Sound engineers
Full-Time (contract) Sound Engineer Required
31/01/11 15:56 Filed in: Recruitment | Professional Audio
Alex Fernie Audio Ltd is a leading Irish specialist in the design, supply and implementation of professional sound reinforcement systems. Located near Galway City, we have a client base that includes major Irish arts festivals, international touring theatre companies, local promoters and major event management companies.
Due to increased business in 2010 and expected contracts in 2011, we are currently seeking a senior sound engineer to work on a full-time contract basis alongside freelance staff.
The ideal candidate will:
Also, you will be expected to:
There is no closing date for applications, though we would hope to fill the vacancy before May 2011.
The successful candidate will be required to work 96 hours per month, to a maximum of 1152 hours in a 12-month period. Hours not worked in a given month will be carried forward to subsequent months. Hours worked overtime in a given month will be carried forward to subsequent months or paid at a rate commensurate with salary. A minimum fixed salary will be paid monthly regardless of hours worked.
The successful candidate will be expected to be available for work at all times during the period of contract unless otherwise informed or negotiated with the employer.
Gross salary scale will range from €24,000 to €28,000 per annum, depending on experience.
Interested candidates should send a detailed and relevant CV with reference, together with salary expectations, to info(AT)alexfernie.com
Due to increased business in 2010 and expected contracts in 2011, we are currently seeking a senior sound engineer to work on a full-time contract basis alongside freelance staff.
The ideal candidate will:
- Have a minimum of 10 years of verifiable employment as a sound engineer.
- Have a minimum of 8 years of verifiable and varied employment in live sound reinforcement, with a majority of this experience catering to audiences of greater than 1000 people
- Have an excellent and verifiable track record in providing high quality sound for audiences and artists alike
- Be comfortable in a variety of roles at FOH, monitors or as system engineer.
- Be willing and capable of performing minor repairs and/or trouble-shooting in the warehouse or on site if required
- Be fully conversant with and have actively used at least three of the following digital consoles: Digidesign Venue/Profile/SC48, Yamaha PM5D/M7CL/LS9, Digico SD7/8/9, Soundcraft Vi/Si series, Midas XL/Pro series.
- Be fully familiar with a variety of analogue equipment from Midas, Allen & Heath, KT, DBX, Yamaha and Lexicon
- Have configured, rigged, tuned and actively used a modern high performance line-array system by at least two of the following manufacturers: Nexo, d&b, l’Acoustics, Meyer, Martin-Audio, EV.
- Take an active interest in current and innovative developments in professional audio technology.
- Be familiar with software-based analysis programmes from Rational Acoustics or Metric-Halo
Also, you will be expected to:
- Have your own transport and a full, clean European driving licence
- Have a customer- and/or artist-orientated attitude and focus to all work
- Be a motivated and dynamic individual with a good sense of humour.
- Be willing and able to provide advice and quotations to customers in due course and help the company secure sales
- Be physically fit and capable of long hours and manual handling duties
- Be capable of organizing and delegating duties to a team when on-site
- Be aware of all relevant safety legislation and best practice when working on-site
- Be able to supply own required PPE and essential personal audio tools and equipment
There is no closing date for applications, though we would hope to fill the vacancy before May 2011.
The successful candidate will be required to work 96 hours per month, to a maximum of 1152 hours in a 12-month period. Hours not worked in a given month will be carried forward to subsequent months. Hours worked overtime in a given month will be carried forward to subsequent months or paid at a rate commensurate with salary. A minimum fixed salary will be paid monthly regardless of hours worked.
The successful candidate will be expected to be available for work at all times during the period of contract unless otherwise informed or negotiated with the employer.
Gross salary scale will range from €24,000 to €28,000 per annum, depending on experience.
Interested candidates should send a detailed and relevant CV with reference, together with salary expectations, to info(AT)alexfernie.com
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Why a Rider isn't a "wishlist": Part I
Many people new to promoting events may be bemused by the artist’s accompanying rider. The rider is a document which forms part of the legally binding contract between the promoter and the artist or performer and should not be ignored. An artist’s rider is not simply a “wishlist” to be approximated in the interests of budget or expediency but an integral part of the performance.
