Dear Anklebiters,
I was recently hired to install a sound system in a local school. I have done install work over the last few years but always as a hired sub. I would like to incorporate this kind of work into my sound company, but I really don't know how to go about it. Can you give me some suggestions?
Thanks,
Richard Hughes, Los Angeles, CA
Jamie: Well, Richard, I have a lot of suggestions for you. I also get solicited on occasion to do sound system installs. And if the money is good, I'll do it. However, I got my own first installation contract at a local club. The club had a system, but I was providing sound for an R&B band and they wanted better sound than the club could offer. (In fact, it was Rev. Bill and the Soul Believers, the same band that has hosted the Industry Jam at Pro Production for the past three years.) After the first set, the club owner came over to me and commented on how good the sound was. Without thinking much, I told him his system could sound as good or better. I guess that was my sales pitch, because the following day I met with the owner to discuss redoing his sound system. I didn't give him a bid for an entire makeover, but I did break it down into what I thought were necessary fixes. Over the next few months I went through pretty much the whole system. What I realized during this process was that I could market myself as an installation expert, and my potential clients were the same people who had hired me as a live sound guy.
The fact of the matter is any time you set up a sound system, you are doing an install–just for a shorter period of time. If your system sounds good or great, you could be on your way to a contract for an installation. Through the simple process of doing my job well, I have booked installations at churches, schools and clubs.
This is obviously a very simplified version of how some of these things have played out. But I am assuming because you already do installations that you have the necessary skills to go out on your own. Let me put this in perspective for you, Richard. During 2004, I bid on seven sound installation gigs. I got six of them and one included five separate systems in a church. So as you can see, sound installations are not exactly my bread and butter, but I have installed some great systems and made great money. And the best thing is install work is generally day work and live sound is generally night work. So it works out very nicely. All you have to do now is change your business cards to included installations. Good luck and let us know how things go.
Tim: One of the most important factors to take into consideration when targeting the "permanent installation market" is time. It's a different kind of work and like Jamie mentioned, often you're able to do the install on your off hours (daytime). Also, Jamie mentioned that anytime you set up a sound system, you are doing an install. There are varied levels of installation. At a live gig, the equipment installation is
considered temporary and will be broken down hours later. Corporate gigs require more hiding cables, or gaffing down cables, using table skirts and curtains, and using or creating a façade to hide your audio and video equipment. I'm currently working on a traveling AV gig with a team of pros: Jesse Carmona (voice of God, audio treatments), Joseph Guzman (video/PowerPoint specialist) and Dan Maza (Master AV supervisor). I'm learning a great deal about our trade from this team.
A permanent install requires a great deal more. Hiding cables and wires in the stage, walls and ceilings could include drilling holes, getting into the walls, climbing through ceilings, basements, under stages, on top of roofs, etc. to create the illusion that the audio/video/media equipment is either invisible or part of the scenery.
When doing permanent installs, you're going to want adequate EQs and/or a quality mixer, proper electrical designated circuits for amps, mixing booth, lighting dimmers, controller and media. Amplifiers may be set up to be turned on daily, or left on permanently. This will require proper ventilation for the amplifiers. All of these tasks are labor intensive.
When doing a permanent install, you have to think in terms of longevity. So things like clear labeling can make all the difference when trying to make the system user-friendly and easy to understand. For example, labeling the cables at both ends clearly so that they can be read 15 years from now is important because equipment will be swapped out, and if the cabling is done correctly and clearly, you can avoid unnecessary rewiring. However, I do suggest rewiring when given the opportunity, because wiring can be a common problem.
It's important to check the cabling–rats, painters or thieves could have damaged the cables through time for numerous reasons. You can even use the old cabling as a fish tape. I'm always impressed when I show up at a venue to do sound or troubleshoot a problem and everything is well routed and clearly labeled. I'm able to use the system efficiently and it saves me a great deal of time.
I encourage using brand new equipment and new wiring on installs. Your proposal/ bid should include different options: a top-of-the-line package, a mid-priced package and a budget-conscious package. You can also salvage existing equipment.
It's impressive when a contractor 15 or 20 years prior installed a system correctly, the area codes have changed three or four times, the company's stamp or service tag still has its name on it, and your job was made easier due to their care and professionalism. It's an indication that they have done a good job, and their company's reputation is still intact because the work was done correctly.
