I’ve spent the week trying to help a coworker try to collect pay rates from venues around town so that we can efficiently argue for a raise at our own. A surprisingly large number of our colleagues declined to share any information about their pay at all. Luckily, one was all for pay transparency, and with his help, we were able to fill in most of the gaps we had.
I know that talking about pay has customarily been frowned on, but that needs to change. We can’t effectively make the case for better pay, whether at an individual venue or across the industry if we don’t know what each other are making. Those of us just starting out are more likely to be taken advantage of or lowballed if we don’t really know how to connect our pay to our experience. And, crucially for members of underrepresented demographics like me who are more likely to be underpaid anyway, we can’t see patterns in pay disparity if we don’t know what each other are making.
This Show Must Go Off-Bowery Goes Digital
In this episode, I am excited to share that Bowery Ballroom is now offering the Avid S6L 24D as our new front-of-house audio console. For over a decade we maintained a legendary sound and reputation with our analog Midas Heritage H3000 and racks and stacks of outboard gear. I will talk you through why we made the change, how we chose a desk to lead us into the next era of shows, and how we managed the installation.
When Bowery opened in 1998, then Production manager Matthew Kasha utilized a Yamaha PM3000 and came to define the room with great ears and trusted gear. At that time the Midas Heritage series had just launched and was quick to become the industry standard for concert touring. Acts like Bon Jovi, AC/DC, Metallica, Alicia Keys, Pearl Jam, and the Red Hot Chili Peppers all utilized the Heritage series desks. It won over our hearts and ears, and in 2010 Kenny Leinhardt swapped it into our front-of-house position. Another decade later and we reflected on how the industry continues to change. Audio engineers are faced with incredibly detailed and competitive choices for gear. Loudspeaker technology allows for pristine sound control and headroom, and wireless systems have revolutionized personal monitoring on stage.
Our sister venue The Teragram Ballroom in LA would also be upgrading their desk, so the console decision was a partnership. For me it needed to sound as good or better than the Heritage; offer more in terms of mixing and processing; tick all the boxes on the artist riders; impress the showcase shows, underplays, and the private events; excite my engineers, and have incredible user support. Ultimately, while I love analog, and love the Midas, I found myself racing to keep up with maintenance, and feeling never quite sure that everything would work as it is intended. The amount of use and abuse the desk took, outweighed the amount of time I had for its upkeep, and trusted touring engineers were getting to the point of needing more signal processing than an analog desk is capable of.
The engineers in LA and myself were on the same page. The top two contenders were DigiCo or Avid. Ultimately, Avid won out for their ease of session formatting, years in the business and engineer familiarity with ProTools recording/Profile consoles, plug-in capabilities, and most important- It would be something new for my engineers. We are lucky enough to have a DiGiCo as a monitor console, and complementing that with an Avid desk allows me to hire and retain amazing engineers that are willing to trade their skill for a little time building show files and getting comfortable with industry-standard desks.
This past month was equal parts fun and terrifying, as I disassembled the Heritage, and reconfigured front of house for a new desk, as well as a new lighting setup, and video control.
With the console weighing 500 lbs, and being over 7ft long, each module of the console needed to be removed, to reduce weight, so the desk could slide onto a forklift. 44 channel strips and 6 banks of faders were removed, and placed into cardboard boxes. From there, my partner and I rotated the desk onto a hand-crank forklift, me pushing off the balcony, and he guiding while standing on a ladder on the other side.
The next day we dismantled the patch bays. 25 years of cabling, 2 desks, and 3 managers’ worth of modifications, there were plenty of rats’ nests to dig through, and cables to cut out. Once organized, the cables added about another 100 pounds of weight. With the console gone, we moved to take apart lighting control. The whole booth would be reconfigured to create more space and improved workflow. The racks that housed all of the outboard gear needed to be physically cut out of the space and the table platform was sawed down to add depth inside the booth. The prized pieces of outboard gear will be kept and patched in as hardware inserts
A week later, the Avid desk was brought up to our balcony booth in sections. The engine, stage box, and waves server could be managed by a couple of engineers and were all racked at front of house. Both the stage box and the engine needed to be modified with additional cards. The control surface used 3 of us to tip it, move it upstairs and get down into our recessed booth.
Cabling and activation were another day’s project. Avid’s redundant ring system of shielded Cat6e cable made that part relatively painless. Avid rep Robert Miller was brought in to check all components were properly registered, working as they should, and give my staff an overview of the desk. Throughout the process, Avid has been a great ally. Making sure we have everything we need to get going, and talking us through their support channels, should we ever have a need to contact them during a show. Our vendor was a long-time friend, and an important part of Bowery’s history Jeff DelBello of dbAudio. FOH friends Harley Zinker and Scott Adamson also provided much-needed support and guidance through the whole process. Harley worked hand in hand with Robert to show practical knowledge and provided a session file we could all talk through. Session playback through ProTools really highlighted the desks’ features and was a nice treat for our room which was used to system adjustments using 2-track recorded media.