It can generally be divided into two sections; a hospitality rider and a technical rider. The hospitality rider deals with accommodation, dressing rooms, food, beverages and security and contain items that are easily organised by most people in a hotel. The technical rider is, to non-production types, often a bewildering array of technical shorthand, model numbers and jargon. If you do not understand a technical rider, don’t sign it until you have consulted with a professional production person.
The quickest way to interpret a technical rider is to pass it on to some reputable sound and lighting companies in your area and ask them to price it – remember, unless you are sure your venue can accommodate the technical rider you will have to pay for any extra equipment. But just so that you have some idea what it’s all about, here’s a quick 101 on artist technical riders.
For music acts, the sound system forms the bulk of the technical rider. Touring theatre companies will concentrate more on the lighting side and will provide a lighting plan which will need to be accommodated by your venue.
The FOH or Front of House system is the sound reinforcement system that the audience will hear. Professional engineers will look for reputable, relatively modern brands and designs that they are familiar with and also that there is enough “rig for the gig”. They will most often give a list of suitable systems and need enough of it to provide consistent sound throughout a venue. Professional sound engineers will never simply state that they need “a 4kW PA” or something similar.
The FOH console is the mixing desk. The engineer/artist will want one that can accommodate all the individual channels from the stage and again, one that is a reputable, modern design. Most professional sound engineers no longer have a problem with using a digital board – some prefer them to analogue mixing desks. Again a list of acceptable digital boards will be listed. If an engineer explicitly states that she does not want a digital board, then suitable analogue boards will be listed. Do not assume that just because an act only needs 16 channels they are just being smart by asking for a 32 channel desk. Analogue boards will require a certain amount of outboard equipment; again suitable makes and models will be listed. Makes and models not wanted will be explicitly listed.
The MONS or Monitor System deals with the speaker system the artist hears onstage and as such is in some ways more important than the FOH system. Do not try to skimp on the monitor system. Similar to the FOH system (see - you’re learning the jargon!), reputable, modern brands and designs will be preferred and listed. Monitor systems for bands will need to provide high sound pressure levels, and often detailed monitor speaker design and processing will be given. For larger venues and acts, an analogue or digital Monitor Console and outboard will be requested in a similar fashion to the FOH console.
Generally these specifications are followed by a stage plan and a channel list. The channel list will detail what microphones and other equipment is needed such as short or tall mic stands. The stage plan will show where everything goes and will help your venue or house sound engineer get everything ready in advance of the band arriving. The stage plan will also detail where power is needed on the stage.
Finally, you may see some makes and models of equipment listed on the rider as UNACCEPTABLE. There is generally a good reason for this. Maybe they break down a lot. Maybe they just sound bad to a trained ear. Maybe they are simply useless products. NEVER ASSUME THAT A PROFESSIONAL ENGINEER OR ARTIST IS SIMPLY BEING AWKWARD, STUCK UP OR IGNORANT. If in any doubt, get a professional opinion.
Just like you, the band and their technical crew want the audience to enjoy the show so that no-one dies, we all get paid and we all go home. So remember a technical rider is just that, it’s not a wishlist but it is a list of necessary and minimum items required to do the job.
NEXT: The Backline and Lighting Rider.
AND AFTER THAT: How professionals deal with riders and advancing a show
It can generally be divided into two sections; a hospitality rider and a technical rider. The hospitality rider deals with accommodation, dressing rooms, food, beverages and security and contain items that are easily organised by most people in a hotel. The technical rider is, to non-production types, often a bewildering array of technical shorthand, model numbers and jargon. If you do not understand a technical rider, don’t sign it until you have consulted with a professional production person.
The quickest way to interpret a technical rider is to pass it on to some reputable sound and lighting companies in your area and ask them to price it – remember, unless you are sure your venue can accommodate the technical rider you will have to pay for any extra equipment. But just so that you have some idea what it’s all about, here’s a quick 101 on artist technical riders.
For music acts, the sound system forms the bulk of the technical rider. Touring theatre companies will concentrate more on the lighting side and will provide a lighting plan which will need to be accommodated by your venue.
