Whether in a recording studio, or any performance venue, the quality of sound must be just right. Long hours and little recognition, but for the love of music … this is the role of the Audio Engineer … behind the scenes, and out of the spotlight. In the case of a live performance, the audio engineer has to find the best way to match the sound with the room. There's more to it than one might think.

Before the band, before the lights, and well before an anxious audience hears that first note, the work of an Audio Engineer has already been well underway. I am thankful that Renderosity member [and Moderator] Bruce "pushinfader" Clayton, was able to take time out of his busy schedule to answer some questions. Read on as Bruce discusses his career in sound, and tells how the work must go in, when the show must go on.

How did you get your start as an Audio Engineer? Did you attend school?

I was always a big fan of music. In school, many of my friends were musicians. Since I pretty much sucked at playing, I started out doing lights. Eventually, I got bored with that and started learning sound.

I once had aspirations of getting into this field (primarily studio work), but got sidetracked somewhere along the way. A lot of what I heard back then, were stories about people starting off as a “gopher” basically, to get their foot in the door. In fact, I read that Alan Parsons started this way too. Is this still pretty much how it works in most places?

Yeah, even if you attend a "good" trade school, you're still going to spend time doing gopher work. You have to pay your dues. A good friend of mine graduated at the top of his class at one of the best audio schools in the USA. He started out as an intern, basically working for free. Now, he is working as an assistant engineer at a respected studio in L.A. - he paid his dues! However, today with the proliferation of computer-based recordings, you can create a top quality recording in your own home. So, that's one way to get started.

The control room Bruce's unofficial "office"

You told me that 90% of what you do is live. Do you prefer live work over studio?

Yes, Studio work is very challenging, and really gives you the opportunity to flex your creative muscles. But, to me there is just something about a live audience … the crowd interacting with the musicians and visa versa. It's never the same twice.

Assuming that the two are very different, and that capturing live sound is most likely more difficult, what would you say is key to getting good results in live work?

Two things come to mind. You have to work with a good source...The old adage is quite true, "garbage in, garbage out.” Secondly, know your tools. Knowing how to achieve the proper gains structure, knowing which microphone to use, and what a given system can do. You don't have to have the "best" gear to get a good sound. Sure, it helps. But, give me a few sm57's and some sm 58's [microphones], and I won't complain.

What is your equipment list like (do you own any of your own)? And do you have an equipment wish list?

I don't own anything anymore. I have so much stuff to play with at work, I don't see the need at this point to own any. A wish list … hmmm. I'd love to play with a Digico console. I'm hoping we're going to get a small digital console at work this year.

Midas Heritage 3000 console

Undoubtedly, in your work there is always the possibility that something could go wrong. Are there any such instances you can speak of; live, studio, or with people?

Have you ever seen the movie "Spinal Tap?” I should write a book! Coming home from a gig once, the truck set fire. We lost everything except the Hammond organ, and some old Peavey amps. A Sax player died just before a show of a drug overdose. The singer from "The Bullet Boys" threw a mic stand at me. Rick Springfield flipped me off … And you come to expect problems with gear ... even if you have good gear. Traveling, setting things up, and tearing them down takes it's toll on gear.

What did you have the most fun working on?

I like outdoor shows. Anything by the ocean in the summer is great!

Do you have other people working with/under you?

At the Turning Stone Resort and Casino , I'm in the "Entertainment Department." It's more of a corporate environment, there are many levels of management. There's one Sound Tech above me (we go back quite a few years). There are three other guys at my position. Two are Lighting guys, the other is a Sound guy. We have a whole crew of stagehands. I wouldn't say they work under me. They help me get things done, and they're an excellent crew! We also take care of all the background music on the gaming floor and in the restaurants ... Now that's exciting (Sarcasm intended)!

The Turning Stone - 5,000 seat venue "The Event center"

What is the set-up/tear-down like? Are there any types of shows that might be extra tough? Of course, I am assuming here that you still have a lot of prep work in your current job, though it might be much different from other work you've done.

It really depends on what we're doing. Trade shows are great. Give them a mic and some music, and they are happy. Show days in our five-thousand seat venue tend to be 18 to 20 hours long. You're usually talking at least 4 tractor-trailers of gear. Or as many as 10 or 12! The riggers have to set the points, then, the sound and lights get flown up on chain motors. It's usually a good 4 to 6 hours before we make noise.

Obviously, the more gear, and the bigger the stage set, the longer it takes. A lot of groups carry video these days, and that takes up even more time. The video walls are rather temperamental.

Prep work...Usually most artists use our stage. Sometimes they use our sound and lights. Again, it varies a great deal.

The EAW Line Array (sound) rig hanging

You mentioned once that you've been involved in the entertainment biz for most of your adult life … in what areas?

I've worked as a Tour Manager, a Guitar Tech, lighting, and of course sound. Recently, I've been learning more about video.

Any tips that you could offer that might help someone working independently like you once did?

It's important to keep up with technology. Not everyone can go out and buy it, but you should read about it. Subscribe to trade magazines. Network with other like-minded individuals. Go out and hear different bands and check out production companies. It's really important that people get to know you. Also, versatility is important. The more you can do, the more you will work.

You've had the great opportunity to meet a lot of big-name performers/acts. Are there any particular favorites? Any you weren't so fond of?

So, you want me to drop names? The band Gwar, those guys were just too much fun. Chris Layton, who played drums with Stevie RayVaughn, was a class act, and one of the coolest people I ever met. Country singer Mark Wills … great guy! He had me laughing for hours. Dee Snyder, from Twisted Sister, a surprisingly down to earth and great guy. I'd rather not say anything bad about any artists ... I might have to work with them again.

This isn't a job or business for everyone ... There’s a lot of hard work, and more boring times than exciting ones. But, I wouldn't trade it for anything!