Where are you from and tell us about your audio background?
I grew up in the Dallas area and got started running sound at The Upper Room in Farmersville, TX when I was 14 years old. It was a 400 capacity club with a game room, we had music 5 nights a week and would host battles of the bands quarterly- doing as many as 30 bands in a day.
Getting involved in audio was kind of accidental; we wanted to get better gear at the club and the owner wouldn't buy it until he had a permanent sound man, at the time we were just trying to make it cool for the bands. Being only 14, it was a serious trial by fire and was willing learn anything anyone would teach me. By the time the club closed in 2005 I'd built up quite a system and stopped receiving death threats from the bands... so i felt pretty good about myself.
From there I moved on to a local production company while also working with a show band called Mirror Image. One night we play a show at Lakewood Theater in Dallas, and the house engineer got sick and I ran sound for all of the bands- the owner offered me a job that same night. That's where I met Dave Hale the tour manager of Bowling For Soup and I have been working with them since then.
When did you first hear about Audix mics?
Audix was recommended by a good friend of mine, Greg Oden. I was having trouble with getting a natural tom sound in the IEM's. After trying several microphones, he suggested giving Audix a try and I've been very happy with the results.
Tell us about the mics on the Bowling for Soup tour.
On the tour we have a complete Audix drum package. We use i5's for snare top and bottom. D2's for rack tom and D4 for floor tom. D6 for kick placed 3/4 of the way inside of the drum. SCX-One hyper-cardioid for high hat and ride, two SCX-One cardioid in a coincident pair for overheads.
What's in store for the future?
I am always trying to better myself and learn new and more marketable skills, so I can do a better job for the band I am with and the band I will be with in the future.
Any parting words of advice for up and coming sound engineers?
I would avoid getting a degree in audio, those degrees offer little benefit. If you're the college type a degree in electrical engineering is the way to go, but either way you'll learn the most by just getting out there and working shows. A lot of people know more than you- listen to those people.