How to use this card. Six phrases for the most common sound conversations. Practice each out loud once. Calmly, mid-sentence, not at the end. The objective is to sound like a teacher who's had this conversation before — not to sound like an engineer.
The six phrases
USE WHEN · the quote has a touring-tier console
"What's the input + output count we actually need? If it's under 32 in and 16 out, can we run a Yamaha QL1 or A&H SQ-6 instead of the DiGiCo?"
Why this works: shows you understand that channel-count drives console choice + that DiGiCo / Midas Pro / large-format consoles are over-spec for typical school musicals. School-tier consoles cover most school workflows at 40-50% of touring-tier cost.
What you're likely to hear back"We've got 28 inputs + 12 outputs — QL1 fits. We use DiGiCo because we have a stock of the surface; happy to swap." Net saving: A$200-250/day × hire days = A$1,800-2,200.
USE WHEN · the quote has a line-array PA for a small/medium school theatre
"For a 380-seat house, why line-array rather than a point-source pair with subs?"
Why this works: signals you know that line-array is touring-scale + that point-source covers school venues cleanly. Most engineers will accept the substitution without resistance.
What you're likely to hear back"Point-source is fine for the space. Q+SC K12.2 left/right + 2 subs covers it." Net saving: A$3-5k+ across the hire.
USE WHEN · the engineer specifies wireless on every cast member
"Can we run wireless on the leads + boundary/overhead mics on the ensemble?"
Why this works: signals you understand that wireless mic count is the biggest line in most sound quotes + that area-mic'ing the ensemble achieves 80% of the result for 20% of the cost.
What you're likely to hear back"We can do 6 wireless + 4 overhead — saves 4 wireless channels." Net saving: 4 × A$140/day × 9 days = A$5,040.
USE WHEN · the wireless tier looks premium
"For the ensemble, can we use Shure SLX-D instead of ULX-D? Same band, indistinguishable to the audience."
Why this works: shows you know there's a tier difference + that the audible difference at 380 seats is zero. The engineer can keep ULX-D for the two leads (where it matters) and downgrade ensemble.
What you're likely to hear back"Keep ULX-D for the two principals, SLX-D for ensemble. Saves A$640/day across 8 channels." Net saving: A$5,000-6,000 across hire.
USE WHEN · the engineer's day-count looks high
"What does the system engineer need 4 days for? Walk me through the bump-in + tech-week scope."
Why this works: forces the engineer to itemise their time. Most quotes pad the engineer day-count by 1-2 days. The real scope is usually 1 day bump-in + 1 day tech-week support + show-call coverage handed to the cheaper sound op.
What you're likely to hear back"Day 1 bump-in + tune; Day 2 tech-rehearsal support; Days 3-4 was for general show coverage but actually that's the sound op's role." Net saving: A$1,400-2,800.
USE WHEN · the quote has "RF admin fees" or "set-up fees"
"What does the RF admin fee cover? ACMA's Class Licence is free, and set-up is part of the engineer day-rate, isn't it?"
Why this works: directly references the ACMA legal position + names the double-billing pattern. The supplier knows you've done the research; the line drops.
What you're likely to hear back"You're right — let me remove those." Net saving: A$200-650.
"When the engineer says X, what they mean is Y"
When the engineer says...
What they mean
How to respond
"We need to gate the snare."
Apply a noise gate so the snare mic doesn't pick up bleed from other drums.
Routine. Don't engage. Standard processing.
"High-pass the vocals at 80Hz."
Cut frequencies below 80Hz from the vocal mics. Standard practice.
Routine.
"Channel 4 has phantom on."
The condenser on channel 4 is receiving its +48V power.
Routine status update.
"We've got intermod on RF 6."
Two wireless channels' frequencies are creating an interference product on channel 6.
"How long to re-coordinate?" 15-30 min answer is honest.
"Bring up the aux 3 send on channel 12."
Sends instruction to the operator — increase channel 12 into monitor mix 3.
Not for you. Stay silent.
"FOH is fighting the room."
The PA + room acoustics aren't sitting well; needs tuning.
"How long to tune?" Engineer answers; 30-60 min normal.
"We're getting feedback at 4kHz."
A specific frequency is feeding back — engineer will notch-EQ it out.
5-minute fix. Routine.
"The monitor mix on stage right is hot."
Wedge SR is too loud — the cast on that side will get fatigued.
Engineer adjusts during soundcheck.
"We need to phase-align the subs."
The subs and tops aren't time-coherent; needs ~5-10 min processing.
Engineer task. ~10 min.
"Sound op needs the cue stack 30 min before doors."
The operator needs the show file loaded + tested before the audience arrives.