Tag Archives: Local 16

work

I turned down work Sunday night. The circumstances were a little different from usual so I feel a need for some explanation. After Zach was killed, I really pulled my head in as far as the type of work I was doing. Prior to that, I was doing a lot of sound jobs. They were mostly at the Symphony but also around town in hotels. I enjoyed the challenges.

When I came back from Baton Rouge, I had a Soundbox right away but I also did a substitute day for one of the holiday pops shows in the main room at Davies.

I made it through Soundbox without any major problems but during the other job I made some mistakes that would have been uncharacteristic before. My response to this was to reduce the number of jobs I did on sound and concentrate on the substitute house electric job instead. The house electric job required much less initiative and was much more clearly defined.

About a year into this I realized that the spark that I had had for many years in the theater was gone. The desire for knowledge and to provide the best for my employers just wasn’t there any more. This is not to say that I suddenly was doing bad work. Except for the change in emphasis, no one really noticed.

But I did. And all the talk about retirement meant more to me than finding a better way to prepare for a graduation, for example.

So, while I kept in touch with the sound part of my business, I started letting all of that go. I stopped doing jobs on Hal’s crew (although I still work with him as house electrician). I gave up the Soundbox head job to Denise. I settled in to being JJ’s loyal lieutenant, working generally two or three days a week.

Now, the other part of all this is how I get my jobs. Back in, say, 2014 or 2015, I worked a lot at Davies Hall and I would essentially be hired directly by Jim or Rob or Hal. The Union office would sometimes be made aware of those hirings but they played no role in getting me those jobs. When I had holes in my schedule I would make myself available to the Local 16 office and they would often call me with work.

After Zach was killed, that all ended. Once in a while I would get a call, but I was usually already busy so I was able to avoid going to other places. Davies Hall was safe and a known quantity for me. Sometimes I felt bad about doing this because I wanted to support the Local by filling the jobs they needed to fill. But I remembered the mistakes I had made before due to lack of concentration and I didn’t want to jeopardize any more jobs that way. And the spark was gone.

So when the office called me Sunday night for a job today, I said I couldn’t do it. I had already committed to going down to Santa Clara to see Mom and Dad. In years past, I would have changed that. The other issue was operating a big digital sound mixer. I’m out of practice and I said so. If I had the spark, I would have pulled it off. Now, I just don’t want to.

The Local stood by me when I came back to San Francisco and I will be eternally grateful for that. But I have to be cognizant of my own health. I can’t do every job.

SoundBox

Another SoundBox is in the history books. (Or what ever history is kept in nowadays.) We did our two shows Friday night and last night. The theme was family connections and we heard sons and daughters of Symphony musicians playing with each other in various short pieces. Despite – or perhaps because of – that theme, the selections were generally excerpts so musically it wasn’t as interesting as other shows have been.

The one exception was the only piece in the 2nd Act. It was called Sketches of Kazakhstan by Samuel Post. One of the members of the second violin section, Raushan Akhmedyarova, was born in Kazakhstan and her father was a famous musician and composer there. Mr Post took some of Raushan’s father’s themes and expanded them into a very nice piece about 20 minutes long for chamber orchestra.

In SoundBox, I have several responsibilities. One is to set the room acoustic for each piece with the Constellation system. I always try to involve the musicians and artistic staff in this but I also have my own ideas. I have found that it is tempting to put more ‘reverb’ into everything just because we can. In the case of Sketches, the original setting we tried was a preset designed for small string orchestra. As the piece was being rehearsed, though, I felt that a dryer sound would allow the individual instruments, and particularly Raushan’s solo violin, to be heard better. I was very pleased to carry the day on this. I thought it was the highlight of the program.

Simply put, each preset is made up of 5 acoustic parameters. Constellation users can choose among a wide range of settings for each parameter. A relatively small number of presets were created when we first received the system for general, non-SoundBox, use. I am not against using a generic preset if it sounds good, but probably 90% of the pieces presented at SoundBox over the 3+ years we’ve been doing it have been customized for the exact music being played.

The last piece on this month’s program was a father and son affair. Steve Paulson is the Symphony’s principal bassoon. His son, Greg, is a guitarist in a ‘progressive death metal’ band called Arkaik. Greg’s piece was a six minute track of slammed guitars and drums which he and Steve played off of. It was all written out. there was no improvisation. Greg had a seven string guitar through a Marshall cabinet that, oddly, was hard to hear. Steve had a contact mic on his bassoon that I ran through the overhead speakers. Playing back the track was my responsibility, as was setting up the links between my system and the lighting and video systems so everything played in sync. Greg certainly has fast fingers!

After the last three years in which we had a SoundBox set every month from December to April, we are down to only three this season. Our next one is in February and the last will be in April. the room is in use by the Opera from May to November so putting on SoundBox during that time is not possible. Those of us on the Local 16 operating crew understand how expensive it is to put on but we enjoy doing it and look forward to participating in future sets.

Kirk

Kirk Schriel died last Saturday. Kirk was a member of Local 16 and on a job. He collapsed at the mixing board during a show and could not be revived.

I first met Kirk when he was working for ProMedia and I was working for the Opera. He was a sassy guy but he knew what he was doing. At that time he was doing the scut work of a big rental sound company. At some point, while I was gone in the foothills, he left ProMedia and started working out of the Union hall. He completed the apprentice program and became a full member.

I was on a job Sunday morning with Hal, who called me to give me the news. Hal was pretty broken up. Kirk had been the best man at his wedding. Hal had talked to him two weeks ago. There had been no warning signs.

I had seen Kirk a few times since I returned to SF but not recently. In the community of big time sound mixers, I am only on the edges, but Kirk was the real deal.