for it in your budget forecast. Additionally, some jurisdictions legally require breaks and caps on hours – violating those can lead to penalties. Treat your crew fairly: paying rightful overtime and giving proper rest not only keeps you compliant but also builds trust and morale among the team.

P & L (Profit and Loss)

A financial statement summarizing revenues, costs, and expenses over a specific period – basically the bottom-line report that shows whether your festival made a profit or took a loss. A P&L for a festival might cover the whole event cycle: sponsorships, ticket revenue, merch and F&B income on the revenue side, and all your expenses (artist fees, production costs, marketing, staff wages, permits, etc.) on the other. Tracking P&L is critical for long-term survival; it forces you to see where money is coming in and where it’s bleeding out. The live events industry is tricky – a festival can sell out and still lose money if costs aren’t controlled. In fact, industry analyses in recent years found that barely two-thirds of festivals turned a profit, and more than one-third actually lost money despite healthy attendance, illustrating why many festivals fail financially. This popularity-profit paradox means producers have to be financially savvy, not just creative. When you present a P&L to investors or partners, be honest and include all hidden costs (e.g., damage repairs, credit card fees, insurance – these often get overlooked). And even if you’re running as a non-profit event, a P&L is useful to ensure you broke even and where any surplus was allocated. Think of the P&L as the festival’s report card in financial terms.

passboards

Boards or charts (physical or digital displays) that show the various credentials and their associated access levels. Essentially, a quick-reference guide for security and staff to know who is allowed where. For example, a passboard might show images of the different badges or wristbands: “Blue wristband = All Access, Green = Stage Crew, Red = Artist, Yellow = Vendor, Purple = Press,” etc., often with a map or list of zones they can each access. At a glance, a security guard can verify if someone with a certain color badge should be entering a gate or not. In larger events, these passboards are placed at checkpoints and crew entrances. Some festivals now use smartphone apps for this info, but having a big printed passboard at the security briefing and in the operations center is common. As a new producer, work closely with your credentialing team to define clear access levels – it can save a lot of confusion on show days. Also, brief your crew: a passboard is only useful if people actually refer to it! It’s always awkward when a volunteer guard doesn’t recognize the VIP pass and stops a headliner – training and good passboards solve that.

pat downs

A physical security search where a security staffer uses their hands to pat a person’s outer clothing to check for prohibited items. This is more thorough than a simple bag check or a walk-through metal detector. Pat-downs are typically done at entry if the security level is high (for example, at some events every attendee gets a quick pat-down on entry for weapons or contraband). They may also be used selectively (e.g., if a magnetometer wand beeps near someone’s pocket, a pat-down might follow to find what’s there). The goal is to feel for items like knives, guns, bottles, or other hid objects. It must be done with professionalism and respect: usually guards are trained to use the backs of their hands for sensitive areas and same-gender personnel conduct pat-downs on attendees. As an organizer, if you implement pat-downs, be prepared for slower ingress times (factor that into opening earlier or having more staff). Also clearly communicate to attendees that security will be conducting pat-downs, to set expectations. In today’s climate, many fans appreciate the extra safety measure, but only if done efficiently. Keep it consistent too – random extremely invasive pat-downs in one line and lax checks in another lead to complaints. Standardize your security briefing so everyone gets a similar screening unless higher suspicion is aroused.

per advance

Short for “per the advance,” this refers to details or arrangements as discussed in advance of the show. The “advance” is the series of communications (calls, emails, documents) between the festival’s production team and the artist’s team in the weeks or months leading up to the event. If you say “per advance, the band needs a 32-channel monitor console and two vegetarian meals,” you mean “as we already agreed in the tech/hospitality advance, these are the requirements.” It’s a way of reinforcing that something was specified earlier. Keeping good advance notes is key – you’ll have stage plots, input lists, hospitality riders, etc., all compiled. If a discrepancy arises on show day (artist says, “We expected 20 wireless mics!”), you’d check the advance and respond accordingly (“We have 10 as per the advance documents; let’s see how we can accommodate any changes”). Essentially, “per advance” is a shorthand to validate that a plan or item is based on prior agreement. For new producers: the advance process is your friend – document everything, confirm in writing, and share final advance sheets with your stage managers and operations crew so everyone is aligned.

petty cash

A small reserve of cash kept on hand to pay for immediate, minor expenses during the event. Despite the rise of credit cards and digital payments, petty cash is still a fixture in festival operations for when someone needs to run to the hardware store for duct tape, or you have to tip the forklift driver for an extra favor, or buy ice for artist hospitality from the local gas station. Typically, the finance manager or production coordinator will start the event with a set petty cash fund (e.g., $500 in small bills), log any disbursements (who took how much and for what), and collect receipts to reconcile later. Each person taking petty cash signs it out and brings change and receipt back to account for it. It’s important to treat petty cash as real money (because it is!) – it’s easy in the event frenzy to lose track, so insist on the paper trail even if it’s a $10 purchase. In some cases, festivals are moving to prepaid cards or mobile payment reimbursements to reduce cash on site, but many crew still appreciate quick cash for runs. Just keep it secure; petty cash has a way of walking off if not guarded.

