But here’s the truth most artists learn the hard way: if your production doesn’t hold up, the magic falls flat.

Or as Bruce Springsteen once put it: “People don’t come to see the lights or the PA system, but if either of those things fails, it’s the only thing they’ll remember.”

The Minimum Standards (No Exceptions)

Whether you’re a solo act, duo, or full band, production is not negotiable. It’s the skeleton holding up your artistry. Without it, your set sounds like a fart in a jar—flat, tinny, and forgettable.

• Solo Artist: 2000 watts per side, 2 Par Cans. Stick System or two speakers and a sub.

• Duo: 2000 watts per side, 4 Par Cans. Stick System or two speakers and a sub.

• Band (up to 300 cap room): 4000 watts per side, 8 Par Cans, two subs, two top boxes.

Why these numbers? Because live music is about feeling. If the audience can’t feel the bass in their chest, can’t see you lit in a way that frames the moment, you’ve missed the opportunity to truly connect.

Why Production Is Not Optional

1. Enhances the Audience Experience
A well-produced show creates immersion. Seamless sound, balanced monitoring, and smart lighting make the audience feel part of something larger. According to a 2023 Eventbrite study, 67% of live music attendees ranked sound and lighting quality as the top factor influencing whether they would return to a venue—above bar prices or ticket costs.

2. Elevates the Performance
The right production takes you from “good” to unforgettable. As Bono once said: “U2 is only U2 because of the sound and the lights. It’s the staging that turns songs into events.” The right mix highlights nuance, power, and energy that gets lost without the proper gear.

3. Ensures Professionalism
Walking into a venue with sloppy sound checks, dodgy speakers, or no lighting tells your audience you didn’t care enough to show up properly. Professionalism in production is respect—for the venue, for the audience, and for your own brand.

4. Makes the Show Memorable
Technical excellence + artistry = memory. That’s the equation. A polished production leaves your crowd buzzing long after the encore, talking not just about what you played but how it felt.

10 Ways to Nail Production (Every Time)

1. Define clear objectives – What kind of experience are you building?

2. Thorough planning – No gig is “just a gig.” Plan it like an event.

3. Select the right team – Skilled operators matter.

4. Communicate clearly – Keep everyone in the loop, from sound techs to stage crew.

5. Tech rehearsals – Problems solved before doors open.

6. Contingency plans – Because cables fail and weather changes.

7. Engage your audience – Production supports the energy, not just the sound.

8. Hire professionals when needed – Good production pays for itself.

9. Prioritise safety – Rigging, power loads, and safe staging save lives.

10. Evaluate after the show – Debrief, learn, refine.

The Big Picture

Production is not an accessory—it’s the foundation of a viable live music career. Without it, your artistry risks being dismissed as amateur, no matter how good the songs are. With it, you’re not just performing—you’re creating moments people carry with them for life.

So before you step on stage, ask yourself: will they feel it?

Because if they don’t feel it, they won’t remember it. And in this business, memory is everything.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

I believe that guitarists are romantics of the highest order. They don’t fall in love with people so much as they fall in love with mahogany, rosewood, maple tops, and that unnameable shimmer that only this guitar produces — until the next one. And its a beautiful thing.

Enter G.A.S. — Guitar Acquisition Syndrome.
It’s not a joke, it’s not a meme, and it’s definitely not just “retail therapy.” It’s biology, psychology, and straight-up romance all rolled into one.

You’ll know it’s hit when:

• You’ve spent three nights glued to forums, oscillating between this is the one and maybe that other one will complete me.

• You’re confidently carrying completely contradictory opinions in your head about tonewoods and pickup configurations.

• You’re eating baked beans straight from the tin because you dropped $4,000 on a guitar you swear was an investment.

• You’re negotiating with your accountant like you’re haggling in a Marrakesh bazaar over $250 to set up your music business properly — but you just bought your fourth Telecaster.

Guitarists, we see you. We honour you. You buy instruments the way poets buy notebooks: because each one feels like the keeper of the next masterpiece. And while your accountant may roll their eyes, your devotion is pure.

The Seven Stages of GAS

1. The Spark: A late-night scroll. A video demo. A whisper of “limited edition.”

2. The Justification: “This one will finally give me that tone.”

3. The Chase: Reviews, YouTube rabbit holes, forum deep dives.

4. The Commitment: Card swiped. Heart racing. Sweaty palms.

5. The Honeymoon: Everything’s perfect. You are finally complete.

6. The Drift: Six months in and… maybe the neck feels heavier? Maybe the finish is dull?

7. The Relapse: There’s a new shop in town. You’ll just look.

Why GAS Happens

• Boredom: Your old guitar isn’t inspiring a new song.

• The High: Buying feels better than practising.

• The Myth: New gear = better playing (spoiler: it doesn’t).

• The Quest: Tone is a dragon you’ll never fully slay.

