Musicians in a live sound setting

For me, there are two types of musicians.

Those that are so full of themselves and think that whatever you’re trying to do is a horrible job. These artists contantly complain about every aspect of your job. It is impossible to cater to these artists because whatever you do, it’s not good enough.

And then there are the musicians that are so insecure that they won’t tell you if you’re doing what they want you to. If they are unhappy with the sound, they won’t tell you because it’s probably their ears, or their fault it sounds bad.

And every once in a while, you get the third kind.

The professional.

The professional knows what you are doing and knows what you should be doing. They have been to enough sound-checks that they are comfortable with asking for what they want without being assholes about it. They don’t let things slide because they’re afraid of asking questions about but they also don’t bitch and moan when something doesn’t work out.

But there is equal importance in being a sound-tech.

I don’t know how many small gigs I’ve been to that could have been much better if the engineer knew how to do his job properly. I’m not saying that you should have a degree in audio, but a little understanding always helps.

There is also a difference in having the title of a professional and acting professionally. Having an engineering degree or diploma of some sort takes hours and thousands of dollars/euros/pounds. But acting professionally is free.

So the next time you’re acting as a musician or working as a sound-tech in a concert venue, remember to act professionally. Mutual respect between musicians and engineers can do wonders for the vibe of the work setting and will deliver better results to the audience.