Sam Boone has been working professionally in audio for just three years and is currently a freelance system engineer, completing her first tour with Volbeat in 2022. She discovered audio in middle school and spent considerable time working in churches through her teen years. Sam played in the school band as an oboist and then took up guitar as she decided she wanted to attend a school for music. She admits that she was a terrible musician but her love of music, would lead her to live event production. She would go on to attend Middle Tennessee State University as a part of their recording and music program. At the same time, she was interning with a local production company, and when they offered her a full-time position she dropped out of school.
Career Start
How did you get your start?
I got my start interning at a regional production company. I managed to land that internship by asking for an introduction from a family friend who was familiar with the company.
What did you learn interning or on your early gigs?
I learned several technical skills, primarily basics like cable management, show power, and troubleshooting and repairing gear. I also learned how to prep a tour from start to finish, line check, and build show files. More importantly, I began to see and learn how to interact with clients, how to ask questions, and observe.
Career Now
How did you discover System Engineering?
I discovered systems engineering during my internship while working in the shop, learning what a drive rack is and what it does. That led to me asking about the position of the person using the gear and what all systems engineering entailed.
Why were you drawn to System Engineering?
I was drawn to systems engineering because, unlike so many other aspects of live audio engineering, it’s as much a science as an art. For me, it’s taking the challenge of making the show sound the same in every seat into the context of a new venue daily. I enjoy that I can measure the system, see how well I’ve done, and see what I need to improve. It’s fascinating that I can see a lot of how something sounds on an analyzer. My work is a specific, measurable process, and nothing is random. It’s all a series of decisions with measurable effects, and I can go back to the data and say this is why I made these choices, and that, to me, is something I love.
If someone wants to pursue this path, what advice do you have for them? Education and skills?
The advice I have for someone jumping into this specific role in the industry is to not only get a mentor but also to read a lot. Sound Systems Design and Optimization by Bob McCarthy is a book that I have learned a lot from. I recommend reading Between the Lines by Michael Lawrence as well.
What is a typical day like?
My typical day on tour begins by making a 3D model of our venue for the day (or verifying a pre-made model if I was given sufficient information in advance). Then I’ll design the PA and send the splay angles, trim heights, and all other necessary information to our fly techs. From there, I’ll build FOH, run snakes, and get our FOH engineer powered up and ready.
Once our FOH engineer completes the virtual sound check, we tune the PA, take a walk and listen to it. At that point, we will make any changes we see fit. Then we go onto line check and soundcheck with the band.
Additionally, I’ll usually sit with all the front-of-house engineers through their soundchecks and make any changes they ask for in the PA. I typically have some downtime from there to relax, and finally, we have a show.
During the show, I walk around the venue and listen to the PA. I will also make any changes asked for by the engineer or any specific changes needed to make all areas of coverage sound the same tonally across the venue. Last, we load out and do it again the next day.
How do you stay organized and focused?
I use several spreadsheets and keep notes on everything from the patch to show file changes.
What do you enjoy the most about your job?
I enjoy the challenge of making every seat sound the same every day, regardless of the venue we are in. Some days we play in clubs, while others are in arenas. No matter the venue, my goal is to have every seat at every show sound as close to the same as possible.
What do you like least?
While I love doing tours in Europe, what I dislike the most is the time change when I am there. Tour life can be challenging to regulate and manage all aspects of your life, whether it be work, relationships, or simply trying to figure out how to have a functional schedule without burning yourself out. The time change simply adds another layer to the mix and makes talking to friends and family much more difficult.
If you tour, what do you like best?
I enjoy the people I meet and the travel.
What is your favorite day off activity?
I go to the gym or run on days off to stay physically active. I also work on the next day’s gig, so I feel confident and prepared when I show up the following day.
What are your long-term goals?
Long term, I would love to become even better at my craft. I plan to eventually work on new technology or theory in research and development. I aim to contribute to the industry in a way that will outlast me. I plan to leave behind a better version of the industry than I found when I started.
What, if any, obstacles or barriers have you faced?
For me, the most challenging part of getting started was learning where to start asking questions. For a long time, I didn’t have enough knowledge to ask questions worth answering. Also, once I started learning about audio and its different aspects, there was a moment when it felt overwhelming to look at all the skills I needed to know.
How have you dealt with them?
I decided to deal with this by choosing one skill at a time to work on learning and then either further pursuing it if I was interested in it or moving on to the next one if I wasn’t. That’s how I gathered interest in systems engineering, leading me to my current job.
Advice you have for women who wish to enter the field?
My advice for young women joining this field would be not to be intimidated or deterred by the people around them. Some of the nicest people I have ever met, I’ve met on tour. We’re all figuring it out as we go, and we’re all constantly learning. If someone won’t answer your questions, it’s a sign you should be asking someone else.
Must have skills?
My must-have skills are troubleshooting, organization and communication.
Favorite gear?
My favorite piece of gear I’ve used this year is the Meyer Galaxy 816 processor. I’ll put one in front of any system, and it’s been a game changer to have access to U-shaping for tuning PAs.
Systems Engineer Michael Lawrence is accepting applications from members of SoundGirls to shadow him on his upcoming tour in August – September.
