Being an audio provider requires that one read the band rider to ensure that the necessary equipment is present for the show. Another part of the audio provider's job is to be in contact with the venue in regard to power requirements, load-in and load-out access, and schedule. The audio company must then transport the system, set it up, tune it, ring it out and then, as the system tech, make sure that the comps and gates are properly inserted, effects are returned correctly, all speakers are in phase, there are no ground loops and that every piece of equipment is operating at its optimum capacity. Once this is achieved, the audio provider can then sit back and relax as the visiting engineer takes over and has all the fun of mixing the show. Unfortunately, not all audio engineers are created equal, and in many cases the system tech must keep a watchful eye on the engineer, as well as on the system itself. As the house soundman of a venue or as a system tech for an audio company, this babysitting operation is a two-tiered job. On one hand, the job requires that the system is looked after to protect it from any operational damage, and on the other hand, the duty of the house soundman/system tech is to ensure that the show sounds great for the audience. For the most part, at a certain level, the majority of audio engineers are competent and respectful, and though one may not agree with a particular sound or mix, it is evident that the engineer is versed in gain structure and is posing no immediate threat to the system. If by chance there should be some noticeable problem with the mix, the professional engineer is usually gracious enough to accept a helpful suggestion and does what is required to ameliorate the situation.
Regrettably, there are some audio engineers who do not belong in their venerable positions, but due to some irrational reason the sonic fate of the band has been placed under the influence of their guiding hands. These same engineers, because of pride, ignorance or some other deadly sin, refuse to admit that anything is wrong with the mix, even as flames are shooting from the back of the console and horrible fart-like noises are emanating from the speakers.
It is the same unholy spirit guiding these demon engineers that makes it impossible to offer any friendly proposals in regard to correcting the error, as each suggestion is met with a brick wall response.
As the system provider, it is tempting to just throw up one's hands and walk away, leaving the engineer to crash and burn, but this response, while understandable, is not practical, as it leaves the audio provider in an extremely vulnerable position. One part of the job is a responsibility to protect the equipment from being damaged, which should be fairly easy if all the proper precautions are taken ahead of time. The other part of the job is the responsibility of providing quality sound, and if the audio portion of a show is below par, it is usually the audio provider that gets the blame, despite the fact that it might have been operator error on the part of the visiting engineer. A bad show is a disaster for everyone involved, and since nobody likes taking the blame, it falls on the system techs to protect themselves as well as the company for whom they work.
I know one engineer who, after repeatedly telling the visiting engineer that he was posing a threat to the speakers by distorting certain channels and tired of getting the cold shoulder, and shut down the entire system in the middle of the show. This of course did not sit well with the fairly prestigious act, the venue or the few thousand people in attendance. After a few frantic calls to the head of the audio company, the system was restored, but it was the last show the engineer did for the audio company and the company had to do quite a bit of apologizing to both the venue and the act so that they would not lose future accounts.
Another time, I had hired an engineer to be the tech at a venue that was hosting a huge rap artist. The artist's engineer was notorious for his horrible gain structure, but I always got along with him and managed to work with him. Apparently the engineer I hired didn't have the same luck or tactful finesse, and after making a few suggestions, the artist's engineer punched him out.
Once, the venue for which I worked hosted a huge star whose engineer had set up such a horrible gain structure that the system howled all night. I tried to reason with the visiting engineer, but to no avail. I even tried to persuade him to let me reset the gain, but he wouldn't go for it. Finally I walked away and locked myself in the production room until the end of the show. The next day the New York Times review said the show was pretty good, but that the sound was horrible. Needless to say it was the venue and I who looked bad, not the band or the visiting engineer.
Being a system tech at a venue or for an audio company often requires diplomacy and good people skills that many technicians do not possess or care to acquire. The relationship between artist, engineer, venue, promoter and sound company is like an intricately choreographed dance performed by huge egos with a lot of money at stake. Disrupting the delicate balance between these parties can lead to a chaotic evening or more, to say the least; therefore I will suggest a few strategies that have worked for me over the years when dealing with problematic engineers who threaten to upset this fragile stability.
If an engineer is distorting a channel or more on the console, do not just tell him to turn down the gain. Offer to get the level he wants from somewhere else, e.g. the equalizer, the compressor or the crossover. Let him know that you understand what he is trying to accomplish and that you can help him if he stops distorting the channels. Also, make him aware that the system is going into protect and that bringing down the gain on the channels in the red will enable the system to open up. Remind the engineer that you are there to help, and that while it's his job to make his artist shine, you have the responsibility to the venue and/or promoter to do the same. If none of this works and the engineer still insists on being a jerk, then just walk away, but before you leave, drop the threshold on your compressors across the main left and right output and raise your compression ratio. After all, though the review for the show might be less than flattering in regard to sound, you still have to protect yourself and your gear while being diplomatic.
