pro audio tech

design | installation | training | repair

Listen.

Bad sound ruins every event. Finding good audio engineers is hard. Let's fix that problem. Together.

consulting services

Design and build sound systems for small and medium-sized (100-500 people) venues.

Comprehensive analysis of the physical space; its shape, acoustics, electrical infrastructure, dimensions, and even building materials.
Survey of how the space will be used, the type of sound reinforcement needed, and the goals of the kinds of events that take place.
Who will be running and maintaining the system? What kind of knowledge and/or training do they have and/or need?
And of course, what is the budget?

Train and develop sound engineers (paid or volunteer) on equipment and running shows/services/events.

Ensure engineers are fully knowledgeable with the technology.
Train engineers on the philosophies of sound operation.
Develop a handbook that can be utilized and referenced.

Audit and tune currently installed systems.

Analyze current setup, equipment, and evaluate the "state" of the system, it's operations, and whether it is the right equipment for the right usage.
"Tune" the system to the room. Eliminate problematic feedback and/or clarity issues.
Develop a handbook that can be utilized and referenced.

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philosophies

Here are just a few of the philosophies that inform how one operates as a sound engineer that I’ve picked up along the way. This is not an exhaustive list, but merely a sampling of guiding principles.

The sound engineer is the most important member of your band. This position is as much “musical” as it is “technical.”

(The person that stands behind the board is the final arbiter between the music and the people. That person must understand the genre, the goals of the experience, and the style of the team, and use that understanding to manipulate the electronics to deliver that experience to the people. This is a radically different responsibility from merely “can you hear ‘__’?” Think of your sound engineer as a “musician,” not just a “tech person.”)

The sound engineer has done their job right when nobody knows they exist.

(While there may be exceptions to this general rule, the engineer’s job is to ensure the right stuff—good music, clear and articulate speech, etc.—gets to the people, and the wrong stuff—feedback, “dead” mics, clashing frequencies, etc.—is never experienced. When the bad stuff happens, everyone notices the engineer. When the good stuff happens without the bad, people experience the fullness of their engagement with the band and music, and never have to pay attention to the technical mediary.)

Be sure to “listen with your eyes” (as well as your ears).

(Too many engineers “look down” at the board to see if dials are in the right place when they should be looking at the band / musicians / speaker to see what kind of experience they are projecting from the stage. Then, the engineer ensures the people receive, audio-wise, that same experience. In addition, there is no such thing as “set it and forget it.” Like a band member watching for the movements of the others, so too, the engineer looks for those movements and uses their tools—sound manipulation—as a band member to flow with the team.)

The sound engineer has the most power and must therefore be the first and greatest servant of the people.

(The sound engineer is susceptible to arrogance and ego because of the power they hold in manipulating the sound. This is a serious pitfall and requires the engineer, above all people, to be a servant to the band and the people in the audience.)

And more...