Audio gear is fascinating and if you are a reader of this magazine, there’s a good chance that you are enthralled with the technology. If you happen to be a long-time member of the “mesmerized by audio gear” club, at one time, you might have thought “how much better can it get?” Inevitably it got better, and again you asked “how much better can it get?” Once again you were pleasantly surprised by a leap in technology that made it better. After a while the query of “how much better can it get” doesn’t even enter your mind as you accept the fact that it is going to get better; at which point you just keep a constant vigil for the next new piece of audio gear that will take your mix to the next level.
Buy or Wait?
Procuring audio gear is a capricious business and what seems amazing one day pales in comparison once a new piece hits the market. Maybe we are the whimsical ones and once we get used to the newest and greatest, we think we can do better by updating our inventory to something newer and even greater. Of course, some pieces stand the test of time, such as the Yamaha CL5. I was impressed when it arrived on the market, being the first console to use the Dante protocol, but I was dazzled by other consoles and thought I would wait to buy one only because I was certain a newer and better model was soon to be released. I was wrong and 12 years later, I still haven’t gotten one, as I keep thinking that as soon as I do purchase a CL5, Yamaha will release the new and improved model. As of now, the CL5 is a mainstay in the hands of many.
Another iconic item is the Shure SM58. Introduced in 1966, this microphone has been a must-have for anyone doing live audio. There might be newer brands and newer looks, but as a wired handheld, it’s a mainstay in anyone’s microphone trunk. Some feel the Neumann U47 with a Telefunken V72 tube preamp is the end-all in studio mic chains, but while it does sound great, there are other mics for a fraction of the price that can get the job done. Of course, getting the job done is not what most audiophiles tell themselves as they chase the dragon in search of the ultimate piece of equipment. Improved sonics and better functionality are the two things most of us are seeking as we search for the Holy Grail of audio gear.
For example; a new plug-in, new preamp in or new microphone might improve the sound of one’s mix and more I/O; and self-powered speakers and networking might make one’s job a little bit easier — but for the most part, while gear is continuously being upgraded, the basics remain the same and, no matter what equipment one has, it’s only as good as the people setting it up and running it.
Hiring and Juggling
Apologies for being cliché, but good help is hard to find and once found, good help is hard to keep. A1 engineers want to mix — they don’t particularly want to work in the shop or be system techs — they want to mix. The best place for an A1 is in a venue or on the road with a band. Certain TV shows have music and a need for A1 engineers, but those gigs are far and in-between, especially if one is not in a big market such as Los Angeles or New York. I have been hiring and juggling labor for a good many years, and before that, I was the guy being hired and juggled. Audio engineering is a gig-driven job, so when the better gig comes along it makes sense to take it. This nomadic work ethic makes it difficult when trying to hold on to a staff, but it’s the nature of the business, therefore one has to prepare for the inevitable.
My strategy for making it work is to have one A1 who does most of the gigs, large or small. This guarantees a semblance of normality and financial security and hopefully keeps them around. I do keep a roster of available A1 techs, but as I cannot guarantee steady work, I call them when needed. This can be problematic since they are not sitting around waiting for my call and more often than not, they are already working. Again, I try to guarantee certain people enough work to keep them around, but there’s really no way to assure someone work if none is coming in. Regarding the shop persons; this is a guaranteed position for a 40-hour week. Gear is always going out and returning and these are the people that need to keep everything working, updated and inventoried. It’s nice to keep three people on staff for this job, because there are always little gigs that need to be set up or managed, which can take one or two of them away from the shop at any given time. Also, on the bigger gigs, these workers get a chance to A2 and learn how to do shows.
Getting Your Foot in the Door
Most of the shop people are coming in as entry-level technicians. Some know more than others, but hopefully all have a desire to learn and become qualified engineers. Again, filling this position is challenging. Many of these applicants are coming from an audio school and have spent a few years learning how to produce beats in a recording situation which, as everyone knows, doesn’t apply to the live audio field. The ones that do stick around get a good live audio education and graduate from the shop to a gigging position. Many of these same people have gone on to mix live television or live concerts and events and have made a good career for themselves in audio.
Of course, this leaves me scrambling to find the next batch of up-and-coming engineers while maintaining a solid working crew. This is especially true during our slower seasons when everyone is clamoring for work and there is a diaspora of engineers going off to seek employment elsewhere, leaving me to suss out my labor situation when the busy season begins.
Contact Baker Lee at blee@fohonline.com