From here on out we will be working to build a house start show file, and template to share with visiting engineers. We will be moving to drive our speaker amplifiers via AES, rather than analog, and working with D&B on any room tuning adjustments.
My engineers are encouraged to come in and build their own files and get comfortable with the desk, and I am sure I will be doing the same.
The response has been positive from staff, engineers, artists, and managers alike, and I am excited for the opportunity to mix a show on our new setup.
Tune in for the next episode for a look at our rigging upgrades. We will dive into adding a motorized truss in the ballroom and redesigning our lighting plot.
Los Angeles – Monitor System Prep Internship
SoundGirls can apply to intern assisting with monitor system prep with Karrie Keyes
You will be assisting in the prep of the stage and monitor system for upcoming Pearl Jam and Eddie Vedder shows. Be prepared to work hard and get dirty. You will gain experience in the prep and wiring of a large-scale monitor system.
Dates – August 23 – Sept. 3 (M-F) (Dates Subject to Change)
Please include a brief reason for why you are interested and a resume. Please let us know what dates you can intern.
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Overview of Career Opportunities at Clair Global
Clair Global’s history in the live events and permanent installation industries influences a culture of incredibly hard-working professionals ready to solve the next impossible problem.
Clair strives to exceed expectations through integrity, innovation, attention to detail, and unyielding customer service worldwide. Extraordinary employees are our differentiator. Our employees’ creativity, talents, problem-solving skills and commitment to service set us apart. You don’t join the Clair team to just work, you join the Clair team to realize your life’s work. Every event, every product, every promise has our team imprint on it. Put simply, we care.
Join us for a webinar on the Career Opportunities at Clair Global and the skills needed. This is your opportunity to get your questions answered about working at Clair Global with Dave Lester and moderated by Michelle Sabolchick Pettinato. Women leaders at Clair Global will be joining us.
Michelle Sabolchick Pettinato began working in live sound in the late 1980s and has spent most of the past 30 years as a full time touring FOH Engineer for major label artists including Elvis Costello, Gwen Stefani, Janet Jackson, Goo Goo Dolls, Melissa Etheridge, Jewel, Kesha, Styx, Mr Big and many more. Michelle has extensive experience mixing in venues of all shapes and sizes, from clubs to stadiums, as well as major music festivals from Download to Coachella. She has also supervised and mixed live performances on a wide variety of television from SNL to the Grammys.
Michelle is co-founder of Soundgirls, a Full Sail University Hall of Fame inductee, and creator of MixingMusicLive.com where she teaches an intro to live sound and mixing. She is an active mentor and coach to those seeking a career in Live Sound and Music Production and is frequently sought out as a panelist and guest speaker for industry conferences and universities.
Dave Lester – Director Education & Safety Clair Global
Dave recruits and hires new employees and develops and manages educational material/content for Clair Global’s formal training program reflecting current audio technology trends, company proprietary equipment, general audio knowledge requirements, and safety. Dave educates new hires employees to raise their skill set and knowledge to meet company and client expectations.
Ask The Experts – Game Audio
An audio professional working in the gaming industry is required to possess not only musical and audio talent but also knowledge and experience with typical game audio workflow. In this webinar we introduce you to the Game Audio industry, covering the many facets of sound production and engineering that are particular to games.
Join us for Ask the Experts – Game Audio. This your opportunity to get your questions answered about working in Game Audio, with Bonnie Bogovich, Emily Meo, and Daniy Oberle.
Bonnie Bogovich: A sound designer and voice actor in the video game, educational media, and audio drama industry, her work can be heard in a variety of projects including “The Call of the Flame,” “Pugmire,” “Mandible Judy,” “I Expect You To Die,” “Codename Blank,” “Pathfinder: Kingmaker”, and “Death and Taxes.” She is the co-producer of Cryptic Canticles’ “The Dracula Radioplay Experience,” co-creator of “Super Smash Opera,” and “Evenings in Quarantine: The Zombie Opera,” and arranger and vocalist (solo and choir) for a plethora of video game soundtracks and tribute albums. Former Audio Lead at Schell Games, based in her hometown Pittsburgh, PA, these days Bonnie runs her own audio production company, BlackCatBonifide LLC, in Austin, Texas.
Panelists Include
Emily Meo is an Austin-based sound designer and composer for games. She graduated from the University of Texas with a classical composition degree and went on to study audio engineering, live sound, and synthesis at Austin Community College, as well as studying Wwise and Unity at the online School of Video Game Audio. After a five-year period of producing audio for indie and casino games, she’s been contracting with local AAA studios since last year and is currently working on the upcoming immersive shooter, Redfall, with Arkane Austin. Her non-audio interests include cooking, studying Japanese, and petting other people’s dogs.
