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 About Sound Service:

Sound Service is an on site audio production company specializing in live sound reinforcement.  We offer cost effective audio solutions for special events and public address for audiences up to about 2000 people, however local pandemic restrictions may apply.  Adept with analog and digital consoles alike; very experienced on the Behringer X32, Midas M32, Mackie DL32R, Yamaha LS9 and M7CL consoles.

With backgrounds in electronics engineering, mechanical aptitude, customer service, and patience; we bring a specialized event sound system to you!

Where Sound Service began:

Earlier on
Messerschmitt car
Out for a ride with dad in a Messerschmitt automobile

Dad was an audiophile, environmentalist, and engineer for AT&T long before the baby bell breakup.  When I was seven he taught me to solder as he built a theremin.  At fourteen I built a remote controlled air boat from Heathkit; fitting for the swamps of Miami.  Around age 16 we visited my older brother Alex in Denmark, where he drummed in a band and collected odd cars.

Meanwhile back in junior high drama class I’d rather run sound and lights, so did that, and not so much acting.  Did about the same in high school, however I gravitated more toward the Audio Visual department.  Okay, I was the nerd with the AV cart, repairing VCR’s and such.  And ran sound at my church.

Fresh out of high school
Akropolis album cover
Akropolis – Half a Million Hours Symphony

1978 I landed in Odense Denmark once again and began helping my brother manage a Musikhuset Aage Jensen (music house).  I started out cleaning, maintaining, tuning, and miking instruments for late night jam sessions.  With a complete sound reinforcement system already in the basement, I learned to mix on a Danish Mape console, (similar to Soundcraft) during late night jam sessions.  The Swedish band Wasa Express and other touring musicians dropped in to shop and jam awhile.  Some of my mixes went to cassette tape.  Realizing my niche, Sound Service began taking the PA to local venues where I could mix live music.  Another task was to roadie our band “Akropolis” to Sweet Silence Studios in Copenhagen to record “Half a Million Hours Symphony.”  The album co-composer / guitarist / surgeon Jørn Bennedbæk hand dotted the original Sound Service logo in 1977.

Going back to Miami
Tapco sound board
Tapco sound board

Returned to the USA in 1979, ran sound at my church, spun some vinyl, and became sound man for a new wave band with Randy Rush (R.I.P.) and New Wave band: “The Front,” where I was subsequently “thrown to the wolves” on a Tapco mixer with knobs, not faders. Talk about culture shock!  Also ran sound for the rock bands Flesh, Lyps and ironically, Eyes.

Rhythm & Phoenix
Everyman sound company
Front of House engineer for the Everyman Sound Company, Gainesville 1986

Central Florida 1982: Helped dad build a cypress log home, delivered sandwiches, surveyed a bit, and took a course in multimedia communications.  I eventually hooked up with the Everyman Sound Company while running sound for an 11 piece “Rhythm & Blues Review and Show Band.”  In 1987 we ran a full production of “Hair” at the Florida theater.  Originally scheduled for three weeks, actual picketers caused the show to hold over an additional week.  Later that year I engineered a middle school presentation of “Cats!” With Joaquin (aka Leaf), Liberty, and Summer Phoenix.  River (R.I.P.) played guitar with members of the Rhythm & Blues Review.

Asheville 1990 to 2010

I Ran sound at my church, worked in pottery, installed audio systems, and earned an associates degree in Electronics Engineering Technology.  After a mid 1990’s computer field repair job, then became a technical support representative for Digitech International, troubleshooting gate access and door alarm security systems.  Six years in I moved on to testing and repairing DigiView camera surveillance recorders, and with it took on network administration.

tatawari chant liner notes 2010

2007 – added a touch screen to my mini PC’s 19″ monitor for wireless remote control of my LS-9 console from the audience without the need for an audio snake.

August 16, 2008: recorded a Blue Paradox performance of the Tatawari Chant during a Grandfather Fire event, which later produced to CD. This is the first time I mixed with wireless remote audio control.

Meanwhile Celtic and Appalachian music had long appealed to me, and I found myself working sound for some local Contra dances.  Also made some excellent two-track recordings while running sound at a local pub: Jack of the Wood.  In 2009 a blessing in disguise occurred when our security company was sold to a corporation and many of us lost our day jobs.  With a new concert series at Biltmore Park, and ongoing house gigs, Sound Service began again.  With DigiView Repair on the side.

Miscellaneous gigs, still in Asheville:

2011 ~ present: nearing my thirteenth year of running sound at “The Jack of the Wood,” I started as Sound Designer for the Flat Rock Playhouse musicals, and the Music On The Rock concert series.  2015 ~ 2017 Lead audio production technician for Redemption Church of Asheville.  At The Grey Eagle: recorded, mixed and mastered The Jon Stickley Trio and Honeycutters for NPR’s Sense of Place broadcast March 31, 2016. Until the 2020 Pandemic, I ran concerts at Biltmore Park Town Square®, Ramble Biltmore Forest, Guitar Center grand openings, musicals, weddings, and contra dances. Some of these venue recordings appear on YouDeserveToBeHeard.com

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