They Whose Knobs Are Turned -- The sound guys and gals of Capitol Hill

Josh Penner at work -- "a few years ago somewhere in Arkansas on a Demon hunter tour" (Image courtesy Josh Penner)

As CHS looks at the culture and economy of Capitol Hill's live music artists and businesses, we tend to focus on some of the smaller, finer points of it all. Twiddling the knobs, so to speak, of an important part of the Hill. This week we talk with Neumos sound crew members Josh Penner and Alice Wilder, two diligent soldiers of audio who, unlike the rock stars they work with, are rarely in the spotlight. These engineers provide a vital component of what makes a Capitol Hill show great. Here’s their take on what they see (and hear) from the back of the club and what it’s like to work the boards at one of Capitol Hill’s premier music venues. 

CHS: Introduction roll call: what’s your job title, how long have you worked at Neumos, and how’d you get the job?

Josh Penner: I have been working at Neumos as lead audio tech for about six months. Rachel [Willner, production manager] and I have been working together going on nine years. She was my boss at Graceland/El Corazon. We also worked together when I would come through town on tour. We work well together and she felt confident in my ability to be a systems tech, to organize the venue, and to run a tight ship.

Alice Wilder: Audio engineer. I got the job by interning at Neumos for about six months beginning in the summer of 2007. I've been there ever since.

CHS: Have either of you worked at other venues here in the city, or elsewhere? What do you like about working at Neumos?

JP: I still currently work at El Corazon and the Showbox, as well as tour. I really enjoy working at Neumos because of how well the venue is run. We have a great production staff: Rachel and Kate; audio: Alice, Evan, Kirsten, Ian, Robin; security, etc. Everyone really takes pride in what they are doing. We really like to make Neumos "our home." Also the PA system sounds awesome. We get a lot of good toys to play with.

AW:Chop Suey and the Showbox. I like Neumos because it's super dog friendly, which is amazing, the staff is pretty sweet and professional, and I generally like the genres of music that come through.

2011.035, originally uploaded by Slightlynorth.

CHS: How does the room at Neumos stack up next to other Seattle venues in terms of sound?

AW: The PA is fantastic: sounds good with a flat EQ [equalizer], which is rare. Very easy to wrangle in. 

JP: We have a great PA system. I have been all over the world touring and I have to say Seattle has some of the best sounding rooms and PAs, but it really comes down to the room. You can put a million dollar sound system in a shitty room and it’s still gonna sound like garbage. We have a great acoustic environment, high ceilings, and balcony. There’s  not a lot of places for the sound to bounce around in the room. Plus I always loved standing on the balcony and seeing the side of stage. It makes you feel that much closer to the band, getting to watch every move.

CHS: Where did you pick up the trade and what interests you about sound engineering?

JP: My dad bought me a 4-track recorder for my birthday one year and I started recording my own bands in middle school and high school. When CD burners first came out I was using a recording software to edit and put my stuff on to CD. When it came to college I already knew that recording was what I wanted to do. During my 2nd year of college I started Interning at Studio 7 and after a year I was working shifts and doing live sound full-time. That was a very exciting point in my life--I got to quit my day job and make a living doing what I love. What interests me about sound engineering is it’s all about variables and creativity. So many factors make things sound good or bad. Doing sound is a process of "cleaning up,” of taking things out of the mix to make an instrument "stick out.” It’s very satisfying to take a bunch of instruments, put them in their individual places in a mix, and listen to the end result. 

AW: I've been interested in sound since high school. Nothing else, job wise, seems as fun, especially not accounting, which was my major in college--fun fact!

CHS: How about a band that made your life hell and why?

AW: [Capitol Hill group who at one point were banned from six Capitol Hill clubs] Mad Rad. I'm guessing I wouldn't have to go into too much detail on that one. Not to mention the fact that they would probably be into it if they read this. 

JP:Danzig loves to throw his microphone at the monitor engineer.

CHS: And one that made your job easy?

