A little history about HAS Productions: I started this company about 10 years ago as a "small club/anklebiter"-size house. As time progressed, I realized what a gear whore I was! I wanted bigger, better toys, and with that, you need bigger, better gigs to pay for them. At this point, this seems to be a FULL-TIME TREND! Every time you get that next toy, you need another.
But with all of that, in the beginning, the issue of a guest engineer never came up, or it was never an issue. Over the last six to eight years, I have found that we get to mix less and less. We also seem to meet an interesting mix of engineers; some make you wonder how they got the job, with others, you wonder why they are not doing bigger and better things.
I have received several riders over the years where the engineer is insisting on all the cool gear you would expect to see Clair Bros. send out for Sir Elton John. I personally don't have any issues filling the riders if it fits in the venue budget. This has created some amusing situations, considering the level we tend to cater to. I once had a guy insist on an XL-4 and Lexicon 960. Toys I didn't have, but sub-rented. At the time, neither my staff nor I had a lot of–if any–experience with either piece. We all looked forward to watching and learning for the "great one." Well, he didn't know how to use them either! In fact, as I spent time with the guy, I found out he based his rider on what he read in trade magazines! He had no idea what to do with this stuff, but put it on his rider because he thought it made him seem more important. He also confessed that he had never received the items before.
This example brings to light a whole other line of issues. After this happens a few times, you find yourself jaded and wanting to tell the guys on the phone as you advance, "No, you're out with an act touring small venues. You can't have this cool piece, or that one." Suddenly, the qualifications of the engineer have no relevance. Now even the ones who are qualified are pissed at you, and you're off on the wrong foot. It no longer matters if you nail the gig; they will pick you apart–as you probably deserve.
My philosophy at this point, right or wrong, is to bring the guy what he wants. If he needs some help, offer it; if he declines, let him crash and burn. Of course, that brings up another issue, and another story. The issue? The audience–you know, the REAL reason we are all here–thought the show sucked because of the sound! Now you're forced to reassure the buyers about your company. And of course, the guest engineer will tell anyone who will listen that the P.A. had issues.
The story: A few years ago, I was working a venue for the first time. They had booked an up and coming punk act with a hit on the radio. We loaded in the venue, set up and found out that the act's bus had broken down, so they would not be at the venue until after doors. We set up the local opener with no engineer and sound-checked them. The headliner finally showed, set up and line-checked. The engineer ran the system hard and was clipping several inputs. Nice distortion filled the room, sprinkled with awesome 125 and 4K feedback. I approached the engineer to offer some help, but she screamed at me to open the limiters or she would kick the crap out of my console! Of course, she was done, off to the tour bus and one of my guys takes over. The venue manager/promoter came to me after the show to tell me he was planning on not paying me because of how bad the P.A. sounded for the headliner. He was also confused about how nice the opener sounded, and the last couple songs of the headliner seemed OK as well. After a brief explanation, we were paid.
It's not always crap talking; sometimes the stars, the moon and the earth line up, and you actually get the guy who makes you wonder, "Why isn't this guy doing bigger and better things"? We have had the pleasure of working some great engineers–some that require cool toys, some that don't. For me, I like setting up a rig for a great band and engineer, enjoying the show and enjoying the audience having a good time. I know that sounds "cheeky," but it's true.
The good news? Every day, we get to wake up and work with some of the best entertainers and engineers in the biz. So for the occasion we get substandard people, suck it up–it beats digging a ditch. Funny, in this biz, usually the "substandard" comment applies to the equipment brought to the gig, uh, well, by us!
