By Ken DeLoria • November 26, 2013 Monitor engineer Dan Whymark of DW Sound, London, on stage with the Damned, 2010. (Photo credit: DW Sound) I recently penned a piece for a musician’s magazine entitled “Working with the Sound Engineer.” It coaches musicians about arriving at the gig with an open mind, a cooperative attitude, coming prepared with supporting documentation (input lists and stage plots), and being ready to work with the audio personnel so that the show will sound the best it can. This piece presents the other side of the same coin, looking at things from the perspective of the audio engineer. If you’re new to the sound business, or if you’ve been doing large, well-organized tours with plenty of advance planning and suddenly find yourself at a modest one-off, than this should speak to you. Suspicious Minds Many bands that play weekend gigs in small clubs, and the occasional party or wedding, are not likely to have a good understanding of how to interface with the sound guy or gal who’s “out front.” More than a few are suspicious of this new character who has temporarily entered into their world. Not uncommonly there is a measure of hostility – perhaps incurred by recalling a bad past experience – and sometimes there is even a downright lack of civility. But as long as we remember that we’re engaged in what is predominantly a “follow-on” trade; that is, being of service to those who are making the music, giving the speech, or otherwise entertaining the audience, we can usually deflect animosity and turn it into good will, merely by being communicative. Not always, but it’s always worth aspiring to. The first moments when meeting the performer(s) will probably define how the rest of the gig will turn out. I suggest taking the initiative. Introduce yourself and make a few short comments about being glad that you’re working with him, her, or them, and clearly identify that your role is to help the show sound great and function smoothly. You can say you’ll make them “loud and proud” (perhaps for a rock band) or “clear and distinct” for an orator or comedian – or whatever other encouraging words might apply to the specific situation. Conversely, it’s never a good idea to threaten inferior results if they behave badly, even though some occasionally will. It will only reflect badly on you. Keep in mind that the performers might be a bit nervous, especially if they’re not used to working with an audio engineer. This could be an unusually large gig for them. Maybe it’s a multi-act lawn party or a small festival, and they have little understanding of how to navigate set changes with other acts. I’ve seen seasoned performers fall apart when their normal routine is altered or when they’re faced with sharing the same stage with another act that intimidates them. Figure 1: A sample stage input list. In The Details Being prepared is always a good thing. Start by having an input list “template” available, and ask that someone from the band fill it out, if possible. This is much more professional, as well as being a timesaver, than writing on a blank sheet of paper. Figure 1 provides basic input list format. If the act you’ve just greeted is not the first (or only) act, draw out a quick stage plot (Figure 2) so that you know what goes where, even if you won’t be situating the band gear yourself. After five hours in the sun, it’s really easy to forget who’s who, and what instrumentation each act will be using. Discuss stage monitoring and miking so that you know what each member of the ensemble needs. I’ve been in situations where not a single person thought to tell me that side fills are critical because the lead singer moves all over the stage – until about one minute before show time. The brief here is do not wait for an impending disaster. Have a checklist ready and work through it. Prompt the talent. Do they need side fills? Who needs a wireless? Do they need any additional mics other than those they’ve brought with them? Will there be any guest artists called up? And so on. Figure 2: A sample stage plot. All too often a band member will tell you where to place his or her mic but completely fail to mention that it must be a certain type of wireless, headset, or other special requirement…or even where it’s supposed to be sourced from. Further, bands will often call up a guest performer with no pre-warning and expect that somehow, some way, a guitar and vocal mic will magically appear. Read the rest of this post 1 2 About Ken Ken DeLoria Senior Technical Editor, Live Sound International Magazine Over the course of more than four decades, Ken DeLoria has tuned hundreds of sound systems, and as the founder of Apogee Sound, he developed the TEC Award-winning AE-9 loudspeaker. Comments Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Tagged with: Audio Basics Business Concerts Engineer Ken Deloria Management Musicians Technician · all topics Subscribe to Live Sound International Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.