The FOH or Front of House system is the sound reinforcement system that the audience will hear. Professional engineers will look for reputable, relatively modern brands and designs that they are familiar with and also that there is enough “rig for the gig”. They will most often give a list of suitable systems and need enough of it to provide consistent sound throughout a venue. Professional sound engineers will never simply state that they need “a 4kW PA” or something similar.
The FOH console is the mixing desk. The engineer/artist will want one that can accommodate all the individual channels from the stage and again, one that is a reputable, modern design. Most professional sound engineers no longer have a problem with using a digital board – some prefer them to analogue mixing desks. Again a list of acceptable digital boards will be listed. If an engineer explicitly states that she does not want a digital board, then suitable analogue boards will be listed. Do not assume that just because an act only needs 16 channels they are just being smart by asking for a 32 channel desk. Analogue boards will require a certain amount of outboard equipment; again suitable makes and models will be listed. Makes and models not wanted will be explicitly listed.
The MONS or Monitor System deals with the speaker system the artist hears onstage and as such is in some ways more important than the FOH system. Do not try to skimp on the monitor system. Similar to the FOH system (see - you’re learning the jargon!), reputable, modern brands and designs will be preferred and listed. Monitor systems for bands will need to provide high sound pressure levels, and often detailed monitor speaker design and processing will be given. For larger venues and acts, an analogue or digital Monitor Console and outboard will be requested in a similar fashion to the FOH console.
Generally these specifications are followed by a stage plan and a channel list. The channel list will detail what microphones and other equipment is needed such as short or tall mic stands. The stage plan will show where everything goes and will help your venue or house sound engineer get everything ready in advance of the band arriving. The stage plan will also detail where power is needed on the stage.
Finally, you may see some makes and models of equipment listed on the rider as UNACCEPTABLE. There is generally a good reason for this. Maybe they break down a lot. Maybe they just sound bad to a trained ear. Maybe they are simply useless products. NEVER ASSUME THAT A PROFESSIONAL ENGINEER OR ARTIST IS SIMPLY BEING AWKWARD, STUCK UP OR IGNORANT. If in any doubt, get a professional opinion.
Just like you, the band and their technical crew want the audience to enjoy the show so that no-one dies, we all get paid and we all go home. So remember a technical rider is just that, it’s not a wishlist but it is a list of necessary and minimum items required to do the job.
NEXT: The Backline and Lighting Rider.
AND AFTER THAT: How professionals deal with riders and advancing a show
Subwoofer arrays, new Nexo RS18 and a letter to Mr. Band Sound Engineer.
Just a short link to an article on building sufwoofer arrays, printed in this months Live Sound International. Quite Meyer specific, but some good info here. Don’t take all of it as gospel, though. There has been some talk over at Prosoundweb about erroneous information going unchecked in the mag, so this is just a disclaimer as I haven’t read this article in detail yet.
Speaking of subs, Nexo are demoing their new RS18 sub in Frankfurt next week. More info here. Will miss it unfortunately due to the work commitments here
Oh yeah and while I think of it:
Mr band sound engineer, next time you want an extra 3db across your mains and I’m supplying the PA, just ask - I generally oblige. Don’t say all’s cool and you’re happy and then do it on the sly just before your set. Password protection will be making a comeback....
Speaking of subs, Nexo are demoing their new RS18 sub in Frankfurt next week. More info here. Will miss it unfortunately due to the work commitments here
Oh yeah and while I think of it:
Mr band sound engineer, next time you want an extra 3db across your mains and I’m supplying the PA, just ask - I generally oblige. Don’t say all’s cool and you’re happy and then do it on the sly just before your set. Password protection will be making a comeback....
Why you should use a professional audio company
Tighter budgets are an aspect of all economic life these days and the event industry is no exception. Event managers and organisers may be tempted to look at the cheaper audio quotation in an effort to stay within the event budget. Before you put cost before everything in planning your event, consider what a professional audio company can bring to the success of your event.