Daniy Oberle is a sound designer, field recordist, and sound artist based in Austin, Texas, USA. She has been doing audio professionally since 2006. She is currently a Senior Audio Artist at Bioware, where she’s shipped Star Wars: The Old Republic, Mass Effect: Andromeda, and Anthem. Daniy’s specialty is game sound design and implementation, but she has also worked in audio post-production, film production sound, stage production, live music, and corporate audiovisual.
Ask The Experts – House of Worship
Working Audio in House of Worship presents some challenges that are different from working in studios and live events in clubs, theatres, arenas and stadiums. Great live sound requires careful planning, the right gear, paying attention, and making the right decisions. This certainly comes into play at complex church services.
What differentiates church programs from concerts and festivals is that a service can be like a whole festival in one act. Very often, church services also entail multiple audio configurations, with all of the variations of music and presenters, the service needs to be planned and executed with the precision of a live TV variety show and they pull it off seamlessly.
Join us for Ask the Experts – Mixing in House of Worship. This your opportunity to get your questions answered about working in House of Worship, with Samantha Potter, Brian Maddox, Beckie Campbell, and Issac Moreno.
Samantha is an audio engineer and an editor for ProSoundWeb with a passion for writing and educating. Additionally, she serves as the “Install Empress” for Allen & Heath USA, helping to merge the live sound solutions we all love into the commercial and install space.
Growing up as a musician, Samantha found her way to live sound by way of the studio, proving that bassists make the best sound engineers. The host of the Church Sound Podcast and a co-director and leader instructor for Church Sound University, Samantha can often be found teaching, writing, and hosting discussions on various live-sound topics.
Panelists Include
Brian Maddox
Brian Maddox (Patti LaBelle, James Brown, Herbie Hancock), a pro audio veteran with enough experience to fill several books. With over 25 years experience working in the live audio production industry. Skilled in both Sound Reinforcement and Broadcast arenas. Proficiency in System Design, A1, A2, RF Tech, and Comms Tech including Matrix and RF Comms systems.
Beckie Campbell
Beckie is the successful owner of B4Media Production LLC. As a business owner of a growing production company, she Produces corporate events, festivals, and live shows all over the US, as well as manages crews, trains employees, and runs sound. She freelances as an A1 for several corporate organizations such as the City of Orlando and PennellChing Development. As a PM, Monitor, and FOH Engineer her expertise is in audio, but she has also taught Audio Visual Technologies/Sports Broadcasting and several other courses around Florida for various companies and schools. As an accomplished Production Manager, FOH and Monitor engineer she has helped train and grow crews for several theaters, live events, and houses of worship. All while touring as a FOH Engineer for major acts like the Indigo Girls and the Commodores.
Early in her career, she was a Technical Director/FOH Engineer for two Mega Churches in Florida where she got her feet wet in audio, video, and lighting. Her skill set is easily transferable to any of the three areas.
Beckie is passionate about live events and making sure the next generation learns the proper way to make an event excellent. In her leisure time, she can be found cooking, relaxing at the beach with an ice-cold beverage, watching a live performance, or kayaking. She loves to hang with her nieces and nephews and teach them fun crafts, the difference between stage left and stage right, and how to make goofy faces. Beckie is the Co-Director of the Orlando SoundGirls Chapter and with Susan Williams started the SoundGirls Podcast.
Isaac Moreno
Isaac has been working in the audio industry for over 29 yrs. In that time he has worked with many Christian touring bands like: Seventhday Slumber, StellarKart, KJ52, Manafest, The Letter Black, Wolves at the Gate, Lynda Randle, Michael Tait, Superchick just to name a few.
He also operates a studio where he mixes and masters albums and he has worked with clients such as LucasFilm, Disney, Marvel, WarnerBrothers, DreamWorks for either videogames, animations, or film. When he is not touring or in the studio, he is in church producing and running audio for services. He has also started teaching production to local churches to help his community succeed in producing better content.
Grace Banks
Location: London, UK
How did you become a producer/sound engineer? Shadowed live sound engineers (approached them cold); organized events where I would do the live sound (approached the venue cold); got a job at a rehearsal studio (knew the studio employees because a band I played in rehearsed there); got a job at a recording studio (approached it cold)
What advice would you give students either going into school or just graduating about getting a job in this industry? The difference between failure and success is often perseverance – keep going!
What are the major qualities required to be a good sound engineer in your opinion? Good listening skills, knowledge of your tools, calmness under pressure, quick thinking, problem solving, awareness of the people around you and of what they need, want and feel.
