Joe McGrath

AUDIO ENGINEER • SHOWCREW DIRECTOR

About.

SHAPED BY EXPERIENCE.

I am a freelance front of house audio engineer based in the Washington, DC area as well as the acting director of Showcrew Audiovisual. I focus on creating client confidence & pristine audio quality. I work with start-ups, agencies, brands, bands conventions, concerts, plays & politicians for both stationary and touring events.
Over the past few years, I have had a unique opportunity to work with talent such as, John Legend, Amazon, President Barack Obama, Hall & Oats, The American Foundation for Suicide Prevention, the Food and Drug Administration, the Democratic National Convention , Sister Giant, Senator Bernie Sanders, Major League Baseball, The Anti-Defamation League, NASA, Capital One, and many more.

History.

WHERE I’VE BEEN.

85'-02' EARLY LIFE

I grew up playing instruments and looking up to my cousin, who was the sound guy at our church. I would watch him in amazement as he pushed buttons and moved faders, wondering what they all did. I worked in music shops and helped with gear rentals, and even began running audio for small events in my teens.

02'-05 U.S. ARMY

Fresh out of high school I joined the armed forces where I worked as a 13-F (fire support specialist) by day, and ran audio for local bands by night.

05'-11' FIRST STAGEHAND POSITION

Nissan Pavilion (a Live Nation venue) was my first professional stagehand position. Throughout the years at Nissan, I worked in various departments hosting some of the largest U.S. tours and chart topping artists. I quickly made a name for myself and was honored to be sponsored by the union shop steward, Charlie Lewin, and was asked to join Local 22 of I.A.T.S.E.

06'-PRESENT' FREELANCE AUDIO

Audiovisual Solutions (Washington DC) gave me my start in the freelance world. Since then, I have worked with countless freelance agencies, labor coordinators, and have been a continuous direct hire with a multitude of other clients.

06'-10' I.A.T.S.E.

in 2006 I joined I.A.T.S.E (the International Alliance of Theatrical Stage Employees) Local 22 and was welcomed and referred to join local 19 in Baltimore. In 2009 I was a direct hire for the audio department with Local 1 in New York City. As a stagehand and audio engineer for the I.A. I had the opportunity to train rigorously, seek certifications, and work in environments that helped mold me into the engineer I am today.

07'-08' ISAAC HAYES

As a direct hire with the touring company, I was brought on tour to run a Yamaha M7CL at monitors for Isaac Hayes, as well as a rotating group of opening acts. I had the privilege of working with the tour until Mr. Hayes tragically passed away in the summer of 08.’

08'-09' RINGLING BROTHERS

I hopped on tour in late 2008 as training FOH (front of house) Audio Engineer for the Ringling Brothers Circus. At the time, the tour was using the Midas flagship console the XL8, I trained with the current FOH engineer and was even sent to Las Vegas to learn from “Big Mick Hughes” FOH Engineer for Metallica and developer at Midas Audio. In 2009 I stepped into the shoes of FOH XL8 Engineer and did not disappoint. I finished out the 2009 season strong and returned home to Washington, DC with big plans, ready to make a name for myself.

09'-12' WASHINGTON DC AUDIO VISUAL

When I came home, there we’re really only 2 labor companies in DC doing it all. I worked with one of these companies (no names) and climbed the ranks rapidly. When I got to the top as their Head Audio Engineer, I realized there was no more room for growth. I saw an exhausted labor team in the field working hard and getting nowhere while their leader was driving a exotic cars and showing up on job sites in $3000 suits. I quickly realized there needed to be a power shift! In late 2009 I filed my DC paperwork and opened my own company Washington DC Audio Visual (WDCAV.) We immediately started paying better wages and charging clients less. The concept of an honest labor coordinator was unheard of at the time. We were transparent in our pricing and pay from the start.