pink noise

A type of noise signal that contains equal energy per octave across the audible spectrum, making it sound balanced or “flat” to the human ear (lower frequencies have more power in absolute terms, which is why pink noise sounds bassier than white noise). Audio engineers use pink noise to tune sound systems because it’s a good proxy for full-spectrum sound. They’ll play pink noise through the PA and use an RTA (real-time analyzer) microphone and software to see the frequency response of the venue. If certain frequencies are too loud or too soft, they EQ the system accordingly to achieve a flat response. The result is that when actual music is played, it will be reproduced accurately. To the average person, pink noise is that steady hiss that might be heard during setup or soundcheck (kind of like a waterfall sound). It’s not pleasant, but it’s really useful. Fun fact: some people use recordings of pink noise to burn-in speakers or even as a sleep aid (though white noise is more common for sleep). In festival work, once you hear the pink noise blasting, you know the sound team is calibrating – show time is getting closer!

portalet

A colloquial term for portable toilets (often “porta-potty” in the U.S., “portaloo” in the UK). These are the standalone, self-contained restrooms brought onto event sites where permanent facilities are insufficient. A festival with 20,000 people absolutely lives and dies by its toilet situation – you’ll need rows upon rows of portalets, serviced (pumped out and restocked) daily for multi-day events. For instance, Glastonbury 2025 had around 4,000 toilets on site for ~210,000 attendees, a scale requiring massive sanitation logistics. That scale shows how crucial proper sanitation is. Key considerations: ratio of toilets to attendees (varies by event type and alcohol service, but roughly 1 per 75-100 people for all-day events is a common baseline), placement (spread them out to avoid long walks, but also shield living areas from odor as best as possible), and servicing logistics (trucks need routes to pump waste tanks – usually early morning when crowds are low). Increasingly, festivals explore more eco-friendly options like composting toilets or vacuum flush systems to reduce environmental impact. But those often come at higher cost. If you’re a new producer, don’t skimp on the loos – it’s not glamorous, but poor sanitation will absolutely dominate post-event complaints and can even cause health issues. And never delay the pump schedule – one overflowed portalet can become a biohazard and a PR nightmare.

post event report

A comprehensive report created after the festival concludes, documenting all aspects of the event’s performance and outcomes. This internal report often covers attendance numbers, financial breakdown (see P&L), incidents or safety issues, marketing results, feedback from attendees, and lessons learned for next time. It’s basically the festival autopsy – what went right, what went wrong, and how can we improve. Many promoters also share versions of the post event report with key stakeholders: sponsors get a report highlighting the value they got (brand impressions, attendee engagement), investors get the financial and strategic recap, and sometimes even local authorities get a summary to show compliance and community impact. A good post-mortem section might list each major area (e.g., “Traffic & Parking: what worked – new shuttle system reduced wait times by 30%; what didn’t – Lot C overflowed due to poor signage”). By diligently compiling this info, your team gains expertise year over year. If you plan to run the festival again, this report is the first thing you review when planning the next edition. And if you are wrapping up for good, it’s still valuable knowledge – many production teams keep archives of post-event reports to share wisdom across the industry or within their company.

potable

Water that is safe for humans to drink. At events, ensuring a supply of potable water is crucial, especially in hot weather or multi-day camping situations. You’ll often see “Potable Water” signs on taps or tankers around a festival – these are spots where attendees or crew can fill water bottles. Conversely, non-potable water (often used for things like toilets or dust control) must be clearly marked as such (you don’t want people drinking from a hose that’s pulling pond water to spritz the roads). Modern festivals are moving away from single-use water bottles, so providing free water refilling stations is now common and expected – and frankly, a moral imperative to keep people hydrated and safe. When planning, consider both the source (are you tapping into city water, or trucking water in?), storage (big water bladders or tank trucks on-site), and distribution (where to place refill stations to avoid huge lines). Also plan for testing if required by health departments – sometimes they’ll want proof your water is from a potable source or even test chlorine levels. Remember, “potable” doesn’t necessarily mean chilled or tasty – water can be perfectly safe but warm or with a slight chlorine taste if city-supplied. It might be worth budgeting for a few large industrial ice blocks in the water tanks to keep them cool on hot days; nothing like a refreshing cold sip for an appreciative crowd.

quad box

An electrical distribution box (often a small, rugged metal or plastic box) with typically four outlets (hence “quad”). It usually has one incoming cable (which might be a heavy-gauge cable from a generator or distro) and splits into four standard outlets. These are extremely common on stages and around event sites to provide multiple plug-in points for gear. For instance, at front-of-house you might drop a quad box to plug in the audio console, a work light, a laptop charger, and a fan. Quad boxes used in events are heavy-duty and often weather-resistant, with covers on outlets. They might also be mounted on stakes or stands to elevate them off wet ground. When planning power distribution, think of quad boxes as the last mile – you run a feeder cable to a quad box near where multiple things will need power. Safety tip: Don’t chain too many quad boxes or extension cords together, and know what’s on the circuit – all four outlets share a single circuit’s capacity (if it’s a 20A circuit and you plug four big things drawing 10A each, that’s going to trip the breaker). Labeling quad boxes (like “Stage Left Lights” vs “Backline Power”) helps troubleshooting when something pops too.