Coping Without Quitting

• Practice the art of enough: The guitar you have is enough. Until it isn’t. But start there.

• Budget both money and floor space: Your partner won’t thank you for the pedalboard trip hazard in the hallway.

• Get creative with old gear: A new tuning or pedal chain can feel like a new guitar.

• Talk it out: Forums are cheaper than therapy — and funnier.

Because here’s the truth: Guitar Acquisition Syndrome is not a disease to be cured. It’s a devotion to craft, an honouring of sound, and yes — sometimes a reckless way to torch your savings. But it’s also what keeps the music alive.

So, dear guitarists: buy the guitar. Love the guitar. Then play the hell out of it. And maybe — just maybe — let your accountant set up your business so you can keep buying guitars without eating baked beans forever.

Written by Nichola Burton. Designer for A Little Pitchy. Author of Musoverse. (And a million years ago Co Founder of Pushworth.) I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation. Copyright 2025

If your guitar won’t stay in tune, your cables are crackling, your mixer is held together with tape and hope—no one cares how “passionate” you are.

Your job is to deliver a good experience for the audience and the venue.

Crap sound = crap experience. And no one will pay you top dollar for it twice.

And the numbers back it up. The UK Music By Numbers 2023 report found venue owners list sound quality as a top-three factor when booking live acts—because it keeps customers happy and coming back.

Some of you love buying shiny toys. I’m mean, it’s fun :-)

Pedals you don’t know how to use.
Top-shelf mics with no EQ skills.
Vintage amps that weigh 100kg but still sound like mud because you haven’t maintained them.

Stop.

Buying better gear isn’t about ego.

It’s about solving problems in your show.

Jack White nails it: “It’s not about having the best gear. It’s about knowing how to use what you have.” (Rolling Stone, 2012) Don’t bankrupt yourself on fancy pedals if your cables crackle. Get reliable first.

Let’s identify your critical gear - your MUST HAVES:

✅ What are the core pieces you rely on every gig?
✅ Where does your sound actually fall apart?
✅ What do venues complain about?
✅ What slows you down at setup?

Prioritise these.

Examples:

• Reliable guitar/bass/keys that holds tune.

• Decent DI box or preamp.

• Clean, working leads.

• A vocal mic that suits your voice.

• Stable, roadworthy stands.

It doesn’t have to be the most expensive.

It has to work.

Every. Single. Time.

Eventbrite’s Art of the Experience 2023 says it bluntly: 78% of attendees rank poor sound quality as their #1 turn-off, ahead of price or crowding.

Professional doesn’t mean “brand new from the showroom.”

✅ Check Facebook Marketplace, Gumtree, Cashies.
✅ Watch for stores that service used gear.
✅ Ask around—musos are always upgrading and selling off.

✅ Test thoroughly before buying.

If you’re canny, you can get very high-end gear at half price.

A $300 pedal that breaks mid-set? Worthless.

A $30 cable that always works? Priceless.

✅ Don’t be seduced by marketing hype.
✅ Read reviews from actual gigging musicians.
✅ Focus on durability, not gimmicks.
✅ Avoid “jack of all trades” units that do everything badly.

You’re not here to show off your pedalboard. You’re here to sound good.

The Live DMA 2023 European study is even clearer: 65% of venue managers say consistent sound quality is essential to justify entertainment budgets. Rising costs mean they’ll pay—but only for acts that deliver.

So many artists complain they can’t afford better gear, but never maintain what they own.

✅ Change strings regularly.
✅ Clean your fretboard.
✅ Check all solder joints.
✅ Test cables before gigs.
✅ Carry spares (leads, batteries, strings).

Treat your gear like the tools of your trade—because that’s what they are.

Bonnie Raitt doesn’t mince words: “If you don’t respect your instrument, you’re disrespecting the song.” (Guitar Player) Maintaining your gear is part of your artistry. It’s how you honour the audience.

You don’t need to buy everything at once just make smart upgrades over time.

✅ Make a list of priority upgrades.
✅ Set realistic budget targets.
✅ Replace the weakest link first.
✅ Reinvest a % of your gig money into gear.

Think long-term. A small, regular investment now = professional reliability later.

Brian Eno reminds us: “Limitations are often what make you creative. But you need reliability first.” (1996) Buy smart. Prioritise reliability over flash.

Your gear is the promise you make when you deliver your show.

✅ “I will sound good.”
✅ “I will be reliable.”
✅ “I will deliver a professional experience.”

When you break that promise? You don’t just lose the opportunity. You damage your brand.

You want to be taken seriously? Take your tools seriously. Don’t bankrupt yourself chasing the latest trend. But don’t insult your own talent by refusing to invest in what makes it shine.

Your show deserves better than second-hand excuses. Give it the gear to match.

✅ Sources:

• UK Music By Numbers Report

• Live DMA Report

• Eventbrite – Art of the Experience

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025