How Do I Become a Light Tech?

Hoe word ik lichttechnicus

When you’re watching a band play live on stage, it’s easy to forget that it’s the light tech who’s made sure that everything and everyone is clearly visible. And yes, light technicians do way more than simply flick the lights on. Pay special attention to the lighting the next time you’re at a venue and you’ll notice how the lights dynamically react to the sound. In this blog, our lighting gear expert Floris explains what it takes to become a light tech, followed by an interview with a professional in the field.

When Did You See the Light?

Bax Music gear expert Floris ended up as a light tech via a detour. He started out studying to become a sound tech, but after attending a moving head demo in class, he started dreaming of going down a different path. With his curiosity piqued, he immediately started experimenting with an Ayra moving head and a basic OSO light controller. Just like budding musicians usually have an idol, so did Floris: Jeff Maker — none other than All Time Low’s own light tech. Floris is particularly fascinated with the way that Maker uses light beams with warm colours like red and orange to boost uptempo parts, and light beams with colder colour temperatures like cyan to support more melancholic tunes.

What Do You Need to Build a Basic Lighting Rig?

Whether you take care of the lighting for a band, a DJ or a theatre performance, it’s the combination of front lighting and top lighting that always forms the foundation. Front lighting usually includes a spotlight that highlights the performer from the direction of the crowd, while top lighting is usually mounted directly above the stage where it’s used to help create the right atmosphere. While light techs generally use a wash effect for nice-and-even fanned-out light, you’re technically free to experiment and do your own thing. At big raves, it’s not unusual for the light tech to let loose just like the DJ. To make sure that the lights and the music are synchronised properly, the set is always discussed and worked out beforehand.

Start Simple

Floris’ advice for novice light techs would be to start simple. A basic light controller and an LED bar is all you need to programme all sorts of cool little light shows. Also, having some knowledge of how music works is of the essence, so don’t forget to focus on music too. Being able to tell when the chorus or the guitar solo kicks in, or when the ‘drop’ happens in EDM is pretty important. On YouTube, you can find countless examples of straightforward as well as ultra-complex light shows.

From the Bedroom to the Stage

If you’re already itching to become a light tech, then it’s never a bad idea to hit up your local music venue and ask to volunteer. Assisting a professional light tech is a great way to learn the ropes, even if all they let you do is spool out and roll up cables. In the meantime, use your spare time to programme light shows at home. Trial-and-error can get you a long way, even if you can only experience what it’s really like to work as a light tech when you’re working real gigs. That’s also where you’ll learn the importance of foggers, which are vital when it comes to making the light beams visible. At small, local festivals and events where the set-up isn’t as comprehensive, it’s mainly important that you know how your lighting console works and know what each button, knob and slider is for.

Interview With a Professional Light Tech

Experienced freelance light tech, Jimmy Koninckx is one of the creative individuals who puts artists in the spotlight — literally. Fascinated with knobs and buttons from an early age, Jimmy attended his first gig when he was a young boy. “I was sold the second that I saw the professionals working with those massive consoles, controlling an army of lights. What’s kind of funny is that I’m not only working the same job now, but I’m working with the same band I watched play live way back then. I still learn new things every day which, as a light technician, is crucial if you want to do a good job. Keep learning and always critically assess your own performance,” Jimmy recommends.

Limitations

Like musicians and mixing engineers, light techs can also hit a wall when it comes to creative freedom, and financial means often play a big role here. Jimmy: “Most venues can’t afford to invest in the latest tech every time a new bit of kit is released, which is a bummer. Every time I walk into a place and see garden-variety halogen spotlights on the walls, I just feel bad. They’re so plain-looking that I prefer not to use them. Replacing all of those little halogen bulbs with LEDs would not only bring down the energy bill, but open up a ton of customisation options since LED bulbs allow you to tweak the colour of the light. Admittedly, if you also want the option to control each LED individually, you’d also have to replace all of the wiring, and that really adds up. I’d personally appreciate all of those extra possibilities. They give you the option to create fully detailed, fully personalised lighting.

Get Creative

According to Jimmy, the aforementioned financial limitations can hinder personal growth as a lighting tech. “My advice for budding light techs? Deliberately impose limitations on yourself. It’s easy to think you’re a great light tech when you get to work with the best and most extensive gear available, but it’s way more impressive when you’re able to deliver solid results when you have to make do with what you’ve got. Creative improvisation is absolutely essential in this line of work.” When he’s asked if that means that light techs need a mysterious, innate ability to combine electronics and music, Jimmy starts laughing and answers reassuringly: “Not really. But what you do need is a feel for music. It’s also all about being patient and seeing what reputable light techs have cooked up before you. I’ve spent countless hours watching big live shows while working on projects and programming my own light shows at the same time. It can give you fresh ideas and there are always elements that you can copy or turn into something new. The truss towers that I built where I work are based on someone else’s concept that I simply improved on. Good artists copy, great artists steal, right?”

Think Logically

“As a light tech, it’s vital that you’re on the same wavelength as the musicians on stage,” Jimmy continues. If the band has certain wishes, then it’s up to you to make sure that all of the tech is properly set up and dialled in accordingly. When the band leaves the tech side of things entirely up to you, then it’s essential that you’re able to support their music and artistic intentions as well as possible. Needless to say, that takes experience. After so many years and projects, just listening to the way that the drummer counts off the band is enough for me to know how to steer the lights. The fact that I’m a musician myself no doubt helps a lot here, but it’s also a matter of applying logic. I mean, you don’t want to fire up a bunch of strobes during a more intimate, acoustic concert.”
Not every light tech is equally suited for every kind of performance. “You can definitely make a distinction,” says Jimmy. “It’s all about having a feeling for the band and the kind of music they make. That said, it’s not uncommon to see light techs that have a lot of experience working in the club and rave circuit make a complete mess of things when they’re asked to do the lighting for a live band, and vice versa. No matter if you’re the most professional light tech out there, if the equipment and the infrastructure aren’t cut out for the job, it’s going to be difficult to get it right. That’s precisely why it’s so important that you always reach out to a venue ahead of the show. You don’t want there to be any nasty surprises. I also always sketch up my planned set-up in 3D. This way, I can easily get to know the limitations of the room I’ll be working in, and how I can guarantee a made-to-measure light show. It also allows me to show my client what they can expect, what it’ll all look like, and what I need to tweak to fulfill every last request.” 3D sketches and custom-built truss towers aside, Jimmy likes to stick to simple elements when he’s programming light shows. “You don’t always need to go big. Ultimately, it’s all just a bunch of cables with a plug at one end and a bulb at the other. If you set up your gear creatively and intelligently, you can easily create mind-blowing light effects on a small budget.”

Gloves and Sunglasses

While Jimmy’s beginner tips seem obvious, in practice, they’re pragmatic and practical. “You always want to keep a pair of gloves on you. I can’t tell you how many times I’ve burned my hands trying to quickly reposition a spotlight. If they’re not equipped with an LED, they get incredibly hot, incredibly fast. Every light tech’s tool bag should also include sunglasses because when you’re programming lights, you often spend hours looking directly at the light, which can take a toll on your eyes. The same applies when you’re aiming spotlights. Sunglasses can save you serious headaches.”