It’s a big Meyer Panther rig and he will use Smaart v9. It’s a good opportunity for learning as he does not use any auto EQ, auto splay, auto solvers, beam steering, etc his workflow, it’s all Real Science. No clicking the magic button and letting it do your job for you.
One person per date and will prioritize people who have an interest in the systems engineering /measurement/ tuning side of things.
You will have to bring a bag lunch and show up at call times TBD. 18 and over.
Rachael Moser has worked for Clair Global in Nashville for over ten years as a PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, and most recently System Engineer/Crew Chief. She has worked in audio for over 15 years and attended Belmont University, graduating from their Audio Engineering Technology program with a BS and minor in business.
Rachael grew up surrounded by music. Her dad was a bass player in a local band and had a full-scale recording studio in his advertising agency. She would spend time in the studio when school was canceled for snow days and other holidays. She would tag along with her parents to concerts and asked to see Tina Turner. Rachael remembers “being in awe of everything I was witnessing; the lights, the dancers, everything. I also remember whining because it was too loud and being too stubborn to put in earplugs. I find that fact to be quite funny given my current profession. Even though I may have complained, it sparked something inside of me that never burnt out. I can still get that feeling of wonder and awe going to a concert.”
Rachael played the oboe and alto saxophone in band throughout middle and high school and described herself as a band nerd. “I was what you would call a self-certified “band nerd.” I was a member of the marching band and was named drum major my senior year. I performed in the backing band for our school’s competitive show choirs, played in the pep band for at-home basketball games, and played in the orchestra for the school musicals. If I wasn’t in class or working on a video project, I was probably in the band room. I enjoyed playing music, but I didn’t LOVE performing. When I found a way to combine my love for music and technology, my passion for playing began to take a backseat.”
Being exposed to both technology and music in school and Rachael developed a love for playing music and working on the student television team. She became an assistant for her video communications teacher, where she could work on editing segments for the daily news and short films that students had put together. Rachael would be introduced to audio while taking a Digital Media Class, where she learned Pro Tools and recording. “It was there that I learned that I could combine my technology background with my love for music and never looked back.”
During her junior year in high school, she realized she wanted to pursue an audio career, although, at the time, she was not thinking about live sound. “I wanted to be a producer and own my own independent record label at the same time. I started looking at various colleges and universities that offered music business degrees along with audio programs. I visited a few different colleges, but none felt like the right fit. One day my dad ran into my middle school band director while out shopping. He suggested I check out Belmont University in Nashville. After my first campus visit, I knew it was where I could get a practical, hands-on education while in a small university environment. I would also have access to top-quality internships and job opportunities by being in Nashville, with Music Row just down the road. I knew it was where I needed to be.”
She would enroll at Belmont University in the Music Business program with a production emphasis. It was during her 3rd semester of college that she was introduced to live sound and when she realized that “I had a totally different audio passion. It didn’t come as much of a surprise seeing how much of a connection I felt going to concerts. I switched my major to Audio Engineering Technology but kept a minor in music business. I knew there was value in understanding how this industry and the music business works.”
At Belmont, Rachael was provided a lot of opportunities to work on and off-campus. One of her first jobs in the industry was working for the student-run live sound company, Clear as A Bell. The students were responsible for advancing, prepping, and working all shows they booked under the faculty advisor’s supervision. “It was a great introduction to knowing what it takes to work a show from start to finish.”
As part of the live sound curriculum, they worked on a series of showcases, which were full-scale productions six times a year in the campus arena. It was during one of these showcases that Rachael was introduced to Clair. Rachael would gain experience working alongside the Clair system engineer and monitor tech, flying the PA, ringing out wedges, mixing FOH and monitors. She says this experience solidified her career path in live sound, and she would set a goal to work at Clair and move her way up to system engineer.
Rachael has achieved her goal of becoming a system engineer for Clair Global, and while it was not an easy path, it is one that she says was worth it. She now finds herself thinking, “deeply about where this path takes me next. I know at some point, my husband and I hope to start a family. That will be a big change and potentially impact the next steps in my career. For now, I will continue to grow and educate myself to become an even better system engineer.”
Career Start
I have worked for Clair Global since January 2010. I first started working at Clair in their Nashville shop my last semester at Belmont as part of a student work partnership. I would work two days a week testing cables or assist in whatever department needed help that day. One day it could be the speaker department, getting PA systems tested and ready for a tour. Another day could be in tour prep, packing caddies, and helping the touring staff get their stage and console packages together. During this time, I learned how each department worked and saw how each tour came together. After graduation, I was offered a full-time position in the electronics department, assembling racks. I would spend the next three years working in the electronics shop, specializing in wireless and intercom systems. I moved to Lititz, PA, in 2013 to complete the road staff training program. After training, I moved back to Nashville and have been touring in various roles since, from PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, to most recently System Engineer/Crew Chief.
How did your first internships or jobs help build a foundation for where you are now?
In my early years, I learned a lot about myself and who I wanted to be. Starting out, I was so shy and intimidated by everyone else in my classes. It seemed everyone else was further along in their knowledge of audio or had already been working in audio for a few years. I felt behind the curve, and like I would never catch up. I knew the only way to overcome any of that doubt was to put my head down and learn. I took every job and internship as an opportunity to advance further. Not every internship I had was fulfilling from the technical standpoint, but I learned where I wanted to end up and what I wanted to achieve.
