Kay Richardson explains how singers should deal with sound technicians – Part 1


Kay Richardson is a freelance sound engineer and sound designer. As well mixing sound for cruise lines, where I met her, she’s mixed and recorded live events for The Gwinnett Center Arena, 14th Street Playhouse, Alpine Theatre Project and Springer Opera House. In addition to her engineering work she’s designed sound for The Colored Museum, A Song For Coretta, Black Nativity, and Fences. Kay was nominated for a 2011 Suzi Bass Award for her sound design for Gut Bucket Blues. I worked with Kay for a three month season and loved it. Like everyone who knows their stuff, she’s always very together and quietly gets on with doing her job perfectly. I know it can be daunting for inexperienced acts to communicate with technicians. They want to present a professional image but haven’t really got the experience they need to know all the dos and don’ts. I asked Kay a lot of questions to help prepare newbees with everything they need to know.

In part 1 we talk about equipment on the ship as opposed the land, the skills Kay has acquired on ships, and the importance of a technical rider for the band set up. Kay explains the set up I use for my shows on ships and we discuss the pros and cons of using click tracks.

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