quartermaster

Originally a military term for the officer in charge of supplies, in an event context a quartermaster is the person (or team) responsible for managing equipment and inventory. On a festival site, the quartermaster might oversee the boneyard or equipment tent, keeping track of all the gear – from cables and spare mics to golf carts and fuel canisters – and dispatching items as needed. Need a fresh pack of batteries or another radio? Call the quartermaster. They also track gear coming back in so nothing gets lost. In smaller productions this role might be combined with production assistant or stage manager duties, but bigger festivals assign someone specifically to gear management because of the sheer volume. An efficient quartermaster prevents a lot of chaos: instead of everyone wandering looking for a ladder, one point person logs requests and knows exactly where that ladder is. They often maintain a checklist or database, and at the end of the event, they help ensure all rented equipment is returned and all festival-owned gear is accounted for. If you like organization and barcoding cases, quartermaster could be your calling!

ratchet strap

A strong tie-down strap with a ratcheting buckle that allows you to tighten it extremely securely. Ratchet straps are used to hold equipment in place during transport (e.g., strapping road cases to the wall of a truck so they don’t roll), secure truss or scaffolding pieces during construction, or even as a safety tether for tall items that might tip. They come in various lengths and weight ratings – from light-duty ones you might use on a pickup truck to monster straps that hold down entire stage roofs. The ratchet mechanism lets you crank the strap tighter than you could by hand. A common use on festival sites: ratchet straps to tie down tents and canopies to stakes or weights so they don’t blow away. One thing to know: there’s an art to using them – you feed the strap through the ratchet slot and then pump the handle. Always ensure the strap isn’t twisted and the ratchet is fully locked down. And remember to release carefully (they can spring if under heavy load). Have a few spares on site; these straps are inexpensive lifesavers whenever something needs securing.

radios

Handheld communication devices (walkie-talkies) used by event staff to coordinate in real-time. Radios are the backbone of festival communications – mobile phones aren’t reliable in noisy, crowded environments and take too long for urgent messages. Typical festivals set up multiple radio channels (using different frequencies) for different departments: e.g., Channel 1 for Production, 2 for Security, 3 for Transportation, 4 for Medical, etc. Team leads will carry radios and often a earpiece/microphone kit so they can hear without the radio blaring loudly. Radio etiquette is important: be concise, identify yourself and who you’re calling (“Ops Manager to Site Control, over”), and reserve Channel 1 for emergencies if that’s protocol. Larger events hire professional radio vendors for repeaters (to extend range over a large site) and dozens or hundreds of radio handsets. A repeater system or multi-channel base station ensures coverage even if the site is huge or terrain is tricky. From an organizational standpoint, you’ll want to distribute radios at the start of shifts and collect them back (with charging) – lost or uncharged radios are a big headache. In 2026, some festivals have experimented with smartphone push-to-talk apps as supplements, but nothing beats the reliability of a good old Motorola two-way radio when you need to instantly reach your crew.

radius clause

A contract provision that prevents artists from playing other shows or festivals within a certain geographic radius and timeframe around the festival date. Promoters include radius clauses to ensure their event is the exclusive local appearance for that artist, making it more special and helping ticket sales. The specifics vary: for example, a mid-tier band might agree not to play within 100 miles for 60 days before and 30 days after the fest. Mega festivals have been known to impose much broader restrictions – Coachella’s 2018 radius clause (revealed in a legal dispute) barred performers from playing any other North American festival from late 2017 until May 2018, as detailed in reports on Coachella’s exclusivity terms, plus no solo concerts in Southern California for that period. These clauses can get controversial. In fact, a smaller event in Oregon sued Coachella’s organizers in 2018, claiming the radius clause was anti-competitive, sparking debate about how radius clauses affect local scenes. (The case raised debate but Coachella’s clause remained largely intact.) For new festival producers, the takeaway is: if you book artists, consider a radius clause so they don’t undercut your draw by doing a show next door the week before. But make it reasonable – too strict and artists may push back or ask for higher fees. For boutique local festivals, “soft exclusivity” approaches can work too, like partnering with venues to honor a gentler radius clause, utilizing soft exclusivity and smart diplomacy. Always have the clause clearly in writing in artist agreements so there’s no confusion.

reactive power

The component of AC electrical power that doesn’t do “useful” work (like turning a motor or lighting a lamp) but is necessary to maintain the voltage in the system, particularly in the presence of inductive or capacitive loads. It’s measured in VARs (volt-amperes reactive). In simpler terms, reactive power bounces back and forth between source and load – for example, large sound system amplifiers or lighting ballasts might draw current that leads or lags the voltage, creating reactive power. Why does a festival producer care? Mostly when dealing with generator sizing and power distribution. Generators are rated in apparent power (kVA) and have an assumed power factor (e.g., 0.8). If you have a lot of reactive load (let’s say tons of LED lights or motors in moving lights which are inductive), you may not effectively use all the generator’s engine power for real work because some gets “lost” in the reactive oscillation. In practice, your electricians will manage this by possibly adding power factor correction or just oversizing generators. It’s also why two events both drawing 100 kW of true power could stress a generator differently if one has a lot of reactive load. The key is to be aware that not all electrical load is straightforward – having professionals calculate your power needs with reactive power in mind prevents voltage drops or generator overheating.