Correct Advice
Contrary to popular belief, not all sound companies want to hire you equipment you don’t require for your event. Most sound companies will make an effort to discuss your event with you in advance. They will design a sound system based on the size of the room, its audience capacity and the type of performance or event. For larger events, sound companies use highly specialised software in order to accurately predict the sound pressure levels in all areas of a venue.
The loudspeaker system a professional sound company will recommend for your event will give approximately the same audio experience to all members of the audience, no matter where they are positioned in the room. Modern loudspeakers are highly directional, meaning that they can be positioned to minimise acoustic reflections from walls. Loudspeakers are arrayed in such a way that there is a minimal difference in loudness between the front seats of an audience and the seats at the back.
Having a sufficiently large PA system also means that the risk of feedback during your event is minimal. Feedback, and its distinctive the high-pitched whine, most often occurs where a sound engineer is trying to extract maximum level from an insufficiently powerful PA system.
Professional sound companies will also be able to recommend suitable wired and wireless microphones for different applications. Finally, they will be able to advise you on the smooth running of your event in terms of smooth changeovers between different acts and speakers.
The best thing about professional audio companies is that they will willingly give you all this advice for free.
Modern and Sophisicated Sound Equipment
Professional audio equipment has come a long way in the past ten years. Major developments have taken place in loudspeaker and amplifier design. The continuing evolution of digital equipment and digital mixing offer enhanced sound quality for modern event audio.
All professional audio companies have invested to some degree in this new technology which not only gives a superior audio experience to the listener, but also translates into savings on manpower and transport by being better, lighter and more compact than older audio equipment.
To give one example, a modern 48 channel digital console like the Digidesign Venue SC48 offers the same audio control in a package one-quarter the size of a comparable analogue console and processing package from only 5 years ago. The same is true of modern loudspeaker array systems and amplifiers from companies like Nexo, d&b, EV, l’Acoustics and Meyer.
Modern audio equipment is safer. Professional sound companies spend a lot of time and money ensuring that their equipment doesn’t fail on their events. Equipment is regularly tested for electrical safety and rigging equipment is thoroughly overhauled at least twice a year. If equipment should fail during an event, spares will be to hand allowing the event to continue.
Modern audio equipment and systems are more reliable – professional wireless microphone systems from Sennheiser and Shure rarely fail or drop signal these days. Modern audio equipment is more environmentally friendly – it uses less power and costs less to transport. All this makes modern sound companies more efficient and professional in delivering an excellent cost effective service.
Experienced and Qualified Professional Sound Engineers
Professional sound companies value and look after their staff and freelance engineers equally. Even the best sound system can deliver poor results if poorly deployed and operated. So sound companies spend a great deal of time and money ensuring that all employees and freelance staff are fully up to date on their audio systems, health and safety and manual handling procedures.
A full day’s work for a typical sound engineer can often be up to 12 hours. Professional sound companies ensure that their engineers and crews are well paid for work which involves substantial heavy lifting and long periods of intense concentration in noisy and often uncomfortable surroundings. Professional sound companies will schedule breaks and rotate engineers on longer events. Beware of operations that offer “engineers” at minimum wage levels.
Qualified and experienced sound engineers not only ensure the success of an event but also ensure the safety and well-being of audience members and performers alike. Properly laid and dressed cables on stage and throughout the venue are not just neater looking but they also mean that attention has been paid to their safety. Professional sound engineers are aware of the risks posed by excessive exposure to extreme sound pressure levels and will operate sound systems accordingly.
Professional sound companies will be able to produce a health and safety statement and risk assesment checklist on demand for your event. All staff will be fully aware of procedures in the event of a cause for public concern. Professional sound companies carry full public liability insurance and will gladly produce insurance schedules if asked.
And Finally….
Professional audio is a professional business run by professional people. To do it correctly and to maintain the level of investment needed to be successful, it needs to be a 24/365 service. Whilst many part-time or hobby operations can deliver sound, in order to do it consistently well and to meet the needs of artists, performers and the expectations of modern audiences it has to be run as a professional full-time operation by passionate and professional people.
All of us in the professional audio industry look forward to you call.
