FOH at Large

The 2005/06 FOH subscriber survey has been compiled and I, for one, find it fascinating. About 7% of the magazine's total subscriber base took part in this year's survey, and the results are telling. First of all, let us remember that it is usually difficult to get 100% participation in any survey, and that most surveys are conducted with a cross section of the population. Political surveys usually conduct their fact-finding missions from a supposed cross section of the general population, and then, by using some complicated mathematical formula, the purveyors of the survey are able to understand the needs and wants of the American public. I usually find myself in the minority of each and every one of these political surveys, which means I neither have my finger on the pulse of the nation nor do I hang out with the right people. Despite these personal failings on my part, I–like most of the American public–rely upon these surveys to know where I stand in relation to the rest of the country, and because my views are usually aligned with the minority column of these surveys, it would be most beneficial to me if the survey conductors would publish the names and occupations of these survey participants.

You've all heard these phrases: "I only need a small basic sound system." "The band is only playing three songs." "It's only an acoustic act." "It's only a small club." "It's a very important show, but it's only for 100 people." The word "only" when used by a client inquiring about a sound system is usually a code word to let you know that they "only" have limited funds to spend on audio. They mistakenly think that by downplaying the importance of the audio portion of their event, we, the vendor, will give them an inexpensive system. This is a trap that every vendor should learn to avoid. Treat the client the same way that a real estate agent treats his or her clients. Talk to the client and determine exactly what they might need and start by showing them your smaller systems while explaining the system's limitations in regard to the event they are planning. Then proceed to show the client how, for only a few dollars more, they can take the next step up into a true state-of-the-art system.

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.

I'm not sure when or how it comes about, but every few years I will inevitably start to question what I am doing with my life. Most of the time I am saved from pondering why I am doing the work that I am doing because I can usually rationalize away the question by reminding myself that it's just a job and I need the livelihood. There are times, though, that the rationalization fails me and I am left with the depressing thought that I have just wasted years of my precious, short existence without accomplishing a damn thing. Believe me when I say that there isn't a more desolate feeling than waking up all alone in your tour bus bunk and feeling sorry for yourself while speeding through some unknown state in the middle of the night. It can happen any time at all and sometimes without us knowing it happened until it's already happened. After all, one moment your life is wonderful and serene in a world of perfect order and harmony, and in the next instant you find yourself trapped inside a cubist nightmare in which all angles are askew and perspective is challenged.

For a person coming from the field of live performance, the change from daily one-offs to the world of permanently installed audio systems can be a true challenge. With a traveling system, one can always make allowances for last-minute changes and additions without necessarily ruining the master plan or design of the system, whereas with an installed system one must ensure that the design is correct and the plan carefully followed. Not to say that one should be cavalier in regard to the design and installation of a road-ready system, but in the event of any needed changes, it is always less expensive to bring in the flown speakers with a traveling rig than it is to open a wall and change a speaker or cable run.

Recently I had the honor of being asked to participate as a seminar panelist at Pro Production 2005. The invitation arrived via an e-mail from Kevin Mitchell, who is a seminar coordinator, and it began:

Dear Baker,

On behalf of Pro Production 2005, I'd like to invite you to be a panelist on one of the 90-minute seminars "Bidding Strategies: How to Get the Gig," at this year's event in February. It's an incredibly important topic…

A live audio mix is very much like the music that is being played, in as much as it is subjectively assessed by whomever is listening. Music that delightfully entices one listener may just be a snorer for others, and music that rocks one soul is an abomination to another. There is no accounting for taste and those who love Maroon 5 are no more passionate about their music than the lovers of Hilary Duff, Walter "Wolfman" Washington or GWAR.