reefer truck

A refrigerated truck (the “reefer” is slang from refrigerated). These trucks have built-in cooling units to keep their cargo at cold temperatures. On a festival site, reefer trucks are often used to store perishable food and beverages for vendors or artist hospitality. Instead of bringing in numerous standalone fridges, a promoter might rent a reefer trailer, park it in the back of house, and use it as a giant walk-in cooler for cases of water, beer kegs, catering ingredients, and even ice storage. They’re also used for certain medical supplies if needed. Keep in mind, reefer trucks need fuel (diesel) to run their cooling engine continuously, or a power hookup. They can be a bit noisy due to the engines cycling on/off to maintain temperature, so place them where the sound won’t bother performers or bleed into quiet zones (far end of the boneyard perhaps). Also, organize the inside with shelving or pallets so it’s not a jumble – you don’t want to send a runner to pull 10 cases of soda and have them searching a freezing trailer for half an hour. Label sections by vendor or department for efficiency.

repeater

In radio communications, a repeater is a device that receives a radio signal and re-transmits it at a higher power or to the other side of an obstruction, effectively extending the range of radio systems. For festival operations, if your site is large or has obstacles (hills, buildings) that block two-way radio reception, you might use a repeater. For instance, you place a repeater on a tall scaffold or a nearby high point; crew radios then transmit to the repeater, which boosts and relays the message to all radios in the network. This way, someone in the far end of camp can still reach someone near the stage even if direct line-of-sight for the radio waves is blocked. Repeaters often involve using one frequency to listen and another to transmit simultaneously, so radios must be programmed to work with that. If you’re not a comms specialist, definitely consult one to set this up – it can be complex, but the vendor providing your radio set can usually handle it. Key point: ensure the repeater has a secure power source (if it fails, comms go down). Many come with battery backups. Also, using a repeater means slight delay (fractions of a second) and potential for echo if people are close and on simplex vs repeated – your radio etiquette and protocols might need a tweak in repeated systems (like saying “over” clearly to avoid doubling). But overall, they’re lifesavers for maintaining coordination across large distances.

RF (Radio Frequency)

Electromagnetic frequencies used for wireless communication. In festival production, when people refer to “RF” they usually mean the wireless mics, in-ear monitors (IEMs), walkie-talkies, and any other tech that relies on radio waves. RF management is a big deal in events because you might have dozens of wireless devices — each mic, each instrument pack, each comms system — and they all need to operate on clear frequencies without interference. Large festivals will often designate an “RF coordinator” who assigns frequency channels to every wireless system in use (often coordinating with local broadcasters or government spectrum allocations too). For example, if two mics end up on the same frequency, you’ll get dropouts or crosstalk. Intermodulation is also a risk (two frequencies mixing and creating a third that causes issues). The RF coordinator uses tools like RF spectrum analyzers to monitor the airwaves. As a new producer, you might not handle this personally, but be aware: adding something last-minute like a couple of wireless microphones or walkie channels isn’t just plug-and-play — clear it with whoever’s managing RF so they can ensure it won’t stomp on an existing channel. In some countries (and big metros), parts of the RF spectrum have been repurposed or sold off (e.g., for 5G cellular), which reduced what wireless mics can use — yet another reason planning is key so your show audio doesn’t get hijacked by the local TV station’s broadcast or vice versa.

RFID (Radio-Frequency Identification)

A technology where data encoded in tags (microchips with antennas) is captured by a reader via radio waves. In festivals, RFID has become standard for ticketing and even cashless payments. Typically, attendees receive an RFID wristband; at the gates, an RFID scanner validates the wristband in a split-second, allowing entry with a quick tap. This nearly instant scan (often around one second per attendee) is far faster and more secure than manual barcode scans or visual checks, helping upgrade festival basics for fan expectations. Events like Lollapalooza and Coachella led the charge on this years ago, and by now many small and mid-size festivals also find it worthwhile to invest in infrastructure upgrades. RFID reduces fraud (harder to duplicate than a paper ticket) and provides organizers rich data — you can know when people entered, how they moved if you have multi-point scans, etc. Beyond access control, RFID wristbands often double as cashless payment wallets. Attendees load money onto the wristband and then just tap it at bars or merch booths to pay, speeding up transactions. For producers, RFID means you need the tech infrastructure (scanners, software, reliable network) and a good wristband provider. It’s also wise to have a backup plan (like an offline mode or backup list) if the system goes down. Communication with attendees is key too: make sure they know how RFID works, what to do if they lose their wristband, and how to get refunds of unused balance if you offer that. Overall, RFID has been a game changer in enhancing entry flow and security at festivals.

rowpack

A term for cases or containers designed for efficient transport and storage, particularly ones that fit neatly into trucks or can be easily stacked. The idea is that these packs or cases are standardized in dimension (like to fit the width of a truck or to stack without wasted space). In audio/lighting, you might hear “rowpack cases” for cables or lights, meaning the cases are shaped to maximize truck space and can be lined up in rows. Some rental companies even name product lines “Rowpack.” Essentially, think of rowpacks as the Tetris blocks of tour trucking: the more you use uniform cases, the better you can use every cubic foot. For festival producers dealing with touring acts, note that bands will often arrive with their gear in rowpack trunks for quick unload – everything rolls out nicely. If you’re investing in cases for your own gear, consider this standardization; it’ll save on trucking costs if you can use smaller trucks or fewer trips because everything fits snug. Also, rowpacks are often built tough, protecting gear from the inevitable bumps of transport and the elements on site. They frequently have built-in wheels and are labeled for contents. Key benefit: when striking the stage at midnight, crew can pack gear back into rowpacks swiftly, line them up, and load trucks like an assembly line, making load-out faster.

