Sounding off on L.A.’s best sound guy.
by Glenn Dugan LA Alternative 7/30/06

Some people will tell you that if you find a soul mate who understands you, never let them go. I don’t know much about that. What I do know is that if you find a good sound guy, hold on to him for dear life. Whether you’re a band member, a club manager or part of the paying audience, a well-manned sound system is your best friend. (Pardon the “man” heavy jargon, I simply can’t bring myself to utter a phrase as inane and vague as “sound person,” no matter how politically correct it might be.)

Sound guys are rock’s gatekeepers; ideally they should make a band sound as good as they are, but a squealing microphone, a guitar you can’t hear, or a feed-backing amp that sends the crowd ducking for cover will do it every time. Here’s a guide to the best and worst.

Mr. T’s Bowl

Ten years ago, this bowling alley turned music venue had a renaissance, and much of it was thanks to their tradesman, Arlo. One look at him, and you’d have no idea that he’s worked the knobs for everyone from Kim Deal to Beck. Nowadays, he deals mostly with crusty open mic addicts and a good deal of gin and tonics, but the man knows his sound. He puts musicians at ease, he’s down to earth and is most likely entirely deaf from his time behind the board. But he comes from an age when a sound man was responsible if shit didn’t work. There’s a reason an old L.A. indie grunge group named themselves Arlo: To play under him is a pleasure.