When I was first starting out at Clair after college, I was offered the opportunity to run sound for a new worship service starting at a local church. It was an entirely new system that was installed, and I was walking into it about a week before the first service. I was doing it all, setting up the tech cart (the console was a Yamaha LS9 that was on a cart with the lighting console that rolled out of a storage closet and patched into a column in the center of the room), patching the stage, running monitors from front of house, etc. This job taught me a lot about self-sufficiency and time management. I absolutely loved my job running sound at the church and continued to do so for several years until I started touring. I’ll still occasionally fill in if I’m home on a Sunday morning.
What did you learn interning and on your early gigs?
In my early gigs, I was able to develop the confidence I needed to make it in this industry. I remember the very first show I ever had to mix on campus; I was so nervous that I passed out while mixing. Everything was going along fine, but my adrenaline bottomed out, and I may have locked my knees, and I went face-first into the console. I was mortified and wanted nothing more than to run back to my dorm and never come back. But I remembered the few moments right before I left a small dent in that Midas Venice console; I felt so alive. I felt like I was right where I belong. Sure, I could run away and be too embarrassed to mix a show again. Or I could take a beat, remember to breathe, and move on. And move on is what I chose to do. Every show after that, I found myself becoming more confident until I genuinely believed that I belonged.
Did you have a mentor or someone that helped you?
There have been many people who have been big influences throughout my career. However, a few people really stand out as ones who have helped or mentored me along the way.
One of those people would be Jeff Briggette. Jeff was one of the first people to see potential in me as an RF tech when I started building wireless systems. He helped push for me to go on my first broadcast gig to gain real experience. Every time I have worked with him since he has continued to offer knowledge and experience that I continue to use throughout any RF work I do.
Another one who has been a mentor to me is Robert Bull. I have had the privilege to work with and learn from him for several years now. Whether I’m needing guidance through a tough moment in my career or celebrating even the smallest of victories, Bull has been someone who I can go to for advice or help. If I’m struggling with my monitor mixes and have dug myself into a hole I can’t get out of, Bull is the first person who is there to not only help get it sorted but teach along the way.
Career Now
What is a typical day like?
A typical day starts out with me walking into the venue and looking around to see what we can look forward to for the day. I usually have a checklist of questions that I try to get the answers to before load-in begins. I will also determine how will be hanging the PA that day. Once my pre-load in tasks are done, I head off to catering to grab some breakfast.
The first thing we see off the trucks is our rigging and power package. We will run feeder and get motors prepped to be hung, all before PA starts coming in the door. Once we have PA sorted on the floor, we will see the console and stage packages shortly after.
Once all audio gear is in the building, our stage manager gives us eight stagehands to assist with tipping consoles, hanging PA, and setting the stage. Once the PA is at trim, I head to front of house to assist our front of house engineer with the system’s tuning. Once all fine-tuning is complete, and we verify coverage, the audio team heads off to lunch.
Typically, we will have a band soundcheck each day. During soundcheck, I will walk the room again and verify that we are covering properly and everything we have done to the system is translating well. Once soundcheck is over, it’s time for the opening acts.
Some opening acts carry their own audio packages, while others will utilize a package that we carry with our PA. We will assist the openers to get set up on stage and provide front of house/monitor mixing if requested. Once all soundchecks are done, it’s just about time for doors to open.
With just enough time to take a quick breather and grab some dinner, it’s time to head back out for the start of the show. I sit out front for the remainder of the night, making sure everything is working properly with the system. I will occasionally walk the room to make sure we are still covering well now that the venue is full of people.
Before loadout begins, I’ll get with our PA tech to meet with our stagehands and go over the load-out game plan. I start my loadout at front of house, then move over stage right to begin bringing in PA. Once everything is out and loaded onto the trucks, I shower up, grab some after-show food, and try to get as much sleep as I can.
How do you stay organized and focused?
One of the first things I do in the morning is to make sure I know where our gear is coming in from and where it will end up. I also have a plan with the rest of the crew to stage our cases in an easily accessible area for load out. I always keep a little notebook on me as well to write down any notes or pertinent information that may arise during the day.
What do you enjoy the most about your job?
I was asked recently by someone what is my “why” for doing this job. The best way I could describe it was knowing that I am a part of something that is bigger than myself. I love being able to be a part of a team that brings to life an artist’s vision and help them present it to their fans every night. Being able to look out and know everyone in the crowd is there feeling a connection in their own way to the artist on stage; it brings a feeling that is indescribable. Even after having toured for several years, I still get that feeling when I go to concerts. I love knowing that I can help bring that feeling to other people.
What part of touring do you like best?
I like the challenge of doing the same thing every day but in a completely different place. Sure, the venues all kind of look the same, and after a while, begin to blur together. However, each place has its own uniqueness that you must learn to work with. I feel like that’s what keeps this job from feeling too monotonous. It’s easy to look at touring as doing the same thing day in and day out; load in, do a show, load out. However, every day provides its own set of challenges that keep you on your toes. At the moment, I may be upset at the fact I’m having to do a parking lot party loadout while it’s snowing or that my points took an extra hour because rigging in the building is difficult. I wouldn’t change it for the world.
What do you like least?
