Moderator: Welcome to our chat with Mr. Robert Scovill.

Tom B: How did you get started in audio? Also, any advice for us youngsters trying to make it?

Robert Scovill: I was lucky enough to get started at a very young age and operate at a high level. I was also lucky enough to have a good set of mentors to kick my butt around a bit. It is a bit of different game in today’s environment. I mean, I got my start in this wacky biz before there was such a thing as a digital reverb/delay. The personal computer was a few years away yet...

Michael: How is it different in today's environment?

Robert: It's very different in that the skill set required to make a good showing is very far advanced from where it was in 1979-80, when I got my start. At that point, the consoles were very very basic. I don't even think there were more than a couple of monitor consoles available, let alone effects processing... also, PA systems were very rudimentary.

Robert (continued): This was kind of a blessing in disguise in that you had to concentrate on the absolute basics of electronics and audio principles. Because, believe me, you were going to have to squeeze every ounce of energy out of your system. So, to sum up, I think the beginner can be kind of overwhelmed at both the amount of technology available as well as the amount of choices in methodology that have developed over the past 20 years. My recommendation to people getting started is to get into the field for a while and then take some schooling to help you through conceptual issues as well as getting your hands on some quality technology.

Michael: Would you say there is less opportunity instead of more opportunity?

Robert: No, certainly not... but the competition is much, much more fierce given the amount of focus on this industry now. Just the shear amount of touring anymore is kind of mind boggling... Where are these kids getting all their money?

Michael: What schooling that is specifically applicable to PA operation/mixing do you recommend?

Robert: Well, those are two different things, believe it or not. My take: to be really effective in this line of work, you have to be well versed with your skills as a mixer as well as a "system tuner". The two are inextricably related... I don't feel one can succeed without the other.

Robert (continued): For my money, you learn how to "mix" in the studio. You learn how the “ins and outs” of tuning via a great background in theory and lots of experience. There are schools now offering education in these areas. I have written a curriculum for the Conservatory of Recording Arts and Sciences and have consulted on others.

Tom B: Does a diploma or certificate from these institutions really mean anything in the real world?

Robert: Well, it kind of depends... does it mean anything in any "real" world? It is just a marker for all intents and purposes, but in this field, the focus is much more on the " can he do the job or not" outlook. When you audition for a gig, you don't have your diploma hanging on the effects rack - know what I mean? This is strictly from a "pro mixer" point of view. If you are looking to work for a traditional "engineering firm" the paper will probably carry a lot more weight and, in fact, may be necessary.

Michael: How does mix talent connect to artist talent? Are mix demo tapes important?

Robert: Well, in the live sound world, it is kind of a tricky thing. I have gotten some great gigs from audition tapes.

Robert: Just like artist demos, you are trying to show if you can mix. But as I stated earlier, if you are doing these tapes in the live sound field, you better be able to build a pretty accurate listening environment or you going to make some pretty poopy sounding tapes.

Chris Kathman: Were they all mic, or mixed, board with delayed mics mixed in?

Robert: Chris, I have been kind of perfecting this technique for a long time. I currently burn every night’s performance to CDR for the band archives. These CDR’s include audience and ambience mikes. And you know what? They sound pretty dang special if I do say so myself.

Michael: So, like, how do you make a live mix demo tape? :-)

Robert: Well, I don't want to sound like I am being a Smaart aleck (Freudian slip), but you need a band, a live environment, and a mixer and recorder.

Tom B: What about a live ADAT mixed after the fact?

Robert: ADAT mixed after the fact is misleading to a band member/manager that you are trying to sell your services to. It is not done in the "heat of battle", as they say. You can do it, but remember, you are kind of setting yourself up in that if they hire you, they will expect every night to sound as good as the "remix".

Michael: So you don't delay anything, you just do a side mix of board left and right, and audience and ambient mics?

Robert: No I don't delay anything because the audience mics are in the same phase plane as the PA system. If I use "ambience" at the FOH, I may delay the composite of the mix and audience "back" to the ambience mics, but not much. I want that space in there.

Charlie Hughes: What is your technique and philosophy with drum mic'ing? Mics on each tom? OH (overhead) for everything, or mainly cymbals? Mic positions? EQ?

Robert: Ah, the age-old topic of drum mic’ing. First things first: YOU MUST GET A GOOD SOUNDING DRUM KIT.

Chris Kathman: Amen!