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Phil (lordvincent275) wrote,
@ 2004-01-23 09:03:00
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    Current mood: annoyed
    Current music:Metropolitan Portrait

    A Word From the Sound Booth
    It's time again for another production, and that, of course, means sound man blues. Lets start...

    Sitting in a choatic rehearsal, I read these words from Matt Steinacker, the new christian asshole of the media department:

    "I just came from Kresge Auditorium were I found some major problems with equipment security. I arrived at 12:00 PM to find all of the microphones out, the fog machine out and the sound system still on from this mornings 9:30am variety show. No one was in the auditorium and all the doors were unlocked. Some of these doors were even taped open. This is not acceptable. Let me review media's policy on equipment security.

    In the event of a job having multiple call times we will do the following between calls to secure our equipment.


    1. Pick up all mics and lock up in appropriate place
    2. Shutdown system and secure to prevent tampering
    3. Make efforts to remove equipment from places were damage might occur if left unsupervised, IE. cords or stands in traffic areas.


    1. Put away and secure fog machine
    2. Put away spotlights
    3. Put away com packs and headsets
    4. Secure lighting trunks
    5. Secure light booth


    Secure storage areas AND Venue as best possible. I realize this will keep you at a job longer and make you come back earlier, but we get paid by the hour and can not afford to lose any equipment.

    We will leave out cables, stands and ground lighting if it they are not in danger of damage when unattended."

    This would have been fine had he sent this email to Emily and myself, and handled the matter as such. But this was not the case. He sent it to EVERYFUCKINGBODY IN THE MEDIA DEPARTMENT!! So, this morning, I get an email from Noel Whitis, again to the entire department:

    "I used the word distressed concerning what Matt found yesterday as it relates to our responsibilities.

    I want to know who was in charge and why were things left out and on. Typically there is someone for sound (generally board operator) and someone for lighting (generally board operator).

    I pointed out that the University has spent over HALF A MILLION DOLLORS over the past few years in Kresge and per Matt’s report to me yesterday $47,000 since October. I expect good stewardship of these expenditures.

    As for door locks being taped open no media employee is to ever tape a lock open. As a Media worker you are never responsible to open house doors. The only people you are to let into the venu are those individuals who are working tech. Theoretically anyone else who needs in will have a key or a person responsible will be coming with a key.

    Send Matt your input on the procedures he listed. I will send him mine."

    I know it's awkward to read, but he's just an awkward man.

    So, in defense of myself, I send this email:

    "I was running sound yesterday and I had to leave the building to grab a lunch before they were all gone. I was gone for twenty five minutes tops. This is not the first time that I (or other media personel) have left equipment for food. I didn't think anything of it as I was returning soon. As for the mixer being left on, we normally have the mixer on during the day as a regular procedure for use of the teaching station. So I didn't turn it off. As far as doors being taped open, naturally media employees didn't tape the doors open because we don't have keys to the auditorium itself (at least I don't). I can only assume that these doors were taped open by the Variety Show people, not the tech crew. Since we did not tape them open we didn't know that they were taped, and didn't know to untape them. Again, we couldn't lock them either, since we don't have keys to the auditorium. As far as equipment being left out, when I returned I was going to take down the bare essentials because I was going to be in the building and working for the rest of the day and we had a rehearsal at 3:30 and taking everything down and up would be counterproductive. However, when I returned to Kresge, I found Matt and Mike working on equipment on the stage and deemed my equipment safe. I had some business to attend to in the building, and when I returned, the Matt had put the mics up.

    I'm sorry for any inconveniance that this may have caused, but I did not feel that I was out of line. However, if you feel that not enough safety precatuions were taken, I will do more next time to insure the safety of the equipment."

    You know, it seems that lately my services in the media department have been underappreciated. Do they not know that I am a compotent worker and have never NEVER botched a job since I have started working here. Matt Steinacker is an arrogant little prick and Noel Whitis is an ignorant yard gnome but I will have to fucking massage their balls and smile about it to keep my job. Follow procedure at the expense of time management and rehearsal quality, that's our motto. Fucking assholes...

    On that note, I did a good job at rehearsal last night. There were no mistakes, no missed cues, it was virtually flawless. I even had time to reset levels and readjust the balance of some acts. That rarely happens during a dress rehearsal. I did really really good. Did any of you even notice...?

    The problem with running sound is that it is so far behind the scenes that people rarely notice it until something goes wrong. People recognize the stage manager because he (or she, in Amy's case) is a very visual person backstage, working with the actors and crew in a production. The director of course gets recognized, simply for the hard work that that person has put in in leading a production. The lighting crew gets noticed because of all of the neat effects that go on during a show. The sound man... well, I pull 125hz out of your voice to keep it from getting muddy. Did you notice? Or I make sure that the alto stays on the bottom and the soprano is on top, creating a nice balance. Did you notice that? Did you see the hours (albeit fewer that the lighting crew) that I put in setting up and tearing mics and patching and repatching the mixer and programming the mixer and labeling the mixer and writing the cue sheet? Did you see that?

    Did you notice?


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