Being away from loved ones for so long. It’s easy to feel like I’m missing out on big life events or even the simple joys of normal home life. My husband and I both toured and were even lucky enough to tour together for three years. Before that time, though, he was gone nearly 300 days a year, and I was usually on the road when he was home on a break. It was incredibly tough. Not to mention, with both of us on the road, it made having a dog next to impossible, something we both want very much.
What is your favorite day off activity?
I love finding a day spa in whatever city we are in and booking a self-care treatment for myself. Whether it’s a massage, facial, or pedicure, I enjoy being able to break away from the tour bubble for just a couple of hours and unwind. We work these intense jobs with long hours, constantly on our feet with little sleep. I make sure to take time to relax and decompress.
I also enjoy finding great places to eat. I will remember a city based on places I have eaten on previous tours. Some places have left such an impact that I make a point to return whenever possible. Fun fact, my husband and I planned a vacation to Vancouver based around an oyster bar I found on a day off. I knew from the minute I sat down that I wanted to share it with him, so we booked the trip.
What if any obstacles or barriers have you faced?
I’ve had teachers in the past try to discourage me from pursuing a career in audio because “even though it may seem glamorous, most people don’t make it.” In college, I had fellow students openly discuss how they didn’t understand why women would want to be in this business. I had an internship interviewer ask me, “well, what are we supposed to do if a tour doesn’t want a woman on their crew? How would you feel about that?”. In my current job, while, for the most part, rare, I’ll run across the occasional stagehand who seems to have a major issue with me right from the start. Sometimes they are subtle; the eye rolls when giving directions or refusing to listen, then getting an attitude when my voice gets elevated. Others are more direct, making statements of “I don’t work with women” then trying to play it off as a joke while standing right in front of me (yes, this really happened).
How have you dealt with them?
The best way I’ve found to deal with it is to tune it all out and realize that it’s all just noise. Any person who doubts my abilities and refuses to look beyond my gender is not worth my time or worry. I have chosen to surround myself with incredible people and work for a company that supports and lifts me up rather than tear me down.
The advice you have for other women and young women who wish to enter the field?
Never compare your path to somebody else’s. It’s so easy to get caught up in how much more knowledgeable another person may be or how many other tours that person has done. There may be times where you feel stuck, but use that feeling and forage your own way. Never stop learning and never stop growing.
Must have skills?
Troubleshooting is an absolute must skill for me. Being able to locate and solve problems is key, especially if you are under a time crunch or have a dozen other tasks still on your plate. I also believe that continuing education goes together with being able to troubleshoot problems on the road. Further advances in technology require us as techs to stay up to date on the latest equipment that is being sent out on tours.
Favorite gear?
Whirlwind QBox. It may not be flashy, but it will be a lifesaver when you need it most.
Using The Scientific Method in Assessment of System Optimization
A couple of years ago, I took a class for the first time from Jamie Anderson at Rational Acoustics where he said something that has stuck with me ever since. He said something to the effect of our job as system engineers is to make it sound the same everywhere, and it is the job of the mix engineer to make it sound “good” or “bad”.
The reality in the world of live sound is that there are many variables stacked up against us. A scenic element being in the way of speaker coverage, a client that does not want to see a speaker in the first place, a speaker that has done one too many gigs and decides that today is the day for one driver to die during load-in or any other myriad of things that can stand in the way of the ultimate goal: a verified, calibrated sound system.
The Challenges Of Reality
One distinction that must be made before beginning the discussion of system optimization is that we must draw a line here and make all intentions clear: what is our role at this gig? Are you just performing the tasks of the systems engineer? Are you the systems engineer and FOH mix engineer? Are you the tour manager as well and work directly with the artist’s manager? Why does this matter, you may ask? The fact of the matter is that when it comes down to making final evaluations on the system, there are going to be executive decisions that will need to be made, especially in moments of triage. Having clearly defined what one’s role at the gig is will help in making these decisions when the clock is ticking away.
So in this context, we are going to discuss the decisions of system optimization from the point of the systems engineer. We have decided that the most important task of our gig is to make sure that everyone in the audience is having the same show as the person mixing at front-of-house. I’ve always thought of this as a comparison to a painter and a blank canvas. It is the mix engineer’s job to paint the picture for the audience to hear, it is our job as system engineers to make sure the painting sounds the same every day by providing the same blank canvas.
The scientific method teaches the concept of control with independent and dependent variables. We have an objective that we wish to achieve, we assess our variables in each scenario to come up with a hypothesis of what we believe will happen. Then we execute a procedure, controlling the variables we can, and analyze the results given the tools at hand to draw conclusions and determine whether we have achieved our objective. Recall that an independent variable is a factor that remains the same in an experiment, while a dependent variable is the component that you manipulate and observe the results. In the production world, these terms can have a variety of implications. It is an unfortunate, commonly held belief that system optimization starts at the EQ stage when really there are so many steps before that. If there is a column in front of a hang of speakers, no EQ in the world is going to make them sound like they are not shadowed behind a column.
