Ok, is it just me or is anyone else becoming more and more frustrated with the sound quality (or lack of) at both local and national music shows. It seems to have become the norm rather than the exception to “put up” with poor mixes. It also seems that anyone who can afford a sound rig thinks that this automatically makes him or her a sound engineer. I’m sorry, it doesn’t.

Often, the biggest disappointment is overbearing subs. Kick drum and bass guitar is all I hear. If there happens to be a keyboard player in the band, forget it. I’ve seen acts with exceptionally talented keyboard players, who add just as much to the entire production as the lead singer, drummer or guitar players, get lost in the mix.

I could go on about tonally flat vocal mixes with way too many effects. I could go on about solos that we, the paying customer, have to stretch to hear because the “engineer” is not paying attention to the stage.

I believe that I may have an answer to most of my gripes. A lot of so-called “sound engineers” are working on theory. I’ve heard all about how “this wave cancels out that wave so you have to set this like this”… Wrong. The audience is not listening to an oscilloscope they’re listening to what comes out of the speakers.

Close the book and open your ears. Again, we’re not impressed with what you can afford. Ask a soundman about his musical background. Ask him if he’s ever performed on the other side of the mains.

I have also been told by someone running a house board that “it’s just the opening act”. This should not be acceptable. To those club owners or fest producers who may read this, remember, your customers pay to hear all of the acts!

Engineers can make or break a band. I have heard terrible bands sound passable because the soundman took the time to give them a good mix. To club owners, I always ask who is responsible for hiring the sound company.

OK – with that off my chest, I must praise the professionalism of some of the engineers I have had the pleasure of working with or listening to. Some of you guys are great. I don’t want to say, “you know who you are” but rather, take a look at how you work. In my experience, these individuals are the ones who are pleasant, listen to instructions from the band regarding the performance (not the sound) and pay attention to what’s going on up on the stage.

My comment about “playing experience” was not meant to say that being a musician should be a prerequisite, but it helps. I know, I know, I know - a lot of musicians can be a real pain to work with. I’ve worked with some in the past 26 years in the business. However, you must remember, without them on stage you might just have to be a DJ. Then what fun is all of that cool equipment?

To those of you who made it this far in this post, thanks for listening to my rant. I'm not trying to pick a fight. I'm just frustrated. One last thing, these men and women often go unnoticed and are just as much responsible for the entire show as the bands.

A sincere “thank you” to all of the professional sound engineers who love and perform their jobs with pride in their work. Do this. If you hear a good sound engineer, take a second to tell him/her that they were good. If you hear a bad one take a second to tell them that too.

Kevin
Chicago


Reply posted by dale francis on September 02, 2002

From the choir, alas, the boob behind the board is usually looking to get laid, and the equipment cannot repair the bad habits of the performer. Most sound people seem think that the band should sound like the radio does in their car.

They have not trained their ear to the actual sound that the musician has spent years developing, the intonation and nuances with which they express their ideas, and do not understand the concept of transparency in presenting the musicians sound.