I worked my way into it doing backline, then lighting, and finally I was able to cross over into my real passion, which was sound. It was a different time, when there were a ton of bands with a ton of venues to play in cities all across the country - the drinking age was 18, so there was a lot more business for bars and clubs to sustain this.
< all artistsI worked my way into it doing backline, then lighting, and finally I was able to cross over into my real passion, which was sound. It was a different time, when there were a ton of bands with a ton of venues to play in cities all across the country - the drinking age was 18, so there was a lot more business for bars and clubs to sustain this.
< all artistsThis is where I cut my teeth, so to speak. This is where I learned how to make things happen regardless of the situation. I guess ‘the show must go on’ actually meant something and gave me a work ethic that enabled me to succeed.
My first encounter with sE gear came through an introduction by Ken Van Druten – “Pooch” – with Jonathan Pines [of Fingerprint Audio, sE’s US distributor]. Jonathan and I hit it off and have kept in touch ever since. Jonathan immediately starting my addiction to sE gear with the VR1 & VR2 ribbon mics, using them on guitars on the Justin Timberlake tour.