scaff (scaffolding)

Temporary modular structures built from metal tubes and couplers, used to create stages, viewing platforms, camera towers, delay speaker towers, or any other structures needing elevation. “Scaff” is the shorthand many crew use. Scaffolding is like an erector set – standardized pieces that a trained crew can assemble into nearly any shape or size, within engineering limits. On a festival site, you might use scaff to build front-of-house platforms, lighting towers, or special platformed VIP areas. Many stages have a scaffolding backbone that’s then skinned with scenic elements. Safety is paramount: scaffolding must be erected by qualified scaffold builders and usually needs sign-off by an engineer or inspector, especially if people will stand on it or it supports heavy gear. Key parts of scaff include vertical standards, horizontal ledgers, diagonal braces, base plates (and sometimes mud sills if on soil), and decks or planks to stand on. When budgeting, note that scaffolding of significant size might require several days to build and tear down. Weather considerations: scaff structures should be ballasted or tied into ground anchors to prevent collapse in high winds. Communication tip: if someone says “Don’t climb the scaff!”, they mean it – those who aren’t trained (and harnessed) shouldn’t scramble up scaffold like it’s a jungle gym. Use proper ladders or stairs that are part of the design.

sea container

A large, standardized shipping container (typically 20 or 40 feet long made of steel) used for transporting goods by sea, rail, or truck. In festival production, sea containers often pull double duty as both shipping/storage units and on-site structures. Many tours will pack all their gear into a sea container for international freight – if your festival is overseas for them, you might literally receive a sea container backstage full of the band’s equipment. Locally, festivals also use these containers on site as secure storage (lock up the tools and merch overnight), or even convert them into offices, pop-up bars, or stage fascia. For instance, stacking a few sea containers and putting a scaffold roof on top can create a quick DIY stage or viewing deck. They’re weatherproof and secure – great for protecting gear from theft or rain. Just be aware: they are heavy (a 40? empty container is ~8,000 lbs) and you’ll need a crane or heavy forklift (“lull”) to move them. Also, ensure proper ventilation if people are working inside one converted to an office or green room – it can get stuffy or hot otherwise. And check local codes if using them as structures with public access; you might need to do some modifications for safety (like proper doors, emergency exits, etc.).

shop fork

A type of forklift, typically one used in warehouses or “shop” environments, as opposed to rough-terrain forklifts used outdoors. Shop forklifts (think of the classic propane-powered forklift with hard tires) are great on flat surfaces like concrete or asphalt but not suitable for muddy fields. If your festival is in an arena or convention center, shop forks might be used to move pallets of concessions or stage gear around on the smooth loading dock. On open grass or dirt, you’d need an all-terrain fork (with big gnarly tires) or a telehandler (like the Lull). Some production plans will specify the need for both types – maybe a shop fork for back-of-house on pavement and a rough terrain for stage construction on turf. Capacity is another factor: shop forklifts often lift 4,000–6,000 lbs easily and can maneuver in tighter spaces. Pro tip: if renting, get a fork with adequate fork length for your typical loads (long forks for oversized pallets can help). Also, check ceiling height if using indoors (some have to be careful if they have tall masts). Always ensure certified operators are at the wheel. On a busy load-in, a skilled forklift driver is worth their weight in gold – they’ll safely shave hours off unloading compared to doing it all by hand.

snake

In audio, a “snake” is a bundled multi-cable that allows multiple audio signals to travel together, typically from the stage to the mixing console. It earned the name because a long cable bundle with many connectors sprawling across a stage looks kind of like a snake. Snakes can be analog (a big thick cable with dozens of copper pair channels ending in a fan of XLR connectors) or digital (a simple Cat5/Cat6 cable or fiber optic line connecting stage boxes to digital consoles). A common analog snake might have 24 inputs and 8 outputs, enabling the stage mic signals to run to FOH and sending some return signals (like monitor feeds) back. Today, many modern setups use “digital snakes” which is essentially an on-stage unit that digitizes signals and one Ethernet cable back to the mixer – far lighter and less cluttered. But you’ll still see old-school snakes especially at smaller events. Anecdote: Many rookie stagehands have amusing stories – like someone yelling “grab the snake!” and the newbie momentarily freaking out thinking there’s a real snake, not realizing it’s just that coil of audio cables. So don’t worry, no reptiles involved (unless your festival has a reptile show, but that’s another glossary entirely) – it’s just cables. Keep your snakes coiled neatly when not in use and avoid heavy foot traffic or vehicles driving over them (unless they’re in a cable ramp) to prevent damage.

spider box

A portable power distribution box that takes a high-voltage input (often from a generator or main distro) and splits it into multiple standard outlets (typically Edisons or twist-locks). It’s commonly a yellow or black box with a “tail” input cable – looking a bit like a spider if it has multiple cables coming out, hence the name. Spider boxes often provide several 120V circuits in one unit. For example, you might plug a spider box into a 50 Amp 220V outlet from a generator; the box internally splits that into six 20A 110V outlets, each with its own breaker. These are super handy for event sites: you drop a spider box near a cluster of vendors or in a production compound and instantly have multiple outlets for lights, tools, point-of-sale systems, etc. They are generally weather-resistant, but you should keep them off the ground if there’s risk of flooding (some have mounting points to elevate or can be strapped to a pallet). When deploying spider boxes, label them and note which main power leg they’re on – helps if you trip something and need to reset. Safety tip: even though it’s portable power, treat it like a mini breaker panel – don’t overload and don’t daisy-chain too crazily. Also, ensure grounding is solid (quality spider boxes have proper ground fault protection). They make powering a festival site more plug-and-play, just like a friendly spider weaving an electric web.

