Letting Your Crew Stand on Their Own

Hi Guys,

Sonny Alvarez, Miami, FL

Jamie: Well, Sonny, your trepidations are not that unusual. However, if you want your business to grow, you will have to find a crew you can trust with every aspect of your shows. This really isn't that difficult a step. You already work with guys (I'm guessing one or two) who you rely on to perform certain task. For example: you've got somebody who you can trust to load and unload your gear without damaging it. The next logical step is to expand that job description from just unloading the gear to setting it up. Then on to setting up mics, running a snake, plugging in outboard gear, getting a mix, doing a sound check, etc. If you are a good teacher, you will end up with a confident and proficient team. Also, during this process you will find out which one of your boys has a talent for Front of House mixing. This is the tech who will eventually take over your position. Hopefully he will be as good or better than you are.

Now that we have a direction for the technical aspects of your shows, we can think about the ever-so-important communication techniques that your guys must incorporate into every show. Working with performers is a learned skill. As soundmen, we are not slaves and we are not gods, but somewhere in between. Once again, your crew has to communicate as well or better with the artist than you do. So, tell them your tricks or learn some.

And of course, working with producers, bookers, managers, etc. is such a talent in itself that I could write a book on the subject. I'm sure you have you own personal way of dealing with all those different personalities. Just make sure your team knows how you do it.

When you feel like you've got the right guys with the right amount of training to pull off one of your sound gigs without trashing your name, then it's time for you to book an event and just show up as the audience. Just sit back, watch and listen to how well your team works. If you don't want to actually go to one of your own shows, you can still give quite a bit of input via a cell phone. I have successfully run shows from my patio while enjoying a cocktail and a barbeque. Anyway, you decide how you want to do it, Sonny, and good luck.

Tim: This is a very dodgy subject. "Are there or are there not flying saucers?"–or can someone else fill in as the captain?

Jamie makes a good point about your crew working their way up from running cables to doing a sound check. Put your guys on smaller gigs, nightclubs or audio gigs that only require limited mixing: such as one presenter onstage, one or two mics and a playback system. Gigs that aren't too high-pressure, but are good practice ground for green techs. These gigs are great for learning about wireless systems and system management and understanding the chain of flow of audio equipment. Also, teach them professional etiquette.

It is difficult relying on someone else, a tech or crew member, to run the really important jobs without your being there, when you know your company's reputation is at stake. But eventually, as your business grows, it won't always be possible to wear all hats at all times. To be successful, one must have the ability to delegate job responsibilities to people you can rely on. It's also important to make sure your crew is well prepared, well equipped, and has all the tools they need for a successful gig. Your ability to train crew members, delegate responsibilities, then simply act in a supervisory role instead of the "worker" role says a lot about your ability to succeed in this business. It will be much easier to let go of these jobs to your crew if you've taken good care of your staff. Set your crew up for success and prepare them for the things that can go wrong, and show them how to handle various situations. This is a time-consuming process, but well worth it. Pay them fairly and in a timely fashion. Include them in the profits or create incentives so they don't walk or start their own sound companies.

Some of the most successful businesses I know have an employee who is totally capable of running his or her own business, but stayed at the company because he was included in profits or something similar. Our friend Robert at AVB has such a relationship with his partners and crew. Everyone is treated fairly and is included when making creative and logistical decisions.

Good communication is also essential for your crew. Cell phones or laptops are great tools for keeping you connected with your crew when you're at different locations. You can use the Internet to pull up manuals or equipment specs for troubleshooting on the job site or cell phones to call an expert. I've been able to tackle problems just by asking for help. I always encourage my workers to ask if they don't understand or need to troubleshoot something–it's okay to ask.

Social skills are another area. I find some sound techs to be somewhat unsociable and quiet. My buddy Woody Nuss refers to this symptom as "club rot: the funk that gets all over your cables eventually gets on you and into your brain and will make you want to climb a clock tower." You don't have to like the people you work with, but try to be polite, accessible and willing to help, and try to present yourself as if you're on their team, willing to do what you can to make the client feel comfortable and feel they can come to you with their needs and concerns. A successful event involves everyone working together.

Some helpful resources for new employees are trade schools, colleges and recording arts workshops. Trade schools are always trying to provide job placement for their students. There are lots of people out there passionate about this business just looking for an opportunity to gain some experience.

Need advice? Contact the Anklebiters at anklebiters@fohonline.com.