What is your recording/producing philosophy? Keep your ego out of the way and have fun
What producers/engineers inspire/inspired you? Sylvia Massy and David Wrench
Free Audio Resources We Stand By
Boom Box Post turned six at the end of August and over these six years, we have written a handful of blog posts. For both our new and OG readers, we thought it would be helpful to round up a list of posts that feature free resources. During this turbulent time of COVID-19, we definitely recommend taking advantage of these awesome tools!
In this blog post, Office Manager / Assistant Sound Editor Sam Busekrus lists a number of free audio apps recommended by our Boom Box Post editors. Give it a read!
In this post, Boom Box Post-co-owner Jeff Shiffman provides some tips on how to use your phone when recording audio on the fly!
“As sound people, sometimes we hear something so unique we just have to capture it. A lot of sound designers (myself included) carry around mini recorders for just such an occasion. But we can’t always be prepared. There are moments when you need to capture a sound in an instant. Like if a bird with a crazy call lands on an open window. We don’t always have professional recording gear at hand. Most of us however do have a cell phone nearby.”
Valhalla Freq Echo is a free plugin for both Mac and Windows made by Valhalla DSP. This plugin allows you to add delay emulation as well as target specific frequencies to modulate. Check out this awesome blog post written by editor Ian Howard to get a rundown of what this plugin can really do!
According to sound effects editor Katie Maynard, it’s easy to fall into the habit of working so often that you forget to practice and develop your skills on your own time. For anyone in the audio field, this might be ear training. In this blog post, Katie explores the online ear training program SoundGym. This is a fun one!
This next blog post is not audio-related but still super helpful! This post highlights 5 Google Chrome extensions we recommend to help you stay organized. Written by Studio Manager / Assistant Sound Editor Tim Vindigni, we recommend checking this one out for those looking to up their organization skills!
Finally, in this blog post Boom Box Post-co-owner Kate Finan lists her absolute favorite online resources for sound designers. These resources span the breadth of online content from sound effects library downloads, technical support forums, mixing videos, and even mini-documentaries to keep you current on the latest movie sound design trends. Some of the free resources featured in this post include Designing Sound, Gear Space Pro Audio Forum, Soundworks, and Avid Video Blog Series. This is a good one!
Working out on tour. Training for an Ironman whilst on tour!
It’s officially summer! The guns are out, and if you’re British, the pale skin is also out!! I digress. Summer always brings more motivation for working out, everyone wants the summer beach body. It’s definitely inspiring seeing everyone out and about in the sun, running or cycling, etc. But how do we stay fit when we are on tour?
In 2018 I managed to train for a half Ironman whilst being on tour. For those that don’t know, a half Ironman is a triathlon consisting of a 1.2-mile swim, a 56-mile bike ride followed by a half marathon. I obviously didn’t come at this from scratch, I had been running quite a lot leading up to it but deciding to train for this knowing I was going to be on the road was quite the challenge. So how did I do it?
Running is obviously the easiest of the three to do on the road. If you really want to be fit or complete a training plan, that means getting up early and running before load in (usually the venues will be open before load in so you can shower), or maybe even a run post soundcheck. I’ve done this a couple of times and it is actually pretty nice!
Days off are the best… you can fit in a workout even with a lie-in! My best days off are those that begin with a late start, followed by a run that ends at a coffee shop and finding a healthy spot for dinner. I definitely feel fulfilled on those days!
Next up is cycling. This is definitely a challenge.. it’s not very easy to carry your bike on tour, although I have toured with crew who have brought fold-up bicycles and stored them under the bus. This is a great way to see every city, but you need a full-on road bike for my kind of training. That option was out the window. I happened to ask in a store about bike rentals in different cities and they told me about a company called Rapha. Rapha is a cycling brand that has a membership that allows you to rent really high-end road bikes in different cities all over the world at a discount. The stores are called “clubhouses” and are very sharp looking, most with cafes inside too! (When I joined they would give free coffee at each clubhouse, they’ve since revoked that perk! Boo!!). These clubhouses would pop up maybe every couple of weeks on tour, so I would make sure to take advantage and get some good rides in when I could. Aside from that, I would use a stationary bike in the gym. Definitely not as good, but better than nothing.
It turned out that the swim training is actually pretty easy to do. Most Ironman races are in open water (lakes, ocean, etc) but the reality is, most people train in a pool. Every major city has a pool, and generally, the venues or hotels aren’t that far away from them. Also in a pinch, a hotel pool will do… for a pre-lobby call workout. The bonus on tour is that if you’re staying in hotels, you’ll usually have access to a gym and sauna, etc. Great for strength training and recovery.
I managed to train enough to complete the half Ironman and had no injuries and even enjoyed it! There really is no excuse for not looking after your health on tour. If you’re interested in seeing some workouts I’ve done whilst on tour, you can follow my “not-so-secret” Instagram @rocknrolltriathlete
Next month I’ll discuss how to eat well on tour. Equally important to overall wellness.
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