12'-PRESENT' SHOWCREW

As a continuation of WDCAV, Showcrew (a bit less of a mouthful,) has continued to be a prominent name in DC’s Audiovisual Marketplace. Showcrew has grown an extensive list of quality stagehands, technicians & pros and has staffed some of the largest and most technical events on the east coast. We stand by our values, and treat our freelance family with dignity and respect. Showcrew still pays more and charges less than our competition. As director of an industry leading audiovisual staffing agency, I have grown to know nearly every aspect of audiovisual production, pre through post. My audio skillset has continued to grow and I have stayed up to date with the latest and greatest gear and technique.

COVID 19

I contracted Covid 19 early on while live events were still going, through my experience I was able to help educate people of the risk and dangers. I made a YouTube channel and shared my experience every step of the way. After recovery, near the beginning of the shutdown, I was lucky enough to move into a union shop position where I was working on repairs and general upkeep of audiovisual equipment. I watched our entire industry disappear overnight. Most of 2020, I worked with bands & brands in a virtual or live streamed environment. As 2021 started allowing for smaller gatherings, I became a certified COVID safety officer and helped communicate and coordinate the ever changing needs for onsite COVID safety. Showcrew re-opened for business in late 2021 and hopes for a great 2022 to come!

Skills.

WHAT REALLY MATTERS.

01. KNOWLEDGE

Audio reinforcement, sound design, speaker placement, gain structure, hardware configuration, mix position, microphone element selection, microphone placement, wireless deployment, software integration, media management, signal flow, time alignment & cue management are integral parts of every audio environment. I am well practiced in the lot, and use my ever-growing knowledge to avoid job site complications. I have the skills required to effectively communicate complex audio situations in a way that will leave the client confident and well informed.

02. HARDWARE.

Having the correct tools to implement a continuously variable audio set is just as important as having the knowledge to do so. My audio workbox is an ever-changing toolbox in which you will find many audio essentials including: cable testers, radio frequency and wireless analyzers, signal generators, measurement microphones, talkback microphones, a com switch, headphones, in-ear monitors, cable turnarounds and adapters, audio interfaces, DI‘s, lavaliere microphone elements, a tablet containing control software for most audio consoles, a computer with the latest audio software is including; SMAART, Shure Wireless Workbench, Q lab, Dante controller, Logic, ProTools, Waves, and many more.

03. EXPERIENCE.

Having the tools and knowledge is essential, but experience is the most important aspect of this job. No two events are ever the same and each one comes with its own challenges. Having the experience of working in this industry for well over a decade, has helped me reach a level of adaptability that allows me to transition between corporate and concert environments seamlessly. Being in countless troubleshooting situation has given me the readiness to address technical issues as they occur.

Gear.

THE RIGHT EQUIPMENT.

In a fast paced industry keeping up with the latest technology is extremely important. I am well-versed in the industry standard brands and have hands on experience with consoles, speakers, microphones, amplifiers, and protocols from the top manufacturers.
MIDAS
YAMAHA
SOUNDCRAFT
ALAN & HEATH
DIGICO
AVID
ANALOG

UNFAMILIAR GEAR.

I don’t have experience on every console or piece of gear out there, however my knowledge of gain structure, signal flow, and routing, allows me to be proficient on consoles that I may not have any previous experience with. When presented with an opportunity to work with a new piece of equipment, I always “do my homework” to ensure that I am show ready and able to tackle the common issues that can arise when operating unfamiliar gear

Training.

LEARNING EVERYDAY.

On or off job sites, I am constantly honing my skills. Whether I am renting a new piece of gear to familiarize myself, or attending courses, seminars, training facilities, or conventions, I am always training and looking to learn about the latest gear and technique.

review1

Training on the latest audio consoles keeps me up to date and puts my hands on equipment that I may not have immediate access to.

review3

Training on the latest protocols and networking equipment, helps to ensure I know what to expect on job sites in the future.

review2

Software training keeps my skills sharp and allows me to better use software to make sure each event is a complete success.

Contact.

LET’S TALK.

I would love to hear about your project, and how I can help. Please send me a message using the contact box below. If you would like a hard copy of my resume, please let me know. Thank you for visiting.