sundries

A miscellaneous collection of small items that don’t individually fit major categories but are needed for production. The term “sundries” basically means “odds and ends.” In a festival context, this could include things like: markers, notepads, zip ties, safety pins, sunscreen for crew, trash bags, paper towels, ibuprofen, earplugs, batteries, disposable ponchos, small tools, etc. Many production teams prepare a “sundries kit” at the production office or each department might have a box of sundries relevant to them (like the audio department’s sundries might be gaff tape, console light bulbs, and board tape for labeling channels). It’s the stuff you might forget to list but definitely miss if it’s not there. Smart producers often allocate a budget line for sundries because these little costs can add up. And at show time, being able to magic up a sharpie marker or a band-aid right when it’s needed earns you gratitude from stressed crew members. Essentially, sundries keep the operation running smoothly by taking care of minor needs that, if unmet, could cause snags (imagine not having zip ties when you need to quickly secure a loose banner – cue flapping chaos). It’s all about the details.

swag

Free promotional items given away, often branded with the event or sponsor logos. “Swag” is colloquially said to stand for “Stuff We All Get,” though that’s likely a backronym. Common festival swag includes lanyards, stickers, koozies, keychains, sunglasses, tote bags, or even more premium items like portable phone chargers or bandanas. Swag is handed out to promote a brand or just as a souvenir for attendees. From the producer side, you might produce festival-branded swag as extra goodies (like a welcome bag for VIP ticket holders with some merch goodies), or manage sponsor swag distribution (e.g., a beverage sponsor giving out free branded hats). Swag can enhance the attendee experience and serve as free advertising when people wear or use the items later. But budget wisely – swag isn’t free to the organizer, and not all swag is valued (how many random cheap tote bags can one person have?). A current trend is making swag sustainable: eco-friendly materials or useful items to avoid trinkets that end up in the trash. Also, think logistics: if you’re giving away 10,000 items, plan how and where. You may need extra volunteers at gates to hand out, or a swag “redemption” booth where people exchange a token or scan a code for their item, to avoid frenzy or multiple grabs.

tails

The loose cable ends (often heavy gauge, color-coded wiring) used to connect power distribution to a power source, especially generators or switch panels. Tails typically refer to the short cables that terminate in bare ends or lugs that you tie in to a power source – for example, connecting your distro box to a generator output. A “set of tails” might include five cables corresponding to 3 phases (hot legs), a neutral, and a ground in a three-phase power system. They’re usually camlock cables that split off from a single line or panel – effectively the last bit of cable needed to make the connection. Handling tails requires a professional electrician or power tech, because you’re literally bolting or clamping bare cable ends onto live terminals. Those ends often have lug connectors or are feeder cables stripped back. In conversation, someone might say “Do we have the tails for this distro?” meaning the appropriate connectors to go from the distro to whatever main power feed. Since they carry high current, they’re thick and not very flexible in short lengths. When planning power, ensure you have the correct tails for the generator or mains – e.g., camlock compatible ends or bare ends if tying into a venue’s disconnect panel. Safety always: double-check that power is off before connecting or disconnecting tails.

true power

The actual work-producing power consumed by equipment, measured in watts (W) or kilowatts (kW). This is the portion of power that performs useful tasks – making speakers produce sound, lights emit light, motors turn, etc. True power is distinguished from apparent power (VA) and reactive power (VAR), as discussed earlier. It’s what you see on a device’s specifications as its consumption or output. For instance, a moving head light might draw 1.0 kW of true power when all lamps and motors are running – that’s the real load on your generator that will translate to fuel burned. True power is what you’re billed for by utility companies in kilowatt-hours. When doing power calcs, you sum up the wattage of all gear to figure out how big a generator (in kW or kVA) you need. But because of reactive components, you often divide by 0.8 (assuming an 0.8 power factor) to get the apparent power needed from the genny. In practical festival terms, “true power” isn’t a phrase used day-to-day by the crew – they’ll just talk in watts or amps – but having the concept in mind helps you interpret tech specs properly. For instance, those giant LED walls could be advertised as 5 kW max consumption; that’s true power. You’d ensure your distro feeding them can supply that continuously, plus a margin, to be safe.

turnkey

Describes a solution or service that is delivered fully complete and ready to use immediately, with no additional setup required by the client. In event production, hiring a “turnkey” provider or getting a “turnkey stage” means that vendor handles everything for that piece of the puzzle – design, equipment, crew, logistics – you just figuratively turn the key to start it. For example, a sponsor activation might be contracted as a turnkey installation: the company comes, sets up the entire interactive art dome, runs it during the festival, and breaks it down, without the festival staff having to manage the details. Another example: a “turnkey audio package” could mean the sound company delivers the PA, cables, consoles, and techs to run it, completely self-sufficient. Turnkey solutions are great for filling gaps in expertise or bandwidth: if you as a festival producer don’t have a dedicated team for something (like a pyrotechnics show), you’d get a turnkey pyro display from specialists. The advantage is convenience and often reliability since the provider is the expert. The drawback can be cost. Always clarify scope: “turnkey” should mean you aren’t expected to provide anything beyond perhaps power and the space. It’s a comforting word when you’re juggling a million tasks – knowing some parts are turnkey can let you focus elsewhere.

