Gigs/Working with sound engineers /volume levels

[No lust in Jazz]

We used to roll around with our own PA, but now we pay for the same 'trusted' sound engineers for our gigs  or if you like the client pays for them. This way we have consistency of our sound (notwithstanding crappy rooms) 

If we have to use an unknown engineer, we also provide a tech sheet for the band - this contains general information of set up, numbers of mics, monitor mixes and DI boxes etc.. that sort of stuff. This also does wonders in prevent that clueless sucking of teeth when presented with our set up.

 

With the best will in the world they are just people with egos and ideas of their own, some good, some bad. The one's that present problems don't get repeat work.

[Silvia Bluejay]

@TimR - Snap! Some engineers never walk out front, they only look at the signal on their tablets or screens. In the past I have had to go and yell at them that, say, there were no backing vocals, or bass, or whatever, and at first they didn't believe me because the signal was there! There's one particular festival where the guys are lovely but really can't be ar$ed to work and we always sound cr@p....

 

@MB - Cheshire - When we have to use the venue/festival's sound engineers I go equipped with all sorts of Stage Plans and Tech Specs. I even stay in the vicinity of the desk, waving the relevant bit of paper in the guys' face when some drastic intervention is needed. But as above, most of these people try to do as little work as they can possibly get away with, once they've erected the stage and set up the PA, especially if they are part of the organising team. They know that bands won't complain, as doing so will kill their chances of playing on that stage again.

[Dad3353]

1 hour ago, MB - Cheshire said:

We used to roll around with our own PA, but now we pay for the same 'trusted' sound engineers for our gigs  or if you like the client pays for them. This way we have consistency of our sound (notwithstanding crappy rooms) 

If we have to use an unknown engineer, we also provide a tech sheet for the band - this contains general information of set up, numbers of mics, monitor mixes and DI boxes etc.. that sort of stuff. This also does wonders in prevent that clueless sucking of teeth when presented with our set up.

 

With the best will in the world they are just people with egos and ideas of their own, some good, some bad. The one's that present problems don't get repeat work.

 

This is exactly how we operate here in France, if it's anything more than a pub/bar. We have a tech sheet, and a lighting plan for bigger events. We seldom have/had issues.

[chris_b]

These days I don't get FOH very often, but my experience of the sound guys I have worked with is positive.

 

I say hi, have a chat, explain what I'd like, ask them if that's OK, and leave them alone. I don't stress them with many requirements. "Can you make me sound like Duck Dunn, John McVie, or maybe a little Nathan East" usually works. I keep it simple, because they tend to be focused on everyone else anyway!

[chris_b]

Many years ago I saw Little Feat, in the Craig Fuller era. I stood next to the desk, thinking that would be the best sound. The sound guys sounded American so I assumed they were travelling with the band. The band started sounding just like the records. It was a perfect sound and balance, but the sound engineer never stopped twiddling and in no time they were sounding pretty bad. By the end of the night I had my ear plugs in and would have left early but for the lift I was getting from a friend.