With a career spanning from the stage as a guitarist to the mixing consoles of the most demanding concerts, Jai Vatuk has established himself as one of the most respected live sound engineers on the international scene.
His journey, full of learning, unexpected turns and bold decisions, took him from his first tours as a musician to becoming the person responsible for the impeccable sound at singer-songwriter Tyler Childers’ performances.
When I was a kid, I lived for a while in India, where my father is from. We had access to a few American albums and from a very young age I was intrigued by music. When I went to see Led Zeppelin, I knew for sure that I wanted to dedicate myself to music. I was blown away by the scale of their production. I remember telling my best friend, ‘that’s what I want to do’, As I said it, I was pointing at Jimmy Page playing the guitar, and the very next week I picked one up myself and started to play. I toured with several bands, but even then I remained fascinated by everything related to production, begins FOH engineer Jai Vatuk, recalling his introduction to the world of music.
As a Sound Image client, Jai’s story is an interesting one: he traded being on stage with his six–string guitar for mixing bands in the studio and taking on various tour production roles, refining his musician’s ear into that of a world-class sound engineer.
“As my band started playing larger shows, learning about sound came out of necessity because we couldn’t afford to hire anyone. Moving from putting together monitor mixes to eventually hiring FOH engineers to mix the band then led me to learn how to record in a studio, and that’s when I really started to dig into engineering”.
Along the way, two Daves appeared who would leave a lasting mark on his life. “A musician named David Lindley (now deceased), known for his work alongside rock singer Jackson Browne, hired me to produce some records for him and to go on the road as his FOH engineer and tour manager. And before that, I met Dave Shadoan, then CEO of Sound Image. He was mixing monitors for the band I was in when we were opening for blues guitarist Robert Cray. Both Daves had a huge influence on my decision to move into this side of the business. Before meeting Shadoan, I didn’t even know other careers in sound existed. We did an amphitheater tour together and I was amazed by the quality of his monitor mix and by how high the level of live mixing could be. Along the way I asked him endless questions to learn as much as possible”.
When David Lindley asked me to go on the road with him, I was suddenly forced to deliver a live mix. I remembered advice from producers and studio engineers and tried to apply it to a concert… only to discover it was a completely different world. I began seeking guidance and carefully observing what other engineers were doing. One night, engineer Robert Scovill invited me to sit at the FOH console while he mixed Jackson Browne and later Tom Petty on the same show. It’s amazing how a single night can change your life.
During his transition from musician to FOH engineer, Sound Image has been a constant presence in Jai’s career. “Sound Image has been a key part of my journey and, in the 20 years I’ve spent working on this side of the stage, I’ve served more often as tour manager and production manager than as a front of house engineer. That’s why, on my first tours in those roles, I would call Dave Shadoan for help. Over the years I’ve had many clients—the list is long—and I always brought them to Sound Image because I know they excel at great live sound”.
Another important chapter in Jai’s journey, on a more personal level, is his sobriety. “Eleven years ago I made the decision to get sober”, he explains. “And I felt as though my career started over as a result. I realized I needed a drastic change to keep going. If I hadn’t gotten sober, I probably would have left the business altogether, so I owe a lot to the people who helped me along the way. Being sober allows you to move forward and persevere through failures or successes; it gives you the ability to manage emotions and build resilience”.
Today, Jai is in his seventh year touring with Tyler Childers, having spent the first five years in the dual role of production manager and now focusing exclusively on tour sound. “It was wonderful to be able to call Kim Sawaya (Sound Image Account Executive for Tyler Childers) and say, ‘I have a tour that will be worth your while’, because Sound Image has supported me for decades, always treating me as if I were one of their biggest clients. Only by working with Tyler have I realized how beneficial it is to have the global reach of Clair. It’s a huge advantage to have access to equipment, skills, and people. I also couldn’t do what I do without my systems engineer, Jarrod Geruntino. Since the acquisition, the level of service has remained intact; we haven’t missed a beat”.
For Jai, being able to mix the sound of one of his favorite artists is a privilege, and working with renowned country singer Tyler Childers is exactly where he has always wanted to be.
When I think about all the jobs I’ve done—stagehand, monitor tech, playback tech, backline tech, production manager, tour manager, FOH engineer—I always advise anyone who wants to tour to pay attention to what happens outside their own position and to try other roles; that will give you a huge advantage. I was living in Los Angeles, but secretly I wanted to mix country music. When I heard Tyler and discovered his country picker guitar style, I thought he was one of the best songwriters I’d ever met… and I’ve met a lot. I would stand behind his songs any day of the week.
The Mule Pull tour sold out across North America, including two shows at Madison Square Garden, and this winter Tyler Childers’ unmistakable Kentucky drawl will fill London’s O2 Arena, taking his music beyond his small–town roots to move audiences across the ocean.
For Jai, this is the job of his dreams: “My mission every night is to make sure the delivery of Tyler’s songs connects with the audience. His voice is a true powerhouse of sound that cuts through the space and hits you right where it counts”.
