And keeping your standards high
Sound Sanctuary is a unique part of FOH, but it shares a common thread with every column, article and review in this book: We all like working in this business of sound (at least I hope we all do). I have made this rather obvious statement because I will be writing about a subject this month that is at the center of every live sound and install company — the process of bidding a job. Particularly, bidding an installation job whether in a house of worship or any other place, for that matter. (I am not going to talk about live sound bids, even though I do bid shows for various worship houses. Because of what I am currently working on, I will stick to install bids.)
Recently, I was not only asked to bid an install job at a new community center, but I was asked to create a bid format that could be sent out to various sound contractors in order to receive competing bids on an even playing field. I usually tell you all where I am working, but this project is still in play, so I will just say that I am working in my home state of California. Maybe I can get FOH to publish my bid once it has been submitted.
Nuts and Bolts
Anyway, designing a sound system is the easiest part of an installation proposal for me. In this latest project where I am creating a bid platform, I have been asked to give specific manufacturers. For example, regarding amplifier manufacturers, I asked for QSC, Crown, Yamaha or better. These amp builders offer dozens of models, but at least we have some sort of bar to work from. I just don’t want cheesy amps powering my JBL, EV, EAW or better speakers. Also, because I believe this will create a better bidding environment, I have attempted to keep all the component choices fairly broad. In the past, I have bid on jobs where I am told exactly what manufacturers and models will be used. I think this limits the bidding process to “who can get the best deal,” not “who can do the best job.” However, there is no doubt that getting good prices on equipment is the cornerstone of any bid. So, how do you do that consistently?
Just about any of us can become a dealer or distributor of a particular manufacturer. If you buy enough products during a specific period, you can get dealer cost. That is a simplified explanation, but it’s basically true. The only problem is, what if you need components from multiple manufacturers, or what if you don’t have enough business to support the dealer product purchase requirements? Well, it goes without saying that the Internet is the shopping playground of the world. You can basically bid out an entire job using prices quoted to you online. You do need to take into consideration shipping costs, possible taxes and whether you are buying A, B, C or reconditioned stock. I also have accounts at a couple of the local electronics stores. Inevitably, you will need extra cable and cable ends (speaker or microphone), audio wall plates, racks, solder, etc. Having an open account is a lifesaver, and where I shop I get a 15% break on the store’s regular prices. Also getting a resale number is always helpful.
Labor Relations
The next aspect of the bid is the labor cost. I have a couple of guidelines I use with labor. One is to add 10% to whatever I determine the bid to be because you never know when you will run into some obstacle that will cost time and money. Another is that I consistently pay my guys more than the going rate out here in Los Angeles. Some of my crew have been with me for better than five years, and I pay more because I expect more. My install standards are very high, and since most of my work is referral based, I get good referrals. Looking at a crooked wall speaker or mounting bracket is to me like looking out a crooked window. I simply can’t have my name on work that is less than excellent.
Often, I will install flat-screen monitors within a particular sound job. Have you ever seen a tube hanging on a wall that is not level? I have, and it will make you throw up. I am not a really anal guy, but I want my clients to be impressed with every installation I do. My point here is: pay your labor well, and let them know you expect high-quality work from them. If they do a great job, give them a bonus. If they do average work, fire them. Believe me, a bad install will haunt you for years, whereas a great install will just bring you more and more work. It’s really the same with live shows, too. Always do your best.
Well folks, right here you get a good idea of my overall work ethic. When you think about it, the Powers that Be at FOH wouldn’t have me writing a column on worship sound if I were a liar and a cheat. I’ve got a lot of bad habits, but work ethic isn’t one of them.
OK. Hopefully you have some useful ideas you can draw on for your next bid. I certainly do not consider myself an expert in this very important aspect of the biz, but I’m still getting referral work, so something is working. When I toiled in the construction trade with my dad, we had some programs (analog, then computer) that would take one through the bidding process for home building. There may be programs out there for sound installers, and I just might be totally in the dark regarding this bidding subject. If any of you have additional insights, I would like to hear from you. I really mean that. A few months back, a guy named Kevin Barham from Dallas, Texas, wrote to me with some really great feedback on personal monitors. His views on the subject were very intelligent and thought provoking. It certainly gave me some insight.
Contact Jamie at jrio@fohonline.com.
