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<blockquote data-quote="Jake Scudder" data-source="post: 89573" data-attributes="member: 195">Re: F*** off, this is a soundcheck not a bleedin&#039; rehearsal!Actually, for the last show we had three weeks of prep time in the shop, four weeks of load in time at the theater, three weeks of tech, and five weeks of previews before opening night. But that wasn&#039;t my point. My point is that there has to be someone who is responsible for keeping to schedule and staying on task. I understand your frustration. At the very least, maybe you could ask for a short meeting before the next production and voice some of your concerns. Even a polite email, especially now that you are in good standing again, might help this person understand that there is a way for you all to work together more efficiently. Venting your frustration here is certainly understandable, and probably cathartic to some degree but there may be some simple steps you can take that will have a more meaningful impact on the situation over time. You are right that we are currently working on different ends of the scale. Obviously, that hasn&#039;t always been the case so I do have some understanding of the situation you are in. I am very fortunate to work on some great projects but you shouldn&#039;t be tricked into thinking that Broadway is somehow this magical place where sound people are understood and appreciated. We do get time for system tuning/SIM. We usually get some sound check time with the orchestra but this is during the band seating call and the comfort of the musicians is the priority of the call. Any actual sound check time we get there is a bonus, not a guarantee. I&#039;ve never seen individual sound checks with performers. Almost everything is done in real time during tech/rehearsals.And, for the record, you can do everything right and still get hammered by The Times.</blockquote>

[QUOTE="Jake Scudder, post: 89573, member: 195"] Re: F*** off, this is a soundcheck not a bleedin' rehearsal! Actually, for the last show we had three weeks of prep time in the shop, four weeks of load in time at the theater, three weeks of tech, and five weeks of previews before opening night. But that wasn't my point. My point is that there has to be someone who is responsible for keeping to schedule and staying on task. I understand your frustration. At the very least, maybe you could ask for a short meeting before the next production and voice some of your concerns. Even a polite email, especially now that you are in good standing again, might help this person understand that there is a way for you all to work together more efficiently. Venting your frustration here is certainly understandable, and probably cathartic to some degree but there may be some simple steps you can take that will have a more meaningful impact on the situation over time. You are right that we are currently working on different ends of the scale. Obviously, that hasn't always been the case so I do have some understanding of the situation you are in. I am very fortunate to work on some great projects but you shouldn't be tricked into thinking that Broadway is somehow this magical place where sound people are understood and appreciated. We do get time for system tuning/SIM. We usually get some sound check time with the orchestra but this is during the band seating call and the comfort of the musicians is the priority of the call. Any actual sound check time we get there is a bonus, not a guarantee. I've never seen individual sound checks with performers. Almost everything is done in real time during tech/rehearsals. And, for the record, you can do everything right and still get hammered by The Times. [/QUOTE]

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