Now everybody take a deep breath in and say, “EQ is not the solution to a mechanical problem.” And breathe out…
Let’s start with preproduction. It is time to assess our first round of variables. What are the limitations of the venue? Trim height? Rigging limitations? What are the limitations proposed by the client? Maybe there is another element to the show that necessitates the PA being placed in a certain position over another; maybe the client doesn’t want to see speakers at all. We must ask our technical brains and our career paths in each scenario, what can we change and what can we not change? Note that it will not always be the same in every circumstance. In one scenario, we may be able to convince the client to let us put the PA anywhere we want, making it a dependent variable. In another situation, for the sake of our gig, we must accept that the PA will not move or that the low steel of the roof is a bleak 35 feet in the air, and thus we face an independent variable.
The many steps of system optimization that lie before EQ
After assessing these first sets of variables, we can now move into the next phase and look at our system design. Again, say it with me, “EQ is not the solution to a mechanical problem.” We must assess our variables again in this next phase of the optimization process. We have been given the technical rider of the venue that we are going to be at and maybe due to budgetary restraints we cannot change the PA: independent variable. Perhaps we are carrying our own PA and thus have control over the design with limitations from the venue: dependent variable forms, but with caveats. Let’s look deeper into this particular scenario and ask ourselves: as engineers building our design, what do we have control over now?
The first step lies in what speaker we choose for the job. Given the ultimate design control scenario where we get the luxury to pick and choose the loudspeakers we get to use in our design, different directivity designs will lend themselves better in one scenario versus another. A point source has just as much validity as the deployment of a line array depending on the situation. For a small audience of 150 people with a jazz band, a point source speaker over a sub may be more valid than showing up with a 12 box line array that necessitates a rigging call to fly from the ceiling. But even in this scenario, there are caveats in our delicate weighing of variables. Where are those 150 people going to be? Are we in a ballroom or a theater? Even the evaluation of our choices on what box to choose for a design are as varied as deciding what type of canvas we wish to use for the mix engineer’s painting.
So let’s create a scenario: let’s say we are doing an arena show and the design has been established with a set number of boxes for daily deployment with an agreed-upon design by the production team. Even the design is pretty much cut and paste in terms of rigging points, but we have varying limitations to trim height due to high and low steel of the venue. What variables do we now have control over? We still have a decent amount of control over trim height up to a (literal) limit of the motor, but we also have control over the vertical directivity of our (let’s make the design decision for the purpose of discussion) line array. There is a hidden assumption here that is often under-represented when talking about system designs.
A friend and colleague of mine, Sully (Chris) Sullivan once pointed out to me that the hidden design assumption that we often make as system engineers, but don’t necessarily acknowledge, is that we assume that the loudspeaker manufacturer has actually achieved the horizontal coverage dictated by technical specifications. This made me reconsider the things I take for granted in a given system. In our design, we choose to use Manufacturer X’s 120-degree line source element. They have established in their technical specs that there is a measurable point at 60 degrees off-axis (total 120-degree coverage) where the polar response drops 6 dB. We can take our measurement microphone and check that the response is what we think it is, but if it isn’t what really are our options? Perhaps we have a manufacturer defect or a blown driver somewhere, but unless we change the physical parameters of the loudspeaker, this is a variable that we put in the trust of the manufacturers. So what do we have control over? He pointed out to me that our decision choices lie in the manipulation of the vertical.
Entire books and papers can and have been written about how we can control the vertical coverage of our loudspeaker arrays, but certain factors remain consistent throughout. Inter-element angles, or splay angles, let us control the summation of elements within an array. Site angle and trim height let us control the geometric relationship of the source to the audience and thus affect the spread of SPL over distance. Azimuth also gives us geometric control of the directivity pattern of the entire array along a horizontal dispersion pattern. Note that this is a distinction from the horizontal pattern control of the frequency response radiating from the enclosure, of which we have handed responsibility over to the manufacturer. Fortunately, the myriad of loudspeaker prediction software available from modern manufacturers has given the modern system engineer an unprecedented level of ability to assess these parameters before a single speaker goes up into the air.
At this point, we have made a lot of decisions on the design of our system and weighed the variables along every step of the way to draw out our procedure for the system deployment. It is now time to analyze our results and verify that what we thought was going to happen did or did not happen. Here we introduce our tools to verify our procedure in a two step-process of mechanical then acoustical verification. First, we use tools such as protractors and laser inclinometers as a means of collecting data to assess whether we have achieved our mechanical design goal. For example, our model says we need a site angle of 2 degrees to achieve this result so we verify with the laser inclinometer that we got there. Once we have assessed that we made our design’s mechanical goals, we must analyze the acoustical results.
Laser inclinometers are just one example of a tool we can use to verify the mechanical actualization of a design
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It is here only at this stage that we are finally introducing the examination software to analyze the response of our system. After examining our role at the gig, the criteria involved in pre-production, choosing design elements appropriate for the task, and verifying their deployment, only now can move into the realm of analysis software to see if all those goals were met. We can utilize dual-channel measurement software to take transfer functions at different stages of the input and output of our system to verify that our design goals have been met, but more importantly to see if they have not been met and why. This is where our ability to critically interpret the data comes in to play. By evaluating impulse response data, dual-channel FFT (Fast-Fourier Transform) functions, and the coherence of our gathered data we can make an assessment of how our design has been achieved in the acoustical and electronic realm.