JP: Any band or crew that is pro and that walks in at the beginning of the day with a smile on their face. People forget that it is a privilege to make a living doing what we do whether it is a stage tech or a song writer. We are all in this game for the same reason, so let’s make this about the music not your ego. Every band should have to read "Get In The Van" by Henry Rollins before they play their first gig.

AW:The Handsome Furs. They are nicest, coolest people I've ever met. 

CHS: Favorite Capitol Hill/Seattle bands to work with?

JP: Hmm, well I got my start in the touring world working for [Seattle metal band] Himsa. I really like [Seattle hardcore group] Black Breath. I’ve got to mix He Whose Ox is Gored a few times and that has always been a great time. I will be mixing [Seattle “Psychodelick” group] Master Musicians of Bukkake in a week or so and that is pretty rad. 

AW: I'm gonna play the "safe" card here and say too many to name! But I'm also not afraid to cheese out and say that I do have a special thang for Grand Archives.

CHS:Doug Krebs, the sound engineer at the Tractor, recently alleged he’d been “violently attacked” by the frontman for Seattle Sub Pop band The Head and the Heart, claiming the attack was “without any provocation and specifically directed at sound technicians.” Ever been hassled by aggressive and/or drunk bands and if so, how did you deal with it?

JP: I read an article about it. There are always two sides to any story. I’m not going to make any opinions until I know more about the situation. I have dealt with aggressive bands, tour managers, promoters, etc. It comes with the territory. You gotta have thick skin in this industry. Shit will come at you left and right and if you get too hot headed that can bite you in the ass, same with being a pushover. You just got to have the right attitude. Know and act like you know what you are doing, but don't be cocky. I’ve had a few cases where things turned physical but that is quite rare. People tend to leave me alone, I guess it helps that I’m 6'4" and have a bunch of tattoos. Ha!

AW: I think the THATH thing is very unfortunate. I don't really know the whole story, or what led up to it, but seems pretty uncalled for, no matter how much stress you may be under. I feel for the sound guy. I've never really had a problem that crazy before. Crossing fingers!

CHS: What are three things bands could do to make your job easier?

JP: Show up on time! Nothing worse than having to dial in a mix while your production manager is breathing down the back of your neck asking when we will be ready to open doors because it’s five minutes after doors and the opening band showed up 30 minutes ago. Pay attention. I can’t tell you how many minutes are lost everyday while I check an instrument and let’s say the guitar player just looks down at his instrument and plays an entire song before he/she realizes that we are ready to move on to the next instrument. Be nice. Same goes to sound guys. Nothing makes or ruins a band or sound guys day then that first impression at load in. If you come in all demanding acting like an a-hole then the sound guy is gonna be grumpy and not want to help you out as much. Same goes to sound engineers. It’s amazing what a smile, handshake, and a few jokes will do to the day’s morale.

AW: Load in on time. Leave the stage while I'm pinning things down (it's really hard to mic a kick drum while drummer is pounding the shit out of it). Good, positive attitudes are kind of big deal and can be quite refreshing.

CHS: Are there any misconceptions you feel the public/show goers have about sound guys?

JP: That sound guys are all lazy stoners or drunks. Since we are on stage working, we work for the band and can get signatures for you. Or get you back stage. Mainly people think our job is all fun and games, that we are included in the party that is a rock concert. We get to work hours and hours before the show even starts and are there hours and hours after it is over.Granted I got into this line of work because it is fun and I make a living doing something I would do in my spare time. But we have a lot of responsibilities too and you can’t have a successful/ professional show when you are drinking and partying.  

AW: Yes, it's really hard to make a band sound like their professionally recorded and mastered studio album live. It's a completely different, way more dynamic world.

CHS: Is Capitol Hill a good/fun place to work as a sound tech--why or why not?

AW: Yes. It's awesome. The only thing that’s kind of weird is that it's commonly either the first or last stop on U.S. tours, so the crew either really has it together or really doesn't. It's nice when it's the first one.

JP: It’s great! We get a lot of the up-and-coming bands that are starting to grow in popularity and as bands, but are not at super stardom yet. We get to watch bands "grow up."

Untitled, originally uploaded by adamsayswhatt.