making money as sound guy...

[zuul777]

hi i have alot of equipment, and i want to start running sound system for shows and stuff. here is roughly some of the main things i have:

 

two 500 watt PA cabs

1400 watt power amp

20 channel mixer

rack effects processors

rack compressor

ADAT machine to record live

mics

cables, etc

 

i plan to buy a subwoofer setup after i make some money.

 

how much money could i make doing different sized shows, etc? how should i promote myself

[rangerkarlos]

This is a good question for the Old Hands over at Live Sound & Production. There are some very knowledgable seasoned sound guys over there. Don't troll them! Listen to their advise, it's very good. It may take a while for them to reply, so keep checking back.

 

FWIW- You'll need a bit more stuff if you want to go for hire. Monitors, more mains, plenty of mics for drums, etc.

 

Promote yourself through flyers @music stores (let the store know you exist- they will get inqueries on rentals etc., word of mouth, ad in the local street paper (Reader, City Pages- type).

 

Most sound guys won't leave the house for less than $200, you may differ in your needs and desires.

 

Your skill level will also come into play. If you can't make the artists sound good, trouble shoot problems, meet reasonable requests, you may not get a second chance. You might want to work with some established outfits (humping gear, gofer work) and they'll let you learn the ropes. This would save you lots of bumps and bruises. (I'm assuming limited experience here- if you're seasoned already, nevermind).

 

Karlos

[zuul777]

i have two 120 watt monitors and know my equipment down to their circuit components.

[JimNdave]

We pay $400 for a sound guy and his gear. All we do is show up for sound check! BTW lights are included in this price.

[Kingnome]

Originally posted by JimNdave We pay $400 for a sound guy and his gear. All we do is show up for sound check! BTW lights are included in this price.

 

That's seems pricey-- Not for what you're getting for your money, but considering what clubs are paying the bands. What size venues are you playing?

 

 

Zuul777-

For advice, I'd say if you're good at trouble shooting or at least good at working around a problem to make things work, then get a couple more monitors and mics and a backup amp and go for it. Depending upon the places in your area, I'd say you could make a go at it.

 

If most of the clubs are bar-room type places you'll be fine with that gear. If they're the larger stages and dance floors-type then you'll be looking at a bigger system and somebody to help.

 

You'll want some better stacks, to be sure. I don't know what you'd need a sub-woofer for, but then again I guess alot of these rap/rock-type bands need them.

 

The nice thing I found about doing sound is that you get to do all kinds of shows and meet a lot of good people. Contrary to musicians, ads in local papers work because alot of varied places need PA services. Hotels, retirement homes, parties, corporate functions, etc.

 

I was charging 200-250 for a system a little bigger than what you have w/o lights.

Consider buying a modest light set-up. They're actually pretty cheap, compared to sound, and it would help you become a more full-service-type enterprise. BTW, it sure beats playing "Gimme Three Steps" every night !

[JimNdave]

Originally posted by Kingnome That's seems pricey-- Not for what you're getting for your money, but considering what clubs are paying the bands. What size venues are you playing?

 

I should have clarified. $400 is max when we play big hall parties and such and need a large FOH and big light show. Usually we get away with $100 worth of his gear. That includes a small light show.

[Somerled]

must be a different club environment than what we have here in tulsa... anyplace that is going to pay enough to be able to pay the soundguy has their own setup and soundguy. the places that we're playing rarely pay over 300 a night, so we just deal with running the sound ourselves. although, considering the amount of money we've shelled out on pa gear, 200 a night probably would be reasonable if we made more cash. We have over $3000 invested in our current pa system, so thats quite a few $200 gigs...

[StratKat]

I ran sound for a few groups on off months years ago. Here is what ive learned that may help someone.

 

1- Dont argue with the band or anyone over how to do something. The band has carte blanche power since they hired you. Do it their way even if its wrong. Please them and they will continue to use you. Over time you can sneak in (cough) adjustments and show them what works better.

 

2- If the equipment looks ragged and torn up (regardless of what it is capable of) fix it up or buy new. When a band gets mad at you the first thing to come out of their mouths is what a pile of crap they are paying for.

 

3- If the audience thinks you stink as a soundman but the band thinks you are great remember who is paying you.

 

4- Never let guys in the audience near the board and/or racks. This is a biz you are running and you are on the job. Be nice but firm in telling the guy who thinks he knows more than you, that he is to keep his hands off everything. Its amazing at bars how many retired musicians want to get into the "scene" with any band they can just so they can relive the experiences.

 

5- If the bar owner gives you grief tell him to take it up with the band. You work for the band, not the bar owner. Its between them. If the owner says turn it down and the band says turn it up do what the paycheck says. Explain to the owner you are sorry but under contract to perform according to the bands instructions.