What’s interesting to me is that often the discussion of system optimization starts here. In fact, as we have seen, the process begins as early as the pre-production stage when talking with different departments and the client, and even when asking ourselves what our role is at the gig. The final analysis of any design comes down to the tool that we always carry with us: our ears. Our ears are the final arbiters after our evaluation of acoustical and mechanical variables, and are used along every step of our design path along with our trusty use of “common sense.” In the end, our careful assessment of variables leads us to utilize the power of the scientific method to make educated decisions to work towards our end goal: the blank canvas, ready to be painted.
Big thanks to the following for letting me reference them in this article: Jamie Anderson at Rational Acoustics, Sully (Chris) Sullivan, and Alignarray (www.alignarray.com)
Arica Rust: In Love with Live Sound Technology
Arica Rust works for Sound on Stage in San Francisco as a staff engineer. Sound on Stage is a sound system rental company based in the San Francisco Bay Area, providing systems for a wide range of events ranging from high-profile corporate entertainment to rock festivals like Outside Lands and Treasure Island Music Festival. Arica has been with SOS for the last six years, which means she wears many hats and works as an engineer for FOH and Monitors, stage patch, and whatever else they might throw at her. Her favorite position is as a FOH systems engineer. She enjoys being on the road and recently completed the North American leg of the Ben Howard Tour as the PA Systems Tech.
Arica has been working in live sound for the last nine years and came to it as many do, with a love of music. Her initial dream was to work in a recording studio. Her journey into live sound started when she went to City College of San Francisco to study studio recording and found herself in the live sound classes as well.
City College of San Francisco offers an excellent audio program, providing several different certificate programs and is headed up by SoundGirl Dana Labrecque. (Dana runs the Bay Area SoundGirls Chapter and is a Co-Director or SoundGirls). After attending the live sound classes and her first internship, that was it; Arica knew live sound was where she wanted to be. When she was a teenager, Arica says, “ I spent all my lunch money buying records and going to concerts with my friends. I originally went to college in upstate New York out of high school to study avant-garde Electronic Music and Creative Writing at Bard College”.
“I want to be able to make people experience music the way that I do with that same feeling where it lights your brain on fire. I figured the best way to shape people’s experience was to be on the technical side of the stage”.
Arica and her friend Tiffani used to throw underground electronic music events in the Bay Area and would use her friends’ rental company Word of Mouth Sound. When she was looking for her first internship while at City College of San Francisco, she contacted them and ended up working behind the scenes at the events she used to attend. She completed her trade certificates in Live Sound and Recording Arts at CCSF before transferring to San Francisco State University.
Realizing that she wanted to work in live sound on the technical side set Arica on her way. She went on to study at San Francisco State University and earned a Bachelor’s Degree in Broadcasting and Electronic Media Arts with a focus in Audio Production. Professor John Barsotti taught the audio program in the broadcasting department and introduced Arica to Sound on Stage.
Arica continues to immerse herself in ongoing education and training, receiving certification in Rational Acoustics’ SMAART, L-Acoustics Levels 1 and 2, and attends various AES related conventions and events. “I value the importance of education and feel that no matter how much one thinks they know, there is always something new to discover. I try to learn from a variety of sources whether it is from the war stories of other engineers or diversifying my training from different manufacturers”.
Arica’s long-term goals have changed since she started on her audio path: “It’s funny how your goals change over time as you learn more. I went to school imagining myself mixing albums for bands, but now I am way more interested in the science of sound and designing, deploying, and tuning systems for different clients”. She also loves teaching and getting people excited about science.
What if any obstacles or barriers have you faced?
The biggest obstacles I have had to face have always been the ones I create for myself. I think I will forever be plagued with Imposter Syndrome: the feeling that I am not good enough, smart enough, know enough, etc. to be where I am. No matter how much I try to prove myself there is always that feeling in the back of my head of self-doubt, but then I’ll have those magical moments where the show starts and maybe it’s music I’ve heard before or, even better, a band I’m unfamiliar with that just blows me away, and I feel like I’m right where I need to be doing what I love.
How have you dealt with them?
I just keep telling myself over and over that “I got this” when I start doubting myself. I stay focused on doing the best I possibly can. I try not to let my demons in my head get the best of me and put 110% in everything I do. It’s easy to get jaded, but even if this time you don’t get acknowledgment for your efforts, eventually hard work shows and people respect that. I do things to help me relax and get in a confident headspace. For example, I have a playlist that I sometimes listen to before going into work to get myself ready to go.
The advice you have for women and non-binary people who wish to enter the field?
I wish we lived in a world where people do not change the way they interact with you based on what they perceive to be your gender, but sadly that is not the reality yet. Things are getting better slowly but surely, but my best advice is to have a tough skin and be the bigger person. People should not be allowed to get away with unprofessional behavior, but you have to counter these situations with professionalism. If you work hard and show everyone your value, then it should not matter who you are. I want to be seen for my skills as an engineer not what people perceive to be my gender.
Must have skills?
I joke that this industry is 20% technical knowledge and 80% customer service skills. You can teach anyone how to operate a board, but not everyone can learn the people skills to interact with artists and clients. A good attitude and a willingness to work will get you farther at first than knowing how to mix. Also always be open to exploring new things and learning from others. I am continually learning and re-evaluating my current knowledge because technology is ever changing and I respect the wisdom of people who share their experience with me.
