I’m currently attending the Art Institute of Las Vegas and I’m scheduled to graduate this September 2011 with a bachelors of science in audio production. The sole reason of attending this school is for the simple fact of being a musician for many years and having the inspiration of producing music. Living in Seattle for a decade gave me the opportunity to work with very talented musicians and going on the road and performing in interesting places. Economic strife after 9/11 made me decide to move to Las Vegas, and I applied at the Local 720 I.A.T.S.E and became a member of this union. I currently hold cards in these departments: high rigger, AV Tech, A1 and A2 in the audio department. There are very talented people who are hired on as freelancers for this local, and it’s a great network if you want to get into the stage craft industry. Working for this local is great because no two gigs are the same, and neither are the locations. This is true if you don’t have a steady house gig in any of the casinos. The experience has expanded my skills, but I believe that there are other opportunities out there that I would like to experience in this lifetime. Working for this local for the past 6 years I’ve been able to develop contacts to branch out and do other things in the audio industry. I can see myself traveling on tours as front house or monitor engineer for various acts. I also have a chance to go to California in the near future to check out a studio being developed, and if everything goes well I’ll have a chance to be a recording engineer at Santoshia Studios based out of San Clemente.
Tuesday, July 26, 2011
EOC WK 3: Where Are You At And Where Are You Going To Be
Monday, July 25, 2011
EOC WK 2
This photo was taken at the Cheyenne Saloon in Las Vegas in preparation of the local band The Marquees, which happen to be a three piece band and this worked out to my favor. There is always a time crunch during set ups, but when a basic rock trio comes along you find yourself taking your time when it comes to mic placements. I can recall the drummer setting up his rig first, he was the first one to show up out of the band to the gig. He unloaded his gear quickly and placed it where I had told him to without asking any questions (you’ll be surprised). This showed me that he has been around, that he was a seasoned drummer. He prepped his kit so that we can easily set it up on stage when the time was right. Using a Beta 52 for the kick, 57 for the snare and for the Hi-Hat, and I honestly can’t remember what I put on the toms right now. I wasn’t overly impressed with the gear that they had at the Cheyenne Saloon at the time because it all looked runned down. By that I mean that those mics had to have had 10 years of experience being in a bar atmosphere getting trashed, and of the mains horns was totally blown. Keep in mind that I had to mix this live, and make it all sound like butter the best way that I possibly can. I consider myself lucky to believe in a higher power, I needed all the help that I could get on a night like this. What I used for the drum overheads was a pair of Shure 81’s, and for the bass guitar it was just a D.I. box. The guitar was just as simple, a Shure 57 for the amp and I called it quits for a moment.