Freelance Sound Technician Looking For A Gig

Finally after a couple of months, I am now getting a some more sound gigs over the summer. I have one booked in July on a river boat cruise and the other is at the local bandshell at the beach park. I am happy to work these gigs however, I wish I could find even more gigs to add to the list.

In my local area of Sarnia, ON. many bands are mixing their own sound for their gigs and either don't require a sound tech or just don't want to pay for one. It likely goes hand in hand with the lack of money most bands get to play the gigs in the first place. Still, I believe that most bands require a competent and experienced sound tech to mix their shows. It is one less thing the band has to worry about during a show.

For some reason in my city, there seems to be a less cheapness that comes with the idea of hiring a sound tech and renting a PA system for a show. I would guess that every would like to sound their best and would be willing to hire a sound tech to make that happen. In this city, it seems that everyone wants to cheap out on the sound tech guy.... Too bad because, I have been to some events and shows where the sound was lacking and could have used the expertise of a trained sound tech.

In my city, many clients do not want to pay the cost for a rental sound system and an experienced sound technician. Many people don't even include those costs into their show budgets and expect the sound techs to work for very little or for free. In mu opinion, I am worth the cost of hiring me to do the job. I charge a rate per hour with a minimum flat rate if I am only required for a short period of time. Everything I do is by contract so, I have the ability to adjust my rate depending upon the gig.

In my earlier years, I used to work with the local community theatre groups as a theatre technician for free because, those groups are all non-paying shows. Those days are long gone. I don't work theatre shows from free anymore. I always ask for pay if the groups are offering me work. To me it is no longer just a hobby, it is another form of a paid gig. Needless to say, I have worked many theatre gigs for a number of years.

One-off shows are something that I have been able to work and for those shows I usually set a flat rate for the whole day to make things easier for the client. It works out best for all parties and I have been getting the call to do the same show again the following year or season. Fashion shows and dance recital shows have become part of my portfolio and are guaranteed paid gigs!

With my current presence on the internet with things like Facebook, Linked In, and Blogger, I am starting to get more inquiries about my sound tech services. Word of mouth is also still a viable form of networking. Artists, bands, groups, etc. who I have worked with usually spread the word that I am an available and experienced freelance sound technician looking for work.

http://ronbehro.blogspot.ca/



So, if you are in the Sarnia, Ontario area and require a sound technician for your show or event, please contact me directly for details. Use contact information below:

Recording Live to Two Track Recorders

Today, I read an article on Prosoundweb.com about recording live to 2 track recorders. It was written by Mike Sokol and provided by "HOW To Church Sound Workshops".

I would like to say that I have used this same method for recording live to 2 track straight off the mixing console. What Mike suggest here really does work well as an easy method of getting a quality recording from the main mix. Even though this article is for church sound, the methods will work with any basic, live sound, recording setup.

Mike mentions using a CD recorder to make the recording but, you could also use other types of two track recorders for the job. Personally, I made a live, 2-track recording using one of the Tascam DR05 handheld, digital recorders and the results were really good. You could also do a throwback to earlier recorders like a DAT recorder, or even a cassette deck. The method will work with any kind of two track recorder.

Here is a link to view the full article:
http://www.prosoundweb.com/article/church_sound_files_recording_live_music_to_two_track_recorders/

Do You Want To Get Paid For All Of This?

Recently, I found a great article on Prosoundweb all about the art of getting paid for work as a sound engineer.

http://www.prosoundweb.com/article/do_you_want_to_get_paid_for_all_of_this/

I had a couple of bad experiences recently when it came to getting paid for the work I did on a show. This article has opened my eyes with great ideas and suggestions on how to get paid for the business of sound work and not get burned!

Up until this year, I have worked as a freelance sound engineer and never had any problems when it came to collecting my money on show day. For one show, I worked for a local sound company covering a show date and after the gig was done, the owner of the club did not pay me. This began a month long of calling the club owner and leaving messages about my money.

Nothing worked and since I didn't have any kind of contract on paper I figured that I was screwed. I contacted the owner of the local sound company and he offered to pay me my fee after the club owner would not. I was grateful to get my money however, I likely will not work again for the club owner.

Another gig I worked, there was a lack of audience in attendance. Without any money coming from ticket sales at the door, there was no money available to pay anyone involved with the show. I remember standing outside the venue after the load-out and the organizers telling me "sorry, we can't pay you any money for your work." That was an eye-opener for me!" This was the first time I did not receive the money I was promised for working the show. I thought the show was a write-off until the guy who organized the gig decided to come around and give me a little less than half of the money I was supposed to receive. At that point, I was thankful to get the smaller amount. It was better than nothing at all!

After reading the article, I realized that I SHOULD be using some sort of contract when booking shows in the future. Another thing I learned is that I SHOULD ask for a deposit for the gig. The deposit protects me against problems with the gig. Like cancellation of the show, lack of ticket sales, etc. A fellow sound tech company owner suggested that I SHOULD ask for my money up front BEFORE I start unloading and setting up gear. If the client, does not have the money before the show, then I do not work the show.

With one band, I work gigs for them on a regular basis and I have always gotten paid for those shows either on the show day or within the week. Luckily, I have worked for the band for many years now and they are always good about getting me the money.

