Live Sound & Event Production School

A sound tech sets up, runs, and maintains audio for events or productions. Typical tasks include advancing the show, building stage plots/input lists, miking instruments and vocals, patching the console, running line checks, setting gain, ringing out monitors, managing RF (wireless mics/IEMs), troubleshooting buzzes/drops, handling fast changeovers, and striking gear safely. Communication with stage managers, backline, and artists is constant. At OIART, you’ll drill these workflows in small crews—signal flow, stagecraft, cable management, RF basics, changeover timing, and fault‑finding—so you can walk into clubs, festivals, theatres, or corporate gigs with confidence.

Live sound is the art and science of delivering clear, powerful audio to an audience in real time. It spans system design and deployment (PA placement, coverage, SPL goals), console setup, FOH mixing, monitor mixing (wedges/IEMs), RF management, cueing/playback, and quick problem solving under pressure. It also includes show paperwork (stage plots, input lists) and coordination with production. At OIART, you’ll practice end‑to‑end: from advance and load‑in to tuning basics, FOH/monitor mixes, show operation, and load‑out—guided by mentors and guest pros with current credits.

Core skills blend technical, musical, and people skills:

• Technical: signal flow, gain staging, EQ/dynamics, mic techniques, digital consoles/DAWs, RF fundamentals, basic acoustics.
• Musical: critical listening, ear training, music/style awareness.
• Professional: communication, teamwork, time management, documentation (stage plots/input lists), safety.
• Business: scheduling, invoicing, client etiquette.

At OIART, you’ll build these through 650+ hours of hands-on labs, small‑group sessions, and real‑world exercises. You’ll train on industry‑representative gear and develop the soft skills and show paperwork habits that keep gigs running smoothly.

Start with prep: advance the show, confirm the input list, and plan groups/VCA layout. On site, deploy PA and stage, patch, and line‑check. Build solid gain structure, set high‑pass filters, and use subtractive EQ to clean up mud/harshness. Apply tasteful compression for control, keep vocal intelligibility on top, and use FX for depth without masking. For monitors, ring out problem frequencies and prioritize what performers need. Create snapshots if the show requires them. During the set, ride faders, watch headroom, and anticipate cues. At OIART, you’ll practice these steps repeatedly, mixing under time pressure and getting targeted feedback to speed up your workflow.

“Sound operator” often refers to the person actively running audio during a show—common in theatre, broadcast, houses of worship, and corporate AV. Duties include console operation, cue stacks, playback (video/track rolls), wireless mic checks and mic swaps, intercom, and executing cues on script. The goal is consistent intelligibility and seamless transitions. At OIART, you’ll learn show calling, cueing, playback systems, and console operation for scripted events, so you can plug into theatre/corporate workflows as confidently as you would a concert.

Build skills, credits, and relationships. Get hands on training, then work local venues as an A‑2/patch tech, assist regional sound companies, and volunteer at festivals to learn fast changeovers, RF, and system basics. Keep a clean, current resume and a short portfolio (photos of rigs, patch sheets, references). Be reliable, calm under pressure, and safety‑minded. Keep learning new consoles and workflows. OIART helps you accelerate this path: an 11‑month, hands-on program; small‑crew live sound labs; mentorship from working engineers; and career support that starts day one and continues after graduation. Want details? Chat live at oiart.org or call 519.686.5010 x22

Solid advance work and safe, scalable execution. Key pieces:

• Clear site plan, power distro, and weather/noise compliance.
• Robust PA design/coverage, delay towers, and SPL management.
• Tight changeovers: standardized festival patch, stage plots/input lists, color‑coded cabling.
• RF coordination (mics/IEMs), clean comms (com, cue lights), and redundancy.
• Artist experience (hospitality, tech packs), audience flow, and emergency plans.
• A strong stage/FOH/monitor/system tech team with defined roles and a debrief process.

At OIART, you will practice festival‑style line checks, RF management, changeovers, and FOH/monitor teamwork in live labs with mentoring from working pros.

Start focused and build repeatable quality.

• Define services (engineer‑only, small PA, full production) and target gigs.
• Register the business, get insurance, and standard contracts/terms.
• Build a lean, reliable kit (PA, console, mics/DI, RF, cabling, power) and a maintenance plan.
• Create pricing, quotes, and a simple booking workflow (calendar, deposits, revisions).
• Partner with trusted rentals/crews; prioritize safety training and show advancing.
• Market with a clean site/reel, venue/promoter relationships, and consistent follow‑up.

At OIART, you’ll get career coaching, industry mentors, and hands-on live sound labs to help you build workflows, a portfolio, and the confidence to take paid work.

Use your ears and meters, systematically.

• Gain structure first; PFL/solo to locate the noisy stage zone/channel.
• Mute/VCA groups to halve the problem space quickly.
• Check cabling and power (shared circuits, bad DI, phantom conflicts).
• Use high‑pass filters and proper shielding/balanced lines to reduce rumble/RF.
• For RF: scan the spectrum, coordinate frequencies to avoid intermod, place/divide antennas correctly, and watch RF/AF meters.
• Watch SPL/RTA to spot feedback modes or lighting hash.

At OIART, you’ll drill fault‑finding, RF scans/coordination, and console troubleshooting in small crews so you can stay calm and fix issues fast.

Ground loops happen when gear is tied to ground at multiple points with small voltage differences; loop currents ride your audio as 50/60 Hz hum (and harmonics).

Prevention:

• Use a single power distro (star grounding) for all audio gear.
• Run balanced lines; avoid long unbalanced runs.
• Deploy isolation transformers/ISO DIs and use ground‑lift switches on audio (never lift safety earth on AC).
• Separate lighting and audio power where possible.
• Tame laptops/USB gear with quality DI/USB isolators; check phantom power and instrument amp grounding.

At OIART, you’ll learn safety‑first training and practical labs teach you clean power practices and hum‑hunting under show pressure.

Avid VENUE (S6L): Deep Pro Tools/Virtual Soundcheck, AAX plug‑ins, powerful snapshots/Events. Popular on tours/festivals; strong show‑file portability.

• Yamaha CL/QL/Rivage: Rock‑solid, Dante‑native, “Selected Channel” workflow, Scenes with recall scope/safe, User‑Defined Keys. Ubiquitous in corporate/theatre.
• DiGiCo SD/Quantum: Extremely flexible routing/bus architecture, dynamic EQ/multiband on channels, Macros, Snapshots. Highly customizable, steeper learning curve.
• Midas PRO/M32: Musical preamps/processing, clear POP/VCA groups (PRO) and Snippets/Scenes (M32). Friendly layout; widely available from clubs to regionals.
• Common threads: layers/banks, snapshots/scenes, custom faders, and file import/export—details differ.

At OIART, you’ll get hands‑on time with modern digital consoles, build show files, practice scenes/snapshots, and learn to translate your workflow between brands.

• Often solo: advance the show, patch, ring out PA/monitors (sometimes from FOH), quick soundchecks, and volume management for the room.
• Manage changeovers, troubleshoot backline/lines, and keep consistent mixes at lower SPLs with limited outboard/time.

Festival FOH:

• Fast line checks, minimal (or no) soundcheck; build scenes offline/virtual soundcheck.
• Work within a standard festival patch; coordinate with stage/monitor/system techs.
• Adapt to unfamiliar consoles/PA, SPL limits, and tight schedules; snapshot management is critical.

At OIART, you’’ learn live labs to simulate both environments—club nights and festival changeovers—so you practice advancing, scene building, RF coordination, and mixing under time pressure with guidance from seasoned engineers.