Here is an open letter to any and all clients that that require audio and production assistance. Please understand that I recognize you, as the client, are most likely spending a huge amount of money on your incredibly important event and also be aware that, as a bronco buster, this is not my first rodeo. After all, if you were going into the hospital for an operation would you tell the surgeon where to cut, or how to stitch? I think not. Therefore, what compels you to dictate to me how to do my job? You own an ipod? You did sound for a friend in college? Please…get over it.
The world of live audio is an ever-evolving field, and a vocational involvement in it requires a person to have, not only a technical acumen, but also a passion for the profession. The hours are long, the compensation for the most part is not exceptionally high and, if you are the owner of an audio company, you have a hefty investment with a comparatively low return. It is the nature of the business which is why I suggest that one doesn’t get involved unless one is truly dedicated to the line of work.
Special Ops
While it is not my intention to exclude other types of audio, I am mostly referring to live event and concert audio. For those of us who take the career seriously, I know that we take great pride in what we do. We also derive an immense satisfaction from executing a great event.
One of the engineers that work for me describes a day in the field in terms of a covert C.I.A. operation. “I am a professional, and I go in and sweep the area, do the job, and get out. Neat and clean, with no residue left behind.” This particular engineer likens himself to a Navy SEAL and, even though what he is describing sounds more like a janitorial job than a daring life-or-death mission, for anyone who has ever worked with live sound, the point is made.
Unfortunately for us, a good portion of what we do on the job is probably more difficult than the Navy SEALs’ killing of Osama bin Laden. For the most part, we do not always deal with professionals who are familiar with our business, and, as much as we would like to go in, sweep and get out, this scenario is not always possible. In the same way that understanding gain structure is crucial to building a great mix, the understanding of how to coordinate a live event is an essential part of making for a successful and memorable experience.
Ground Rules, Please
Bear with me as I blow off steam and reiterate topics I have already written about, but it seems that the first two months of my 2012 work year have been consumed by planners and producers who have nary a clue as to what is involved for us to come in, sweep the area, do the job, and surreptitiously steal away into the night. Just as it is a good idea for every engineer, from time to time, to review gain structure, I also think that it is a wise move to make every new client aware of the ground rules for our business.
The client should be aware that, before they ever contacted the audio company, they were the one who had booked the venue, and they were the one that had signed the band contract. Therefore, “We Who Bring Audio Where It Doesn’t Belong” are just trying to accommodate and satisfy their contractual obligations. It never works this way, but it might be a wise idea for a client to consult with the technical portion of the event before they book the venue. This way, the client can avoid any distress over the cost of going up and down the flight of stairs, or the cost of getting the proper power for the event.
We are also fully aware that “This Isn’t Madison Square Garden,” because Madison Square Garden is an easy gig compared to whatever chic, trendy and unique venue that said client thought was a good idea to book and populate with top name talents. Speaking of top name talent; the client was most likely unaware that the hefty fee they paid for talent did not include the production requirements as stated on the talent’s rider. Therefore, the answer is, “Yes, I do need all this equipment,” and “Yes, I do need all this labor,” and “No, I cannot do this any cheaper.”
FastGood’nCheap: Pick Two
Just because the client didn’t plan ahead does not mean that I am the one who has to bite the bullet to make sure the event comes in under budget. “Remember,” I point out to the client, “The FastGood’nCheap monster. You can have two of his parts, but not all three, so please take a moment and reflect before you answer which two of his parts you would like.”
There is a protocol that we production people follow so that the various elements that are required to make up a show are not bumping into each other and causing consternation and havoc. This protocol has been developed over a course of many years, and results are best when this protocol is followed as prescribed. When dealing with stage, sound and lights, it is best to load in and set up the stage first, lights second and sound third, with backline following close behind. When loading out, reverse the order. Stagger the load-in times, and do not try to load in everything at the same time. If you do not understand the reason behind this protocol, don’t worry about, that’s why we are here.
More modus operandi to be aware of: the opening band does their sound check last. This way, they are ready to be the first band on stage. If you mess around with this procedure, you are messing around with your schedule. You’ve been warned.
Also, just because you’re nervous does not give you the license to make everyone’s life miserable. Making us load in at 2 a.m. for a 3 p.m. sound check just makes us cranky and irritable right around the 7 p.m. start of show. Telling us at 1 p.m. that the client wants the opening band on stage now for their sound check does not sit well with the crew, nor does it make it happen now. What it does is make everyone work twice as hard as they set the opening band and then strike it for the headliner’s check, and then reset again for the start of show.
Yelling at us at 2 p.m. that the event is behind schedule because we were late in setting up the opening band does not endear you to us, as we are the ones jumping through hoops to accommodate your schedule change and compensate for your poor planning.
One last thing regarding your scheduling: Do not tell us that you have scheduled the load-in for 7 a.m. and plan to start the sound checks for nine bands at 8 a.m. We know you are trying to be efficient, but no matter how many hands we use to make this happen properly, it won’t!
We are your friends and associates, and we are trying to make your event a huge success, despite your lack of technical and production skills. When your dealings with us get all 2.5K and shrill, please remember that you never told us the stage we brought in was going to be carpeted until after the backline was already set up and microphones were in place.
Remember, there is a protocol, and if you do not know it, please find someone who does so that we are dealing with a professional who is not randomly making calls that not only slow down production, but infuriate the crew. Please recognize that we are not mean-spirited, but we do want to come in, sweep the area, do the job and get out. Oh, and by the way, when we tie into power, we also process the technology to make you the ground.
