What is your current position on tours/ events?

Monitor Engineer

How long have you been in the industry? What was your first job in the industry?

[I have spent] 25 years in the industry - studio engineer, monitor engineer, broadcast TV foldback engineer, audio designer, and very rarely, FOH engineer. My first paid tour was mixing for Smalltown Poets & The Waiting back in 2000.

What inspired you to pursue a career in production, and how did you get started in your specific field?

Music became a major part of my life at a young age. I loved playing music and still enjoy being part of the creation of music. I remember the time when my band finally amassed enough original music to start recording, and that is when technology stole my attention and outboard gear became my new video game. I had to figure out how it all worked together.

The idea of reverberation, and the world that can be created within a collection of effects, made a distinct impression on an impressionable mind. Eventually, monitors kinda chose me; being side-stage and in direct support to the artist was very appealing. Honestly, I landed there on my first gig and just stayed. Looking back, maybe it's because it was the closest feeling I could get to those early days in the studio with my bandmates. But whatever the reason, it's working.

What are some of the biggest challenges you face on a day-to-day basis, and how do you navigate these challenges effectively?

Communication of ideas is huge in mixing monitors. We interpret the words of the artist into tangible steps that allow us to deploy the audio tools needed to create the auditory experience [the] artist is seeking to hear.

Communication is also key in keeping all the lanes clear. Stay in your lane? In my audio zone, if lanes get crossed, the show goes badly. So yes - it's very much a necessity to set clear expectations to keep the lanes clear. In my career, I have been responsible for anywhere from 1 to 50+ humans on stage in regards to what they hear. The routing matrix of what comes in and where it needs to go becomes incredibly dense. Seeing that matrix in my head is key to making sure I'm not painting myself in a corner as the mix comes together. The decisions of one channel are being experienced by all the musicians on stage.

How do you handle the demands of touring with the needs to maintain a healthy work-life balance, and what strategies do you use to manage the stress of the job?

Having a finely tuned relationship with my spouse has kept me grounded for the last twenty years. It's not always perfect, but we intentionally come back to the campfire daily to work on all aspects of life. At the end of the day, the buses will stop and we need to have purpose and a home to come back to. Having a reason(s) as to why we do what we do out here is beneficial. The sacrifices we face in road life don't have to all be negative - focusing on what we're able to accomplish outside of the gig and because of the path chosen can shine like a beacon in those dark, middle-of-the-night load-outs.

What are some of the most memorable experiences you’ve had working in the industry, and how have these experiences influenced your approach to your work?

People...it's all about the people you are around and how you interact. Every gig I've gotten has come from an incoming phone call. The guitar tech you met at 22 might be calling you as your TM (Tour Manager) 5 years later. It's a small world and our reputations always proceed us.

What role do technology and innovation play in your specific role, and how have these elements evolved?

For monitor engineering, digital consoles with high input/output counts made all the difference. One-half of monitor files are musical inputs, the other half are utilitarian inputs that operate outside, but in conjunction with, the musical half of the console. Digital consoles made that dance much easier.

My first IEM mix was a Yamaha PM3000M. It had 4 x stereo auxes and 6 or 8 mono auxes. The 4 x stereo auxes had a pan knob on the bottom and a volume knob on top of a dual knob which made it easy to create stereo in-ear mixes. Drummer wants the guitar to be turned up and panned left? Turn the top knob up to the appropriate level and turn the lower part of that knob to the left to pan it - very instinctual.

NOW... my players that came after those 4 stereo auxes required 2 mono auxes to create a mix. The odd number fed the left ear and the subsequent even number fed the right ear. Think about doing that math before turning BOTH knobs at the same time but turning up the appropriate aux a LITTLE bit more to get it the image to move left or right. Years later - on digital consoles - this dance is all but a dusty old monitor guy story.

In your opinion, how will technology shape the industry in the future?

Technology will continue to bridge the gap between our brains and are hands. Faster workflows, more musical mixing, and quicker results is what every manufacturer chips away at with every release. We all know that techs will pick apart every little nuance of their gear to get the most out of it and then report back to their favorite sales rep about what they do and don't like. I've always [been] excited to see the latest and greatest console hacks and how my colleagues use these tools.

What advice would you give to someone interested in pursuing a career in Live Entertainment, and what qualities do you think are essential for success in the industry?

Find what is sustainable first; either location or genre. Like what you do. Like the music you're working on. Like the people you're working with. If you can find all three, it's the perfect gig, but at least shoot for one of those things to be true to start. Be able to say no, which means do your homework on the gig and have enough [money] stashed away for a year off. It happens...

What advice would you give to someone looking to advance in their career?

Know your gear, know the music you're working on, know who to call when you're stuck, know what to show up with, fill up your toolbox of skills daily. Learn with your eyes while your hands are doing. Look around during a load-in and take in the full picture. Try to predict what might happen next. But at all times, stay in your lane. Touring is very compartmentalized due to time constraints. Two hundred jobs all happen at once, flying at 100 mph to make soundcheck, doors, show, load out, etc. Focus on your task, do it safely, and always be looking ahead in life, career, and love.

If there is anything else you would like to share, feel free to do so.

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