Favorite gear?
My favorite rig is L-Acoustics K2 with KS28 subs, Kara Outfill, and Arc Wide front fill. I don’t think I could leave home without my laptop running SMAART v8 and the modeling software of the manufacturer whose PA I am working with, my ISEMCON EMX-7150 measurement mic, my multimeter, and my disto. I have Roland Octa-capture and Focusrite Scarlett 2i2 USB interfaces in my A and B rigs as well as a soldering iron to fix problems on the job.
What is your favorite day off activity?
I enjoy spending time and catching up with my friends when I am not working. The industry demands you to sacrifice a lot of your social life, but it is essential to make an effort to keep in touch with your loved ones when you can. Your real friends understand when you are busy because they want to see you doing what you love to do. I also am passionate about my dance practice and reading anything from comic books to technical white papers.
Anything else you would like to leave us with?
I would like to stress the importance of self-care. I think there is a lot of taboo around taking care of your self because everyone works hard and plays hard. I’ve failed, many times, to eat enough, sleep enough, drink enough water while working long hours and paid the consequences on my body and mind sooner or later. It’s important to take time to decompress and reset your brain, even just for a minute that you get to step away. This is a stressful job, but it is also a labor of love. Please feel free to reach out to me! I enjoy geeking out. You can contact Arica at aricarust@gmail.com
What goes into being a great tech that engineers request or want to work with? The second in a series of articles on system techs and their advice on what it takes to be a great tech.
Kevin Glendinning started his professional career working at db Sound in Chicago (now Clair Global Chicago). He has toured as a monitor engineer with Justin Timberlake, Alicia Keys and has been working with Maroon 5 for the last six years. Kevin took the time to share with us his experience as a monitor engineer and system teching.
Questions from SG Members: When people ask what I do, I never know what to say because there are so many terms that can describe what abilities and knowledge I have. I didn’t even realize there were “System techs” for monitors and FOH until I read the SoundGirls.Org blog. I know that everything I’ve learned about sound and signal processing/electronics etc. would easily make me by definition a “System tech” . But does that mean I should consider myself a sound engineer and technician?
Considering yourself as a sound engineer AND technician, sure why not. Plenty of well-accomplished sound mixers tend to pick up side/ downtime work from their mixing roles and wear the “tech hat”. Before being on my own as an independent, I was fortunate enough to stand behind some pretty well-accomplished monitor engineers. I learned what not to do mostly and even more valuable how to deal with bands artists and crews both on and off stages.
What type of equipment do you use for room measurement? Mics, computer programs, audio interfaces, things of that nature.
Room measurements? Well, ears first surely. If something measures up ok and looks all in proper alignment on a graph or chart but still sounds ‘off’, it’s because it is. Trust those two things every day, make sure they supersede any tool, software or device you may be using. Today with wireless, we rely more on RF spectrum analyzers to aid in our wireless allocations than anything else.
I do like looking a KT DN6000 RTA unit up to my listen buss, however. Nice to have a visual read out to aid in what you hear when you solo up inputs and outputs. Lots of times you’ll be cluttered in a funky corner or placed right near sub stacks and while you do what you can to keep the fillings from rattling out of your teeth the visual aids of RTAs goes a long way.
SpectraFoo again offers a great visual when you need to quickly located an offensive feedback ring out or even harshness across an ear mix. They got very artsy with their design, and a block or color differential notates a peak in level/ amplitude indicating where the feedback or level spike was happening in the audio spectrum.
What equipment have you worked with in the past? How does it compare to what you use today and how you are able to do your job now?
As far as the old gear vs. the new school technology it has been an interesting time spanning the last two decades. Undeniably the biggest advancement had been in digital sound desks and system processors. I’d venture to say that a majority of tours and shows out there these days use digital boards. They let the sound mixer become a bit more of a sound designer. Instead of being limited to the analog board’s signal flow and fixed layout on many of the new day digital desks you are free to lay out anything anywhere anytime. The use of automation or ‘snapshots’ song to song is invaluable. It’s one of those benefits that you think, “how did we do this before?”.
Same scope with system processors, the person, tuning and aligning a room or stage using more than just an L-R analog device (EQ or crossover unit) has a bank full of options. As well as the ability to store presets to be used night after night day after day.
What sort of ear training should be done to help in tuning monitors?
When I was 19 and working in the shop of a sound company, we would take a dynamic vocal mic, run it into the desk with no eq or fx. We would take the mic over to a wedge roughly 15 feet away from the drivers and using a 31 band EQ we would slowly boost one fader causing that freq to act up – feedback. After that, we would pull the EQ fader down, and we call the freq “160Hz, or 4K,” whatever the fader and feedback fundamental was. All this being recorded onto a DAT to be played back for anyone wanting to hone in on their ability to recognize specific freqs. One thing to be aware of however with too much level present you can cause more than one freq to take off so ease into it and just get the main fundamental freq.
Have there been any helpful books or training courses that you would recommend?
There is a ton of literature out there on live audio. I never really went that route. As much as I enjoy a good book I always found that real world knowledge was far more valuable. Do pick up The Audio Dictionary, however. I use it for explanations on terms when reading through Dave Rat’s blogs.