Here is the weblink to the article:
http://www.prosoundweb.com/article/do_you_want_to_get_paid_for_all_of_this/

DPA d:facto Vocal Microphone A Hit With London Clubs

So here we have a new condenser, vocal microphone on the scene proving very popular with the vocalists and engineers in the London clubs. With the regular industry standard vocal mics in use daily, it probably is hard for vocalists to try using new gear. Of course, the sound quality is the number one thing that they should be concerned with during their performances.

Here in Canada, I have not yet worked with any musicians, or artists that are currently using the DPA d:facto microphones. It is the usual suspects like Shure, AKG and Sennheiser in regular use. Maybe these DPA microphones with gather some attention "on our side of the pond.", once engineers here get a chance to try them out on a show.

I remember the first time I mixed show using Audix microphones instead of Shure, I did noticed a difference kind of vocal sound in my mix. Now Audix mics are becoming just a popular as the industry standard Shure mics on shows. Maybe DPA d:facto microphones could be the next popular standard vocal mic of choice.

Here is a link to an article that I found on the Prosoundweb site talking a bit about the DPA d:facto microphones in use in the London clubs.
http://www.prosoundweb.com/article/dpa_dfacto_vocal_microphone_a_hit_with_london_clubs/studyhall

Presonus StudioLive 24-4-2 Digital Mix Console

One week ago, I was finally able to mix a concert on a Presonus StudioLive 24-4-2 digital mixing console. I had heard great things about the StudioLive consoles and their ease of use. After a quick crash course with my friend Adam Miner, I was off a running for the gig. After some trial and error, I starting understanding all the routing, and some of the functions of the console. There is some much mixing power packed inside of this compact console! I grew up working on analog mixers but, now I would be willing to begin my venture using digital mixers. Here is a link to find out more about these awesome mixers:

http://www.presonus.com/products/StudioLive-24.4.2

Mixing Sound from the Side Stage

Last night I mixed sound for a gig on a stage, under a covered pavillion, while it rained outside nearly the whole time. Due to all the water on the ground around the audience space, it was decided that I was going to mix the show from the side stage facing the bands. I didn't really want to get buzzed, if you know what it mean!

The gig went well and I able to achieve a good sounding mix. Of course, there is always something that goes wrong during a show and I wanted to tell you about it.

The first band is a 4-piece with two guitarists, bassist and drummer with all four on vocals. Recently, the lead guitarist has added more gear to his guitar setup and is now running his rig in stereo. This requires the use of two input channels on the mixer panned left and right. It works great for his setup and he had a good sound during the show.

The second band is a 3-piece with guitar, bass and drums + vocals. During the break to change the stage over to their setup, I proceeded to plug in one mic for the guitar amp and patch it into the mixer. I got the levels checked and then the guys started their set. After a number of songs, I decided to go for a walk into the audience and take a good listen to the mix. That is when this one person comes up to me and says "there is no guitar coming from the right side speaker".

So, I go back to the mixer, take a real good look at my channels and then I realize the mistake I had made. When I did the repatch of the guitar amps from the first band to the second band, I forgot to reset the pan control on the guitar mic channel. It had been panned hard left for part of the show! Man, did I feel like an idot when I realized my mistake. Since I was mixing the show on the sidestage, I never heard the problem because, I was never out in the front of house area mixing the show. I waited until a break in between songs and then adjusted the pan back to centre for the guitar microphone. Problem solved!

Even when you think you have a great mix happening, you should always check and re-check all the mixer settings to make sure everything is good. Sometimes the simplest things gets over-looked.
Next time, I need to mix side stage gig, I am going to do the front of house walk during the sound check to make sure everything is in the mix.

Tonight, I was on the ProSoundWeb site and I came across an article by Dave Rat of RAT Sound. It is called:  A Great Mix? Sometimes It Depends On Who You Ask…

In the article Dave mentions an example of a scenario where a band is playing and then the sound engineer realizes that there is no guitar microphone in PA left. A very similar sitution during my gig! 
For any sound engineers who have ever had this happen to you during a show, I invite you to read the article. Click on the link below to view.

http://www.prosoundweb.com/article/a_great_mix/

Stagecraft: Wiring A Stage Efficiently, Neatly & Safely

Found this great article on the ProSoundWeb site that I wanted to share with all sound technicians. It is called: Stagecraft: Wiring A Stage Efficiently, Neatly & Safely

If you find your stagecraft skills lacking this primer on wiring will bring your up to speed.

Click on the link below to view the article:
http://www.prosoundweb.com/article/stagecraft_wiring_a_stage_efficiently_neatly_safely/

The article was written by:


Alex Fernie is the founder and managing director of
Alex Fernie Audio Ltd., a leading Irish sound reinforcement rental company based in Galway on the west coast of Ireland. Follow @alexfernieaudio on Twitter.

My Updated Business Card

Here is a copy of my newly designed "Sound Technician" business card. I am a trained sound technician working freelance jobs with the Sarnia/Lambton area.

Do you have a sound system for your band but, nobody to operate it? If so, that is where I can be of service. I normally work as a sound technician only using sound systems provided by the band or artist.

If you require a sound system for your show or event, I usually rent the appropriate gear locally for the requirements of your show. I will then charge an additional fee for the rental cost of the equipment.

If you are interested in using my services, please contact me directly to discuss the details of your show.
I will provide you with a job quotation based on the requirements of your production.

Please contact me directly via the following methods:

Ron Behro
Telephone: (519) 336-1767
Email: rgbehro@hotmail.com
Facebook: www.facebook.com/ronbehro

Thanks for stopping by. I love forward to helping you on your next show or gig.