Sam Berkow: I’ve always followed the great advice that I received from friends in the biz: Do what you say you’re going to do; Don’t be afraid to say your don’t know; Don’t be afraid to ask for help; Think about why you do things one way or another – the easier way is not always the best way; Don’t lose track of your goals; Try to innovate when you can; You will almost never be the smartest person in the room, but if you are indeed are, act like you don’t know it! (There’s a name for people who think they’re the smartest person in the room and it’s not kind.) And have fun! Remember, this is supposed to be fun.
With regards to audio, every system has an input side and an output side. Know which one you’re working on, and make sure you’re taking actions that are appropriate for that section of the system. Also, make a system linear first and then make artistic choices.
Here’s more: Audio is 95 percent engineering, and 5 percent requires an artistic sensibility. Don’t try to fix acoustics problems with EQ. Given a single sample of sound, most people don’t know if it’s right/wrong, good/bad, but when asked to compare two or three, most will clearly know the difference between high- and low- quality results. Remember this because it shows that most people do know when sound is right or wrong.
Finally, trust your ears and use measurements to help you understand what you’re hearing.
Samantha Potter: I’ve always been a very minimalist audio engineer, but it wasn’t until I befriended someone who seemed to be able to solve complicated audio issues with a little math that I realized I could take it further. Ever since, I’ve always tackled issues and inconsistencies with delays and dynamic processing before I begin to fix anything else. This has made my life significantly easier when it comes to equalization or FX.
My tip to beginners: Don’t feel like you need to put your touch on something. Sometimes things are best left alone. If it sounds beautiful, let it be beautiful. Don’t try to force your “style” onto the mix just for the sake of your own ego.
Scott Mullane: Besides the obvious “always be professional,” the single most impactful concept that was taught to me early on was “it’s all about the out.” This statement was about keeping cabling and patching neat to assist in the speed and efficiency of a bump out. It also produces a sense of pride and professionalism in your work, which then flows through all other aspects of your event. It allows for fast and efficient troubleshooting during the show.
In the heat of battle, finding that failed line can take seconds or minutes. The former keeps the show moving without anyone noticing a skipped beat. The latter makes it obvious to everyone that something is wrong and might unnecessary stress and anxiety for the production team. Make “it’s all about the out” your mantra and reap the reward.
Becky Pell: I’d say that attitude is everything. That applies irrespective of your experience but especially so for a newcomer when it’s all you’ve really got in your armory. If you’re always on time, ready to work hard, have a positive disposition, and generally make yourself useful and pleasant to have around, it will be noticed and you will get asked back.
Ken “Pooch” van Druten: Wolves don’t lose sleep over the opinions of sheep.
Tommy Fleming: I think that the best piece of advice I’ve ever received is to always keep a professional and positive attitude, no matter what cards you’re dealt. Working with somebody who has a bad attitude can really kill the spirit of a team, which brings down the show’s potential.
To those just starting out: In the audio field, eventually something won’t go like you planned. When that happens, don’t stress, keep your cool, and be nice to your team. The last thing anyone wants is another “miserable sound person” story to tell. Don’t be that person. If you’re a psycho like I am, you’ll learn to (almost) look forward to the moments when things get a little interesting and you’ve got to try to solve a problem!
Ales Stefancic: I think the best audio-related advice I received in my career was very early on, when I was told to always think of the signal flow from the source towards the loudspeaker. It might seem obvious, but I still see professional engineers who don’t use this principle, making our conversation a bit trickier and less efficient.
Learning about signal flow in the proper direction (source to recipient), especially in the era of digital consoles, computer processing, networked audio and DSP-controlled devices, is the first and basic step in ensuring you have control over your rig. You can build more complex systems with confidence and troubleshoot any issue quickly and efficiently.
The signal flow path does not end with the loudspeakers. It ends with the listener’s ears. Considering acoustic principles as well is an acutely overlooked step, but it’s one that can ensure consistency and excellence.
Check Out More Roundtable Articles On PSW:
— Name That Tune: A Cornucopia Of System Test Track Selections
— Bang On The Drum All Day: Tips For Optimizing The Kit In The Mix
— All Wrapped Up: A Treasure Trove Of Advice About Cable & Interconnect