 

6- Always have both a wireless vocal mic and a wireless instrument system available so the members of the group can wander around at soundcheck to hear their idea of superior sound. Most of the time with amatuers they think the sound they hear onstage is the same offstage. Pros learned fast that this aint so. But the only way to avoid the arguments is to let them hear their way first. Then when they cant come up with a fix for their way, ask them if they would like a professional oppinion. If they want it, give it. If not, dont worry about it.

 

7- Many amatuers in bars think monitors are mains. They want effects and shimmering tone from them. We allllll know what problems this causes.... Give them what they want and put up with the feedback as best you can until it really is a problem. When they get mad enough they may listen. I learned that when they are fed up with feedback from effets in monitors to let it ride and then while feedback is present turn off the effects in the monitors completely. The feedback goes bye bye... Then on break I apologize for turning it off but explain it was cascading into the house mix... It sounds like i was trying to do what they asked but was forced to do otherwise to save the house mix. This ussually teaches them to trust you abit more since you DID get the feedback out of the mix.

 

8- And lastly in addition to the above, spend the bucks on the monitors, not the mains, not the lights, not the fog systems. Tons of cabinets in a huge stack or trusses with boocoo pars mean didley if the monitors are lousy. And the monitors are what the band need to hear. Not the mains.... Always remember that the band is the paycheck. Not the audience...

 

 

Now then, is this a SMART way to run a professional biz? Many would say no. You may be capable of giving superior sound to what they order you to do. Relax, its their show, their money, and they get the last word. You may feel like you are doing them a disservice. Forget that noise! If the band is unwilling to trust your judgement or take advice then screw them. Remember this, you are not a part of this band. Give them the lower quality they want and demand. You are a service provider. If you want to be used again and again then submit to the paychecks demands. And keep in mind that just because you are a musician, that doesnt automatically make you a soundman. Their are tricks in every biz. Find a soundman in a differnt neck of the woods from your income area and apprentice through him if possible for a few nights.

 

Now, if you are a bigtime soundman with lots of experience then please dont take offense to my comments. I know the pros know what they are doing in this arena. But for someone just starting off its a different story. To get gigs with lots of bands he needs support from BANDS, not clubs or audience members. That means submitting to each bands oppinions and desires. And most pro soundmen have a solid rep and knowledge base as well as a long list of customers. They can do it their way .

[zuul777]

thanks! now that was informational

[StratKat]

You are very welcome!

 

Here is another trick or two that can same ya alot of grief in this biz.

 

Always take the fuses out of the equipment when you leave. This stops others from blowing anything while you are gone.

 

Build your rack and board into a box with a lockable cover. And dont give out the key to anyone. This stops people (mostly band members who arrive early) from monkeying with your settings.

 

Its also a good idea when a band arrives to let them hear just how loud they were at the end of the previous night BEFORE they start up the next night. With fresh ears its easy to see the overall volume changes that take place. I used to mark each fader with tape at the beginning of the night. Then the next night when they all showed up i showed them just how much they were increasing the overall volume by turning up individual instruments onstage while playing. This eliminates the argument later that its the soundguys fault they had so much feedback on the last set.... Every system has its limits. They pushed it beyond its capabilities, not you.

[firmgripDOTcoDOTuk]

our sound guy is henks dad so its nothing! we are very lucky in that respect! but we usually play at clubs that have all the equiptment needed!

[ATOMICDOG1]

I've been doing sound professionally since the early 90's. Usually, The price I charge depends on several factors.

1) the size of the system I have to bring. If its only a couple of speakers on sticks and a pair of monitors, It ain't gonna cost as much as if I'm bringing a 16 box EAW850 system for a larger venue.

2) Distance- If I have to drive a truck a couple of hours you bet your ass I'm going to charge enough to make it worth the trip.

3) Kind of music- I know it sounds unfair, but my equipment takes a hell of a lot more abuse doing one punk or metal show than If I'm doing a week long polka festival (Yes I've actually done that, Tubas going off in my head for weeks, truly frightening ) So I have to make sure I'm covered for damage.

4) Do I like you- again, sounds unfair, but if I know a band or artist is a pain in the ass or if I really hate the music, my bid goes up. If they want to pay the price I'll do it, but I'm not sad to see some people take the next lower bid

 

As for the system that you listed, its a start and may get you by in small venues. I think that you may find that you may run out of mic inputs pretty quickly and that sub is definately something you'll want to have.

 

Hope theres something you can use in that mess somewhere.

Oh, check out www.roadie.net if you want some good laughs about being a soundguy and being on the road.