Correct Advice
Contrary to popular belief, not all sound companies want to hire you equipment you don’t require for your event. Most sound companies will make an effort to discuss your event with you in advance. They will design a sound system based on the size of the room, its audience capacity and the type of performance or event. For larger events, sound companies use highly specialised software in order to accurately predict the sound pressure levels in all areas of a venue.
The loudspeaker system a professional sound company will recommend for your event will give approximately the same audio experience to all members of the audience, no matter where they are positioned in the room. Modern loudspeakers are highly directional, meaning that they can be positioned to minimise acoustic reflections from walls. Loudspeakers are arrayed in such a way that there is a minimal difference in loudness between the front seats of an audience and the seats at the back.
Having a sufficiently large PA system also means that the risk of feedback during your event is minimal. Feedback, and its distinctive the high-pitched whine, most often occurs where a sound engineer is trying to extract maximum level from an insufficiently powerful PA system.
Professional sound companies will also be able to recommend suitable wired and wireless microphones for different applications. Finally, they will be able to advise you on the smooth running of your event in terms of smooth changeovers between different acts and speakers.
The best thing about professional audio companies is that they will willingly give you all this advice for free.
Modern and Sophisicated Sound Equipment
Professional audio equipment has come a long way in the past ten years. Major developments have taken place in loudspeaker and amplifier design. The continuing evolution of digital equipment and digital mixing offer enhanced sound quality for modern event audio.
All professional audio companies have invested to some degree in this new technology which not only gives a superior audio experience to the listener, but also translates into savings on manpower and transport by being better, lighter and more compact than older audio equipment.
To give one example, a modern 48 channel digital console like the Digidesign Venue SC48 offers the same audio control in a package one-quarter the size of a comparable analogue console and processing package from only 5 years ago. The same is true of modern loudspeaker array systems and amplifiers from companies like Nexo, d&b, EV, l’Acoustics and Meyer.
Modern audio equipment is safer. Professional sound companies spend a lot of time and money ensuring that their equipment doesn’t fail on their events. Equipment is regularly tested for electrical safety and rigging equipment is thoroughly overhauled at least twice a year. If equipment should fail during an event, spares will be to hand allowing the event to continue.
Modern audio equipment and systems are more reliable – professional wireless microphone systems from Sennheiser and Shure rarely fail or drop signal these days. Modern audio equipment is more environmentally friendly – it uses less power and costs less to transport. All this makes modern sound companies more efficient and professional in delivering an excellent cost effective service.
Experienced and Qualified Professional Sound Engineers
Professional sound companies value and look after their staff and freelance engineers equally. Even the best sound system can deliver poor results if poorly deployed and operated. So sound companies spend a great deal of time and money ensuring that all employees and freelance staff are fully up to date on their audio systems, health and safety and manual handling procedures.
A full day’s work for a typical sound engineer can often be up to 12 hours. Professional sound companies ensure that their engineers and crews are well paid for work which involves substantial heavy lifting and long periods of intense concentration in noisy and often uncomfortable surroundings. Professional sound companies will schedule breaks and rotate engineers on longer events. Beware of operations that offer “engineers” at minimum wage levels.
Qualified and experienced sound engineers not only ensure the success of an event but also ensure the safety and well-being of audience members and performers alike. Properly laid and dressed cables on stage and throughout the venue are not just neater looking but they also mean that attention has been paid to their safety. Professional sound engineers are aware of the risks posed by excessive exposure to extreme sound pressure levels and will operate sound systems accordingly.
Professional sound companies will be able to produce a health and safety statement and risk assesment checklist on demand for your event. All staff will be fully aware of procedures in the event of a cause for public concern. Professional sound companies carry full public liability insurance and will gladly produce insurance schedules if asked.
And Finally….
Professional audio is a professional business run by professional people. To do it correctly and to maintain the level of investment needed to be successful, it needs to be a 24/365 service. Whilst many part-time or hobby operations can deliver sound, in order to do it consistently well and to meet the needs of artists, performers and the expectations of modern audiences it has to be run as a professional full-time operation by passionate and professional people.
All of us in the professional audio industry look forward to you call.