visqueen

A brand name that’s become generic for polyethylene plastic sheeting (often heavy-duty and waterproof). Visqueen is used in construction and events as ground cover, vapor barrier, or temporary weather protection. On festival sites, you might use visqueen to cover sound equipment during an overnight rainstorm, to line the ground under a temporary dance floor (keeping moisture from seeping up), or to wrap delicate gear when spraying for dust control nearby. It’s the go-to plastic sheeting for any “we need to waterproof/cover that” scenario. Visqueen usually comes in large rolls (common widths 6ft to 20ft, and very long lengths) and can be clear or black. It’s cheap and disposable, which is handy but also an environmental consideration – use it wisely and recycle it if possible (some forms are recyclable). Crew might say “lay visqueen” when prepping a stage for a storm – meaning cover everything with plastic and tape it down. One caution: visqueen can create a sauna effect if covering things in the sun (trapping heat) and can be slippery if walked on. Also, always remove it before showtime if it’s covering anything like speaker stacks (yes, some events have accidentally left plastic on something, forgetting, leading to muffled sound or an embarrassing reveal). Use it as a shield, then pack it away.

VOG (Voice of God)

The affectionate (or sometimes exasperated) term for an unseen announcer or the announcements themselves over the PA system. At a festival, the VOG might be the disembodied voice that says, “Ladies and gentlemen, due to approaching severe weather we are pausing the show. Please calmly proceed to the nearest exit…”. Basically, whenever an important official announcement is made to the crowd, often from someone backstage or at the mix position, that’s the VOG. The term comes from theater/broadcast where a narrator or show-caller offstage addresses the audience like an omnipotent voice (hence “of God”). In production schedules, you might see “8:55pm – VOG: 5 minutes to showtime announcement.” It’s critical to have a working VOG mic at main stage and other stages, patched into the PA and any distributed audio (like delay towers). It should override other feeds in an emergency. Only trusted personnel should have access to trigger VOG announcements – nothing derails vibes like someone’s open mic accidentally going live (we’ve all heard stories of a tech swearing on comms that accidentally went to VOG – oops!). Also, plan messaging in advance for emergency VOGs: scripts help get info across clearly when adrenaline is pumping. A calm, clear VOG can truly be a lifesaver in urgent situations, guiding a crowd to safety.

voltage

The measure of electric potential difference between two points, in volts (V). If we think of electricity like water flow, voltage is the pressure pushing the water. Common standards: in North America, standard circuits are ~120V, while many other countries use ~230V for mains. Festivals use various voltages: generators might output 120/208V three-phase for powering stages, 240V single-phase for certain equipment, or even higher for specific distro systems. As a festival producer, you don’t need to be an electrical engineer, but you should know the basics: mismatching voltages can destroy equipment or be dangerous (plugging a 120V device into 230V supply will likely fry it). Transformers can step voltage up or down as needed. Also, long cable runs experience voltage drop – too small a gauge cable over a long distance and the voltage at the end might sag under load (causing dim lights or audio issues). That’s why power distribution is laid out to keep runs efficient and heavy gauge cable used. Grounding is tied to voltage too – know that a 0V reference (ground) must be maintained for safety. In simpler terms: Provide the right voltage to each area (you might have separate circuits for US and UK vendors if they bring their own gear), and maintain stable voltage by not overloading circuits or running cables too long without proper thickness. Many power distros have meters – if you see voltage dipping too low or spiking, alert the electricians. Consistent voltage supply = happy lights and sound.

volunteers

Individuals who offer their time and labor at the festival in exchange for non-monetary rewards (like free tickets, merch, or just the experience itself). Volunteers are the backbone of many events, taking on roles from ticket scanning and wristbanding, to campground patrol, eco-cleanup crews, info booth staffing, stagehands, and more. Festivals often recruit hundreds or even thousands of volunteers – for example, the massive Roskilde Festival in Denmark mobilizes roughly 30,000 volunteers annually to run the event, a model for revamping festival volunteer programs. The key to a great volunteer program is organization and motivation. Modern festivals are rethinking volunteer management post-pandemic and amid labor law changes to adapt to the new reality of volunteering: providing better training, clearer incentives (like exclusive volunteer lounges or swag), and recognizing that volunteers should be treated almost like staff for morale and accountability. Many large events partner with charities (e.g., Oxfam at Glastonbury coordinates volunteer stewards to channel volunteer efforts effectively) – the volunteers get a festival experience and the charity gets a donation, a win-win that keeps things within legal and ethical norms. From an operational perspective, you’ll need a volunteer coordinator, a system for scheduling shifts, a way to collect deposits or ensure folks actually show up, and a contingency plan (some no-shows are inevitable). But when done right, volunteers bring an unbeatable community spirit to a festival. They often become long-term ambassadors – some Glasto volunteers have returned year after year, taking on senior roles over time, ensuring compliant and effective volunteer welfare. Make them feel valued, feed them, give them clear instructions, and they can save your budget and vibe.