SoundGirls.Org Questions
What are the job duties of a stage tech vs. a monitor tech?
Stage Tech duties: Supply main power AC to the backline (band gear) and take care of all the inputs. Monitor Tech duties: All things dealing with the mixing desk and monitor engineer, many times taking command of the speaker and IEM outputs as well. Lots of times these days the two rolls are wrapped into one position, even the monitor mixer possibly.
You currently tour with Maroon 5 as their ME, do you carry production? If so what company are you using? Do you have a dedicated tech?
On Maroon 5, we are currently carrying production from SSE Hire from Birmingham UK as well as a few select pieces from Sound Image San Diego. The band’s touring career has seen them use ShowCo, Rat Sound Clair Global, Gabison, as well as Jands throughout the globe. Really comes down to budgets, geography, and what PA systems the FOH guy/gal is into using in that particular era. Rarely do the monitor mixers hold too much weight in the decision making of audio vendors for tours.
What equipment are using?
I have a VERY standard touring rig for the Maroon 5 guys. We have a sd7 Digico with 70 inputs and 20 outputs (this includes crew mixes and an array of TB miss for stage comms).
We use and basic ears system from Shure (PSM1000s) and ear pieces from Jerry Harvey Audio, their Roxanne IEMs. The Digico – JH Audio -Shure combo is a winner for us. I get a clean accurate and very detailed result from keeping those three pieces in play tour to tour. I am on year six now with them, and although I do take other shows and projects I have been loyal to them as they’re loyal to me. A great relationship I like to keep going and enjoy.
How do you prioritize your job duties and tech duties?
Prioritizing is VERY important. If there are problem(s), and yes when one pops up another is sure to follow (see Murphy’s Law) it’s imperative to keep the voice calm, think clearly and make concise, direct decisions. As the monitor engineer remember, the band, crew, and staff go to you to ultimately fix whatever is acting up or malfunctioning. Top of the list as far as where the finger gets pointed. Something to get used to and not fear.
The important part is that things are safe for everyone’s hearing. By this I mean don’t ever be the one who could ultimately endanger or damage anyone’s hearing. With in-ears, I always implement an “it can only go quieter” policy. Meaning all pads are fully out on mic and DIs. If something fails on a transducer, it will only go quieter NOT louder. 12dB swing in an ear mix can be deafening, serious stuff to be aware of. If you’re not sure about an input; start with the channel fader all the way down, cue it up, have a listen and slowly bring the fader up instead of a unity ON button and see what happens.
Teching for a FOH or Monitor Engineer requires a certain set of skills. What do you feel are the important skills a monitor tech should possess?
The whole tech – engineer relationship can go both ways really. As in partnership or teamwork in business greatly improve when everyone works together and have the same goals in mind. Do a good show, have fun with what you are doing and treat everyone fairly in the process. Getting packed up and onto the next city in a timely manner is always everyone’s top focus once the band gets off stage.
FOH and Monitor Techs are often required to help the engineer achieve their vision and goals. How can a tech help the engineer see his/her vision come to fruition?
If you’re assigned a tech that is fairly new or ‘green’ it’s always a fun task of showing them fun tricks in audio or a slick thing here or there. Lending advice as to how she/he can improve on what they’re doing. I wasn’t born knowing it all and certainly still don’t. Many friends and superiors over the years were kind enough to show me a thing or two along the way.
What can a tech do to become irreplaceable?
The word irreplaceable should not be in anyone’s lexicon, ever. We can all be sent home at any time trust me. Remember that, always. When shows don’t go so well, it’ll surprise you how fast blame is assigned to those on the audio team.
How important is it for FOH and Stage to be working together?
The relationship between FOH and MON mixer is always colorful. One person thinks because they have 8 x times the number of inputs than the other that they’re more of an importance. Ha! I always try and get on well with the person I am sharing inputs with. Makes for a better tour and bus environment.
As systems become more technically advanced, how necessary is it to have training or to be certified on the different systems?
I think as we grow as an industry and manufacturers keeping advancing in terms of technology that it is important to keep on trends and developments. But it is also important to retain a bit of the old school. Remember that audio was around way before you and I and as long as there is oxygen will far outlast us into the future as well.
Training can be taught on all levels; bars, clubs, arenas and stadiums, all have their different quirks, and it’s crucial to be familiar with them all. Not just in terms of audio properties but you need to know how to hot wire the golf cart when catering is 8000 yards away at Wembley Stadium.
Lastly, I would say the basics are still an important thing to develop fully.
Signal flow from transducer – desk – output devices
Wireless elements – ears and mics
Frequency detection – try that 1/3rd octave set up we mocked up, still remember those days fondly in my upbringing
If anyone cares to ask further questions or chat I can be reached @ inearengineer@gmail.com
Suzy Mucciarone on FOH and System Teching
What goes into being a great tech that engineers request or want to work with? The first in a series of articles on system techs and their advice on what it takes to be a great tech.
Suzy Mucciarone started out as a stage tech and now is well respected system and Engineer and FOH Tech. (more…)
What does it take to be a great FOH or Monitor Tech?
These positions are often called babysitting gigs, as in you are babysitting the FOH or Monitor Engineer. But every engineer knows how important it is to have a great tech and all have had experiences with less than helpful techs. (more…)
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