Today, I find myself following in my father\u2019s footsteps bringing professional sound reinforcement to a variety of events and performances.<\/p>\n\n\n\n
Through years of experience in live audio, I\u2019ve learned that technical expertise accounts for only 50% of the job\u2014while the other 50% is about relationships and psychology<\/strong>.<\/p>\n\n\n\n In my role, I\u2019ve worked with a diverse range of personalities. Here are some of the behavioral traits I\u2019ve encountered\u2014and the strategies I use to create an optimal mix while fostering trust and collaboration.<\/p>\n\n\n\n When I\u2019m working with musicians our communication revolves around their monitor mixes so they can have the best reference possible which help their performance be the best that it can be.<\/p>\n\n\n\n Some musicians embody \u201cno news is good news<\/em><\/strong>.\u201d These individuals have a clear understanding of their needs and confidently communicate their requests. Once they are satisfied with their mix, they typically require little further adjustment. My goal is to create an environment where musicians feel comfortable expressing their preferences, allowing me to craft a mix that best supports their performance.<\/p>\n\n\n\n The silent grumbler.<\/em><\/strong> This individual rarely voices their concerns directly but may express dissatisfaction to those around them. This can be challenging, as their needs remain unclear. A lack of requests does not necessarily indicate contentment. To ensure every musician has the best possible mix, I make it a priority to check in with quieter individuals, proactively asking if any adjustments are needed. One of the most effective strategies I\u2019ve found is being present with the musicians on stage, using my iPad to make real-time mix adjustments. This approach allows me to stay attuned to their emotional state, observe their expressions, and demonstrate my commitment to providing them with exactly what they need to perform at their best.<\/p>\n\n\n\n Some don\u2019t really know what they want.<\/em><\/strong> Some musicians, particularly those with limited stage experience, struggle to articulate their monitor needs. They may be unaccustomed to hearing a live band around them and can find the reflected sound from the PA challenging to process. As a result, they often have difficulty expressing what they want in their mix.<\/p>\n\n\n\n In these situations, I\u2019ve found that asking \u201cHow does the mix feel?\u201d<\/strong> rather than \u201cHow does it sound?\u201d<\/strong> can be more effective. This approach helps them focus on their overall experience rather than specific technical details. Additionally, I make it a point to stand in their monitor position and listen as the band plays. By making adjustments based on what I hear, I ensure that their reference points are clear and well-defined. I then follow up by asking again, \u201cHow does that feel?\u201d<\/strong> to guide them toward a mix that best supports their performance.<\/p>\n\n\n\n The musician who asks for lots of detailed changes.<\/em><\/strong> Musicians who request numerous detailed mix adjustments can be among the easiest to satisfy because they have a clear understanding of their preferences. However, the challenge arises when their frequent requests demand a disproportionate amount of my attention, potentially at the expense of other band members.<\/p>\n\n\n\n In these situations, it is crucial to strike a balance. I make a point to communicate gently and respectfully that I can only address one request at a time while reassuring them that I will return to fine-tune their mix as needed. At the same time, I remain attentive to quieter musicians, ensuring that their occasional requests are acknowledged and addressed promptly.<\/p>\n\n\n\n The overly dramatic but harmless musician.<\/em><\/strong> In high-pressure moments, musicians may sometimes issue abrupt or demanding requests. While their approach may lack tact, I\u2019ve learned that stress and time constraints can often be the driving factors behind such behavior.<\/p>\n\n\n\n The key for me is not to take these moments personally. If the individual is cordial and respectful afterward, there is usually no reason for concern. Developing a reasonably thick skin is essential. By staying composed and focused, I can continue providing the best possible support without allowing momentary tension to affect the overall working relationship.<\/p>\n\n\n\n Some will never be happy and it\u2019s not necessarily about their mix.<\/em><\/strong> There are times when a musician\u2019s dissatisfaction has little to do with the actual mix. I encountered such a situation at Campus JAX, where a band member wearing hearing aids struggled with his floor monitor mix. Hearing aids pose a unique challenge with floor monitors, as they make it difficult to differentiate between various sounds.<\/p>\n\n\n\n To address this, I recommended that he remove his hearing aids and use in-ear monitors instead. This would allow me to craft a precise mix tailored to his specific needs, helping him work around his hearing loss. While the rest of the band opted for in-ears, he was strongly opposed to using his. Despite spending significant time fine-tuning his floor monitor mix, none of the adjustments met his expectations. With each request, his frustration escalated, and it became clear that no technical solution would satisfy him. At that point, I sincerely apologized and explained that I had exhausted all possible options within the limitations of his setup.<\/p>\n\n\n\n Unfortunately, he chose to walk out of the venue in frustration. In situations like these, I\u2019ve learned that the issue is not always within my control. The key is to remain professional, composed, and empathetic, even when faced with an agitated individual. Maintaining a calm and collected demeanor ensures that I continue to provide the best service possible while not internalizing issues that are beyond my ability to resolve.<\/p>\n\n\n\n The musician who thinks they know what they\u2019re talking about \u2013 but doesn\u2019t.<\/em><\/strong>A little knowledge can be a dangerous thing. Some musicians use technical terms when describing their mix needs, but their understanding of those terms may not be entirely accurate. Rather than correcting them or making them feel uninformed, I focus on interpreting their intent and making the necessary adjustments to achieve the sound they\u2019re actually looking for\u2014without getting caught up in terminology.<\/p>\n\n\n\n For example, if a singer requests \u201cmore bass\u201d in their voice, I recognize that the true bass frequency range (60-100 Hz) does not encompass their vocal register. Instead of simply boosting the bass in their vocal channel, I may adjust competing frequencies\u2014perhaps reducing low-mid buildup from an instrument like the acoustic guitar that might be masking the clarity of their lower vocal tones.<\/p>\n\n\n\n After making the adjustment, I follow up with \u201cHow does that feel?\u201d<\/strong> rather than \u201cHow does that sound?\u201d<\/strong> This phrasing shifts the focus from technical terminology to their actual listening experience, allowing me to refine their mix in a way that truly meets their needs while maintaining a collaborative working relationship.<\/p>\n\n\n\n The church congregant who tells me it\u2019s too loud.<\/em><\/strong> When I\u2019m working in the House of Worship setting, it\u2019s not uncommon for congregants to approach me with concerns that the volume is too loud. By the time they voice their complaint, they are often already frustrated. My role is to diffuse the situation with empathy and professionalism while maintaining the integrity of the worship experience for the entire congregation.<\/p>\n\n\n\n When this occurs, I calmly acknowledge their discomfort and offer practical solutions. I may suggest quieter seating areas within the space or provide earplugs as an option. Another subtle yet effective technique I sometimes use is adjusting what I refer to as the \u201cplacebo fader\u201d on my mixing console. This fader doesn\u2019t actually control the overall volume, but the simple act of visibly lowering it can create a psychological perception that the sound has been reduced\u2014often resolving the issue without compromising the mix.<\/p>\n\n\n\nMeet The Personalities<\/strong><\/h2>\n\n\n\n
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<\/figure>\n\n\n\n\u201cNo Problem\u201d<\/strong><\/h2>\n\n\n\n