She Calls Me Goliath And I Wear The David Mask
Lot’s going on at Thee Swanky Dive in the middle of The Strip here in the shithole in the desert. Been dark for the last couple of weeks, be dark for another couple. We yanked all the FOH PA out, stacks, control, everything. We did leave some of the infrastructure to save the multi billion dollar place a couple hundred grand in costs and save some time. Instead of taking as much time to do it as it takes to do it right, the brain trust that runs the dive decided to set an arbitrary date, based on seasonal schedules and the gross potential of missed gigs instead of taking the time to do it with a schedule that doesn’t run everyone into the ground. Everyone is busting ass with 12 to 16 hour days being the norm. Truthfully, I didn’t retire from touring to move down here to be a sound system installer (at below market rate except when in OT) and we’re just wrapping up and none too soon.
In terms of sound and lights, we’ll be the big swingin’ dicks on the Strip, that is until those clown guys from Quebec open that rocker/magician show at the big glass pyramid on South Strip. That will be a real feat of magic, getting butts in seats in a property that saw it’s best days more than a decade ago. Apparently, we’ve got the largest permanent installation of moving lights in the country, in addition to having the bitchiest (is that even a word?) outside design staff in the world. Apparently they know this guy named “Tony” (I don’t know if he is a tiger or not) who gives out awards (until recently not to sound designers) and that enables them to be insufferable pricks. They tell me that when you get a few of these awards, it entitles you to be a really big dick. I find that curious, because I’ve never needed an award (or excuse really) to be a big dick, particularly early in my career.
Normally, dealing with these type of folks is not a problem for this old roadie. On tour within the first day or so we would have come to an understanding, and they likely wouldn’t have been pleased with the results. But here we can’t do that. It appears our executive management staff have misplaced their testicles and have placed the burden on the supervisors and troops in the field. For example, a roadie translation might be “Excuse me, sir. Is there any chance of you getting your shit together in the near future, say perhaps, before we die of old age?” Simple, effective, it gets the point across. In this environment the truth many times is not welcome and needs to be couched in passive aggressive terms, least one gets a complaint they are “creating a hostile work environment”. The exchange turns into “Excuse me, sir. You and your colleagues are giving me contridictory information and in some cases is not possible to achieve (for example, the 3 channel beltpack for the spot ops… no really…) so you’ll need to get me a design and some information so I can implement a system that actually exists.” Some other choice gems are “this comm is broken, we hear the Lighting Designer on every channel, you must fix it NOW!!” Yes, that tends to happen when the (award winning) Lighting Designer engages the mic on each comm channel. It’s not called crosstalk, though. It’s called routing your mic to every channel on the intercom because you don’t know how to use your base station. Or the lighting design team insisting the comm is broken because the (award winning) Lighting Designer decides to rename the channels on her station, giving them contradictory names to the channels the rest of the show has been running for a couple years now. Or (yes kids, there’s more) insisting the Creative Director’s radio mic is patched into the intercom and it’s likely being heard through an open mic. No that’s not the case at all, they insist. Not possible we say, given our current system. She’s still hearing the Creative Director in her headset. That wouldn’t be because you’ve turned your sidetone all the way up and that person is about 24″ from your open mic, would it be? Why pray tell, it is! It’s not his mic you are hearing, IT’S HIM! At each point (as well as many others like it) it was explained that was how PL comm works. Though each time, it’s a “problem” with the comm. I’ll agree, there is a problem, but it’s with the people using the comm. No apologies, no recognition of an end user issue, just attitude. I’d like to meet this guy they call Tony. If nothing else, to kick him square in the nuts.
All of that to get to the point of this episode which is that dealing in the production show realm is different than it is in the rock realm. In fact, when looking for staff if you apply and have primarily rock/concert experience you likely won’t get the gig, or even a sniff at an interview. As stated some episode back, most of the positions are filled by people you know. There are some instances where the candidates for a particular slot aren’t known quantities, primarily for the entry level jobs. Being as most of the management comes from resort casino, themed entertainment and cruise ship, they really aren’t plugged into the concert SR world. Conversely, the folks from concert SR aren’t plugged into the production show world. The man that many (including myself) consider the Godfather of not only production show audio in town, but audio in general, the Dark Menis, told me just after I moved down that he couldn’t hire me for a senior position because I didn’t know enough about the production show realm. And he was spot on (that’s why he’s the Godfather).
While many in senior management see these more as theatrical gigs, they’re a hybrid mix of theater, rock and corporate. A lot of comm. No A LOT of comm. More than any other discipline except for perhaps broadcast. Big time AV with massive MATV and/or CCTV systems. Rock style mixing on most of the shows. In most musical theater you are lucky to get good thump from the kick and bass (though in Mamma Mia and Hairspray here in town they rocked the house) and in terms of most, well, most of you theater (and AV) kats aren’t suitable for mixing realtime stage mons. One big peeve of mine is that the mons are given second class status. Something on many shows that the trainee does. There are some shows that do understand that proper stage mons are a key to having a good sounding band.
Here’s some tips for trying to land a gig in Vegas, partuclarly a non concert gig. First, you’re really going to move to town, or get a local phone and address so we at least think you live here. Some are able to get gigs before they move here, but your best bet is to pack it up and as the kin folk said “Jed move away from there”. Highlight things other than regional/local concert SR and concert touring. Cruise ships and themed entertainment seem to be in favor with those doing the hiring. Have more than one resume, tailored for each specific type of gig. The showroom/rock club/theater gig is one, the corp/AV gig is another and the production show/extravaganza is another. Mixing is not likely what you will be doing. You’ll need to be strong in comm, video and lot’s of grunt work. Even if you are on a console, unless it’s a concert/music gig, you’ll be supporting someone else’s mix. They define a baseline and you need to hit that every show. You aren’t the guy that decides how it should sound, you get the sound that the guy that decided how it should sound wants. Your gig is to support the production, not design it. Young theater/drama grads, don’t emphasize how much you want to be a sound designer. That’s great, but if you really want to design, don’t come to Vegas. We already have A designer here in town. 
Better for you to cut your design chops in LORT or summerstock somewhere or live in some shithole in Joisy or Brooklyn and give B-way a shot. We need techs. You need strong troubleshooting skills, computer skills and most of all, but a well rounded, mature adult.
And that’s where a lot of the rock guys fall short. This is an adult environment and many times the concert and touring realm is nothing less than some sort of Peter Pan Never Neverland where a lot of the guys just haven’t grown up, even into their 30s or 40s. You have to act like an adult, dress like an adult and have a reasonable degree of emotional stability. (well shit Dave how did you land a gig there?) If you are still doing drugs, you won’t make it as the screening process will eliminate you. Likewise for more serious felony convictions. They do a full background check. What can you expect? A reasonably stable environment where you can make enough money to raise a family. Granted, you’ll have to do it in Las Vegas, not exactly my first choice if I were starting a family, but there are scores of good gigs available. You have benefits, which sadly are not common in our business. If you are looking for a stable, long term career in pro audio Vegas isn’t a bad place to look. As long as you can hang with what it takes to get and do a gig here.