Live Sound Engineer
Interview with Live sound engineer Mathew Jonson:
1: what do you love about the job
Mathew: love would be a strong word, I like it (having a job you just like is underrated), it's not a 9-5, the hours can be a little antisocial but I’m more of a night person anyway. I enjoy being in charge and working with people. I enjoy the responsibility and being for the most part your own boss. I like making the artist feel comfortable and working with them to get the best possible results.
2: how did you find your current gig and how would you do it if you just came out of Uni
Mathew:I have several gigs, and all through people I know or various contacts.
3: do you think it's easier to enter the field as a traveling Live sound engineer (i.e. tours, festivals) or as a location based one (i.e. clubs, concert venues, theaters etc)
Mathew: location based I think, for me at least, touring with bands generally happens through knowing the band.
4: how would you connect with a location or tour circuit of your choice if you had no prior connection to them
Mathew: walk in and say hi, repeatedly, let them know you want to learn live sound. Offer to shadow and help for free to begin with.
5: do you feel the market is saturated with Live sound engineers or do you think there is always room for one more
Mathew: neither, if you work hard and learn as much as you can you’ll slowly start picking up more work. People like working with good people.
6: what is your "portfolio" as a Live sound engineer. What does it consist of, how do you show your work to future clients
Mathew: I have a CV, with the venues and desks described on it. But it's mainly through a conversation with people that you better understand if you know what you’re doing.
7: is it usual to work for free at the beginning of your career, and if yes when do you make the transition to be a professional (meaning: paid) Live sound engineer
Mathew: yes, and you’ll start feeling your worth over time. But, I wouldn’t do it for too long before asking for something. But experience is key, it's the best way to learn, that’ll be your payment in the beginning.
8: did you start first with an internship? if yes can you quickly tell me about it and what you were able to learn during that internship that you didn't know before
Mathew: I didn’t intern I just went in and figured it out. I had a lot of studio experience before which helped, but it’s a pretty steep learning curve in being calm under pressure.
9: are you usually the only Live sound engineer at a gig, or do you work in teams?
Mathew: It varies, often bands bring their own sound guy and you’ll work with them if they want. But you might just be babysitting, other shows you’ll be alone with a bunch of bands and all to do. ( can be really fun that way tbh)
10: If team work is common what are common specializations of those other team members
Mathew: lightning engineer, ADL (venue manager), promoter (usually external) possibly other sound engineers, also the artist. Communication & preparation is key, before and during the set up of the show, engineers often arrive before the artist and can prepare to ensure a smoother production.
11: is electrical engineering knowledge part of your day to day requirements? (i.e. finding loose connections and fixing them on the spot with soldering etc?)
Mathew: not really, soldering is useful but hardly needed tbh. Most venues have the stage electrics on a separate loop from the other power, but you have to work with what you have normally. I don’t muck about with that stuff.
12: how much and what type of eqiumpent should one own before entering the field?
Mathew: sharpie, paper (venue often has this stuff) honestly, you may accumulate stuff you want to have over time, but nothing is needed before you start.
13: what is the impact of AI on the field? As a useful tool? As a threat to your job
Mathew: no idea, there are some cool eq tools, but they’re just tools you can bring if you want. It hasn’t entered the field at my level yet.