wands

Handheld metal detector devices used by security personnel to scan attendees for metal objects during entry searches. They’re those “stick” detectors waved around a person’s body that beep if a metal item is detected. Wands are a staple at festival gates as a less intrusive alternative to full pat-downs for every attendee. A typical process: the attendee empties pockets, security uses the wand over the body – if it beeps, they investigate further (could be a belt buckle or a phone, or could be a knife – hence the follow-up). Using wands effectively requires training: how far to keep it from the body, how to sweep it around ankle areas, and not to ignore if it keeps beeping (some guards get desensitized if it’s hitting lots of benign items). Also, calibrate them and have spare batteries – you don’t want wands dying mid-entry. Bear in mind, wands only detect metal, so other contraband (plastic flasks, drugs) won’t trigger them, which is why they’re one layer of security alongside bag checks and sharp eyes. In recent years, some large events have moved to full walk-through magnetometers (like airport style), but wands remain common at many festivals due to cost and flexibility. Tip: If you expect rain, have a plan – e.g., tents over search areas – because wands and electronics can malfunction when soaked (plus no one likes being wanded in the rain). At day’s end, wands are a straightforward tool to enhance safety, and using them properly can deter folks from even attempting to bring prohibited items in.

watts

The unit of power in the International System of Units (SI), symbol W. One watt is one joule of energy per second. In electrical terms, it’s often computed as Watts = Volts × Amps × Power Factor (for AC circuits). Watts measure the rate of energy conversion or transfer. For festival folks, thinking in watts is useful for understanding how much power something uses or outputs. A speaker might be rated at 1000 W – that’s its power handling (how much amplifier power it can take). A light fixture might consume 750 W. When you pay an electricity bill or fuel for a generator, it’s based on wattage used over time (kWh). It ties together with other terms: a 5,000 W (5 kW) fog machine on 110V draws about 45 amps (because 5000W/110V ? 45A) – you’d better put that on a dedicated circuit. High-wattage equipment means higher operating cost and more heat generated. Fun event fact: an attendee’s body radiates about 100 W of heat – so 1,000 dancing attendees = 100 kW heating the tent (no wonder it gets warm in there!). When planning, total up the wattages of stage gear to know how big a generator or feed you need; add some headroom because running anything at 100% capacity is asking for trouble. In audio, people sometimes confuse watts with volume (loudness) – more watts generally can mean louder potential, but the efficiency of speakers matters too. Still, you’ll see line array specs like “120,000 watts of sound” in promo materials. It’s a simplistic metric, but it does signify a big system. Bottom line: watts are the currency of power – spend them wisely.

white noise

A noise signal that contains equal intensity at all frequencies within the audible band (in contrast to pink noise which is equal per octave). White noise sounds like a steady, high-pitched hiss (since it has a lot of high-frequency content). In audio testing, white noise can be used similarly to pink noise, though pink is preferred for system tuning. White noise might be used to test specific things like the full frequency response or to purposely mask sounds. Another place you might encounter it: some electronic music or art installations use bursts of white noise for effect (like a snare drum in synth music is often a filtered white noise burst). In a festival production scenario, if you ever hear an unexpected harsh static blast over the PA, it could be inadvertent white noise (perhaps a failing piece of gear) – not pleasant for attendees! On the bright side, white noise machines or phone apps are sometimes used by crew in noisy environments to help sleep (the noise masks other disruptive sounds). So ironically, the same type of sound that could annoy you at FOH if blasted accidentally can be a sleep aid in the campground when you’re trying to tune out that one guy strumming guitar at 3 am. For tech completeness: white noise has equal power per frequency (e.g., each 1 Hz band has the same power), which means each octave carries more power than the one above (since octaves cover increasing Hz ranges). That’s why it sounds bright and hissy (more power in the high octaves where each individual frequency has equal weight). Enough science – basically, white noise is another test signal in the toolbox, albeit less used in live sound than pink noise.

XLR cable

A type of audio cable with a three-pin connector that carries balanced audio signals (or sometimes data like DMX for lights). The XLR is the industry standard for microphones and professional audio gear connections. It usually has a male end and a female end; the typical mic cable has a female XLR to plug into the microphone and a male XLR to plug into the mixer or stage snake. Balanced audio via XLR means the cable carries the signal in such a way that noise is canceled out – crucial for long runs on big stages or between stage and FOH. XLR interconnections are also designed to latch (so they don’t unplug easily mid-show). If someone says “run an XLR from this DI box to the snake,” grab a cable with XLR connectors. They come usually in 3-pin, but you’ll also encounter 5-pin XLR for DMX lighting control or intercom headsets. Just don’t confuse the two – plugging a 5-pin DMX cable into an audio line or vice versa can cause issues (they’re wired differently). For new producers: stock plenty of spare XLR cables in varying lengths. They will fail or get lost over time, and they’re the veins of your audio system. Good practice is to test them (with a cable tester or by ringing them out) before each festival, and have some repair kit (solder, connectors) on-site if one goes bad. Artists may even bring some specialty XLR cables (like a super long one for a wandering vocalist), but you should have the basics covered. Without XLRs, the show won’t go on – they’re that fundamental.

Quick Reference: Electrical Power Terminology

Festival production involves a lot of electrical concepts. Here’s a quick-glance table to recap some key power terms and their meaning on site:

Use this guide to refresh yourself on power basics – ensuring the right volts, amps, and watts are available keeps those stages lit and sounding great!