Bio: I've been into live music for years and got my first experiences dealing with soundboards and recordings taping Dave Matthews Band shows at the Flood Zone in Richmond, VA in 1993. I graduated with a BA in Theatre from Washington and Lee University and pursued a career in theatre as a scenic carpenter. Throughout my experiences in theatre I also took the opportunity to learn about sound whenever I could. After I few years in theatre and years of taping bands I decided music was more of my passion. In the Winter of 2001 I went to recording school at the Recording Workshop in Chillicothe, OH. I returned to Richmond and worked for SoundLab, a live-sound company. This is where I learned the most about live sound and monitor systems in general. I returned to the theatre I worked at as a carpenter and spent a season there as the Sound Designer and Sound Engineer. I began talking with the band about possibly working with them in the winter of 2002 and by April we had decided it was feasible. I joined the band when my season was done at the theatre. My first gig was June 13, 2002.

Job Description:
While Clif mixes the sound for what the audience hears, I mix the sound for each individual band member. We use an In-Ear Monitor system. Each band member has earpieces and a wireless beltpack and can listen to their own individual mix. I have my own entirely separate soundboard and am usually situated directly to the right or left of the stage. This allows me a clear view of the whole band and easy access to the stage should any technical problems arise.

Gear List:
Allen & Heath GL2200
Shure PSM 600 series
Shure E5 Earbuds

Recording Gear:
iBook 800Mhz DigiDesign M-Box
Quicksilver G4 867MHz DigiDesign 001
PreSonus Digimax LT
Lexicon MPX500

» CLIF HUTCHINSON

I'm CL's Tour Manager / Front of House Engineer.

I grew up mostly in Springfield, IL. When I was 19 I moved to Phoenix AZ to attend The Conservatory of Recording Arts and Sciences. I ended up in St. Louis for an internship where I stayed for 7 years. I worked at approximately 12 different clubs, 4 Sound Companies, 3 studios, and Riverport Amphitheatre for 2 years (now UMB Bank Pavilion). I started working fulltime with Carbon Leaf in April of 03. I met Carbon Leaf while on Tour for the American Music Awards in 01. When they hired me fulltime, I came to Virginia to live. I figured, why not…home is only a 14 hour drive.

My average day as a Tour Manager / Sound Engineer.

In the Morning I'm on my toes from the get go. It begins with checking my email, checking out of the Hotel, and then making sure that The Drummer is getting in the shower before the Guitarist so he can be ready by the time we leave. Once we are all aboard the Van, I have to navigate through the means streets of U Turn City, and listen to all of the Backseat Drivers saying, "Turn left on Peachtree" or "We just passed it", or "You're in New York, don't look behind you". Patience is a virtue that I have been blessed with. If there's not a Cracker Barrel involved in Breakfast, I am shunned for at least half a day. If we don't eat there it usually ends up being Bo Jangles or Mickey D's.

Typically we arrive early, but load in anyway. Once we get the gear loaded, I find the Big Shot that's in charge that week and begin asking questions and making demands (sometimes, this part is fun). They typically reply in a negative fashion, but take care of it anyway. Once I feel comfortable with the situation I join the rest of the crew and help set the stage. Usually I'll start with drums until; you know who is finished making phone calls. Once I feel that things are moving along in a swift manner, I'll head out to Front of House and assess my new dusty dilemma for the day. I plug in my rack of Glorious Outboard Gear and decide what house gear I'll use (and what gear of theirs I want to take with me). Unfortunately it isn't the same everyday (I need more Gear!). I then ring out the system using Barry's Mic. I always have the best luck while tweaking the EQ when listening to my own voice. Then I check the drums, which can end up taking a Milstead Minute. Then the guitars and vocals. Next we gather all bandmembers and do 3 songs (sometimes more) covering all instrumentation. When we finish I set up the Merch Booth and train the fortunate victim of the day. By the time I'm done with this I realize that I'm dying of hunger and it's time to eat. After the feasting we all tend to do our own thing until showtime. For me it's making sure the opening bands aren't going to cut into our time. Opening bands…please note. This is the worst thing an opening band can do. When I'm not stressing you'll find me chilling in the dressing room and relaxing.

Showtime comes and I'm behind the board from here on out. You may notice my own personal touch on things I add to the songs that aren't on the record. Such as Delay or reverb on particular parts. For most of you…if you don't notice, then I've done a good job. While I'm mixing please don't feel free to fill me in with any problems you may have. Like the Bartender overcharged you for your Spritzer, or Chatty Kathy drank your drink for you. If you're just stopping to say hi, please do. (Ladies) If all you want is a kiss, just say so. I apologize if you think that I'm blowing you off at a show, but sometimes…I'm stressing.

The show is over, here's where things get amusing. I attempt to pack up my rack while standing in a sea of punkin dreople. Then I beeline for the stage. First I pack all the Microphones away. During this process I get asked at least once to sign somebody's CD. My response is that I'm not in the band - that I'm the Soundguy. Usually they won't accept that answer. They insist that I was onstage playing an instrument. The best is when they understand right away. At that point they feel like they've alienated me, therefore they have me sign it anyway. Once we finish packing up we hit the hotel and dream of Busses and Line Array's.

While on Tour, my main concern is the show that's happening that night. All efforts are to make the show go off without a hitch. By doing so I must maintain noble spirits with the band, Buford, all House Personnel and the fans. This isn't the easiest task when the Promoter or Production Manager can't find the time to get water or food to the table (This has a Plethora of meanings!). That of course, along with everything else… is my fault. Whether or not it's my fault…it's my fault.

When we're in Richmond, my job isn't over. I'm usually working all day attempting to make things right for the next tour, including advancing shows with the Venue, Promoter, and Production people. This is the most tedious portion of the work. Hopefully this gives you some idea of what my job entails. I love my job and wouldn't give it up for the world.