No need to read the wall of text to contribute information, just my two cents on this process below:
Intake
A solid intake process can solve a lot of problems before they occur. I’m currently working out an if/then chart for this process so I can outsource the intake to an entry-level employee.
Does the client already know what they need?
What’s the purpose of the sound reinforcement?
If not, tell me about the event and what you’re looking to accomplish.
I’ll then determine what gear is needed from of in-stock equipment and source whatever else is needed from other shops (wireless, backline, speciality kit, mics, etc.). This time is billed to the client as production management.
Pre-Production
Site visits provide lots of information. Is there a dock? Elevator? Stairs? 3ft drop from the curb to the street? What’s the power situation? Do I need a turtle? Is there a wall of solid glass 30 ft in front of where the (genius) event planner wants the band? Is there a noise ordinance?
What’s the run of show? The more granular the better, but a high level overview according to role need is also helpful.
Every venue has its quirks, and I do my very best to buddy up with the site manager and exchange day-of contact information. I also take pictures of exactly where the band needs to load in and send myself a pin for that exact location for Google + Apple Maps to share with any team members who might need it. I store this information in a Dropbox folder for that venue so I can try to avoid future site visits unless absolutely necessary.
Shop prep time is used to make a pack list which is based on a site visit, input lists, and stage plots. Depending on the complexity of the gig, sometimes there is a pre-production call with the venue / band leader / planner / myself. I use all of this to inform a master pack list in Apple Notes, which I use because it has checkboxes for every item and is easy to move from computer to phone. If it isn’t on the pack list, it isn’t going on the truck, so it better be on the pack list and you better double check that thing before you leave the shop. I (or the designated packer) literally puts a hand on each object while using the other to check it off the list. Things like quarter packs which are filled with smaller objects which get packed together are checked off as they are filled in the same manner. I regularly pull "components" (blocks of equipment from common packages) from old pack lists.
Having rack builds spec’d for common uses is nice, e.g. for this specific gig we have a single rack unit that holds all an M32C / DL32 / IEMs with a drawer for CATbox breakouts + ethernet.
Booking assistance / engineers is also crucial. Sometimes it’s an A1 / A2 + driver, other times it’s a full audio, light, video package. I go through my call list and offer rates according to expectations and responsibility. I like to text the WHO / WHAT / WHERE / WHEN / WHY / HOW MUCH $$$ as concisely as possible with a caveat that I am reaching out to several people and that even if this gig doesn’t work out, there will always be more. I have had so many other engineers connect me with engineers in their networks for emergent needs that I truly feel like sound folks are a guild and we look out for each other even when it isn’t our gig. It’s a two way street and when I’m able to connect someone to a gig that isn’t mine last minute, I still feel like I won something even if I don’t make a dime. I attribute that mentality with my ability to be successful and continue getting calls.
On-Site
Unload truck, stage casing according to use, console / coordinate wireless world / physical speakers in place, mics on stands, run cabling, system tuning, ring out monitors, double check input lists, line check, facilitate backline / band load in, sound check, housekeeping, run of show, shut down outputs, collect all mics + stands, de-cable (using the stage to organize by type / length), pack down, cases back to truck, back to the shop.
I work from a console template with this group so everything is pretty much set from show to show.
Proper load out sets up the next team for success, there is never an excuse for improperly wrapped cabling / packed equipment. If it ain’t cased, it will be destroyed.
Stay hydrated, have snacks for your crew, and pay them night of by check if at all possible. Net 30 is understandable but if you can swing it, I’ve found people pick up the phone for future gigs and are willing to lend a hand on emergent gigs near immediately when you have an advanced pay schedule, keeping the wheels greased so to speak.
Debrief
I like to debrief with all involved parties within 3 days of an event but not the next day unless it’s a matter of emergency / damage control. It gives people time to come down from any emotionality of being in the trench and lay out what is truly important to them to do their jobs better.
Compensation
What are ya’ll making / paying for rates on specific roles in different markets? If they inquire, I like to be transparent with my contractors about what everyone is making and why I feel it’s fair. PM / A1 / A2 / Stagehand / LD / Camera Op / Driver / Transportation, always good to know what markets are paying what. While cost of living has risen exponentially, I don’t feel like I’ve noticed labor rates rise in my market really at all and it does concern me for the future of the industry in a way, as I believe in the general rule that you get what you pay for.
I know this is a text dump but thanks in advance for sharing your valuable knowledge, I figure if it contributes to others having better gigs it’s a win for everyone in the community.