Part 5 Sennheiser PRO TALK with Colin Pink and Gareth Fry
Colin and Gareth talk about the other side of the audio industry.
Gareth: “I guess the thing that keeps me up at night isn’t actually a sound-related thing it’s more to do the business side of things and all the stuff that you have to do around the sound designing and engineering of things. Which is the stuff that you don’t necessarily get trained on. There’s running your own business and managing your diary and getting your taxes done and there’s also all the political aspects of the job which you know as well as getting it to sound right you have to you know negotiate your budgets and negotiate to get the right amount of sound checking time in the schedule and there’s a lot of political maneuverings that you have to do. I think to get what you want and to get the right result when you’re in the theatre and quite often that in more stressful I think than the actual sound and performance. I think I certainly enjoy the pressure of a live performance and I enjoy knowing that things can go horribly wrong or horribly right, but the less fun things I think for me are actually dealing with all the politics. I think I’ve got quite used to it and got relatively good at working out how to get the things that I need and get the resources in place but that’s certainly one of the more sort of stressful elements of the job is you know having to step out of your shoes, step into the shoes of the producer or the promoter or the venue staff and work out how to get the things you need from them, whilst also keeping them happy and hitting their targets as well.”
Colin: “It’s funny as I get older less things keep me up at night. I think when you start out you don’t know what you’re doing and you want to know what you’re doing and that’s a frustration and that keeps you up at night because you’re thinking of how to improve. I think an important aspect of being an engineer is what drives you to be good is the fact that you don’t think you’re very good.”
Gareth: “I guess one of my big pet peeves is when sound isn’t localized to the performance and this is a particular thing with theatres where sound effects are rooted for the proscenium system or there is some disconnect between the audio and the visual and it’s something I’m really passionate about, is trying to make the audio experience feel really great for an audience and feel really connected to that performance rather than it being this thing that happens at a couple of speakers on the proscenium. So yes, that’s one of my biggest pet peeves when the performance is happening over there but the sounds coming out from a box over there.”
Colin: “I completely agree. I think I just think it’s disrespectful to the actors. I guess we’re where we are in our careers because you know we’re relatively good at what we do which is sound audio whatever and it’s all the other bits that frankly we’re not so good at which is the problematic areas. Yes dealing with negotiations is always a tricky one.”
Colin: “In a studio situation it doesn’t matter you can hit you hit stop you don’t even have to hit rewind nowadays. You know, you can do it again a thousand times but be it theatre or live events you are running to a set timeline and it will not go according to plan. It might once in your career but things are going to go wrong not necessarily wrong, they’re going to go different and if you’re not ready for that you’re gonna fail.”