Technical Production Specialist

Technical Production Specialist

Rock The House — Production Department

Bedford, OH · Full-time, hourly (~$50K base) · Weekend show work available at additional pay

Reports to: VP of Production (or Director of Technical Operations)

Why this role exists

Most of what RTH produces every year isn't a multi-truck corporate event in an exotic city, a mega festival, or a National Mall concert. It's the bar mitzvah with a dance floor and a lighting package, the wedding with uplights and a ceremony system, the 200-person corporate dinner with a screen and a podium. These shows are the backbone of the company — they're profitable, they're repeat business, and they lead to bigger work.

Right now, our project managers live on the largest, most complex shows and spend most of their time in the field. That leaves our mid-level shows and smaller events without a technical owner between "sold" and "loaded in." Sales knows the client. Coordinators know the timeline. Nobody is consistently checking that the gear on the pull sheet is the right gear, in the right quantity, with the right accessories, on the right truck.

That's this job. You are the technical brain behind every show that doesn't have a project manager on it — roughly anything under $30,000 — and often the first technical call for a show before a project manager is assigned. Every non-PM show gets a sign-off before it leaves the building, and that sign-off is yours.

What you'll actually do

Review and sign off on every non-PM show. Bar and bat mitzvahs, weddings, small - mid corporate, DJ parties — if it doesn't have a project manager, it goes through you. Even a simple show gets a check.

Often Be the first technical response to sales, and always a resource. When a salesperson submits a request for technical help, you'll often be assigned to it while we're determining whether a project manager is needed — same day, every time. Scope the show, build a first-pass equipment list, flag what you don't know, and get sales what they need to quote. If the show turns out to be big enough for a project manager, the PM takes it over completely and you hand them a package they can run with instead of a blank form. Sales should never wait three days to find out whether anyone is going to help them.

Own the pull sheets. Build or review the equipment list for each show. Catch the missing stand, the wrong clamp, the lens that won't throw far enough, the cable run that's 25 feet short. Confirm accessories, spares, and consumables are accounted for.

Work floor plans with sales and coordinators. Translate what was sold into a plan that physically works in the room — rigging points, power, sightlines, truss spans, where the DJ booth actually fits. At times this is a technical drawing. Other times it's a simple key and plot that sales will draw, and on the most basic shows it's just reviewing the salesperson's written description.

Right-size trucking. Make sure the gear fits the truck.

Be the technical resource sales can actually reach. Our salespeople are mildly technical by design. They shouldn't have to pick stock cable. When they have a question about what something can do or what it needs, you're the answer, and you're at your desk.

Catch the drift. When a show is consistently oversold, or when we keep sending more expensive gear than we quoted for free, you'll see it first. Flag it. When the same rep keeps making the same technical mistake, let the sales manager know so they can retrain, not so the mistake gets quietly fixed forever.

Make the substitution calls. Matching equipment is important, and often you'll have to make substitutions to see that all the shows get complete kits. Swapping one model of speaker for another that's still within the same class will be a common part of the role.

Make recommendations, not decrees. The account manager owns the client relationship and the client's expectations. You recommend the technically right solution and explain why. If there's a real disagreement, it goes up to the production and sales managers — you don't need to win the argument alone.

Help build the system that eventually checks itself. Much of this should be automated someday. You'll help define what "right" looks like so we can get there.

Who this is for

This is a desk role for someone who has hung a light, run a cable, and loaded a truck — and now wants to use that experience Monday through Friday without living on the road.

You might be:

• A technician with a few years of shows behind you who's ready to move up and wants a path into production management
• Someone who's done the road and is done with the road, but still loves the work and wants to stay close to it
• A basic operator (audio, lighting, or video) who's good at seeing the whole show, not just one department

What you need to walk in with

• Hands-on experience as a live event technician or in theatre. You need to know how a show goes together on day one — not learn it here.
• Working knowledge across audio, lighting, video, and staging. Not expert-level in all four, but enough to know when something's wrong and who to ask.
• An eye for detail and the patience to check the boring stuff every single time.
• The ability to tell a salesperson "that won't work" clearly and without friction, and to escalate when it matters.
• Comfort in a spreadsheet and an inventory/pull-sheet system. We'll train you on ours.
• Basic floor-plan literacy (reading and marking up; CAD ability is a plus, not a requirement).

How the role works

Hours and location. Full-time hourly, weekdays, based in Bedford (remote is an option per company policy). This is a desk job. During the first 90–100 days you'll be fully in the building learning our inventory, our systems, and our people. After that, weekday field work is the exception, not the rule.

Weekend work. If you want to keep your hands on gear, you can pick up Saturday and Sunday shows as crew at our standard show rates, on top of your base pay. Entirely optional.

Where you sit. You're a member of the production department and report into production leadership. You work daily with sales reps and event coordinators, but you answer to production — that's deliberate, so the technical check stays independent of the sale.

Growth. This is the seat someone moves up from. Do it well and the natural next steps are project management, production coordination at a higher tier, or a technical lead role.

How we'll know it's working

• Every request routed to the desk gets a first response within one business day, whether or not a PM is eventually assigned
• Every non-PM show has a documented technical sign-off before load-out
• Fewer "we forgot the ___" calls from the field on mid-level shows
• Gear sent matches gear sold; free upgrades become visible and intentional, not accidental
• Sales reps get technical answers the same day, without chasing a PM
• Recurring technical mistakes get named and trained out, not repeated

Rock The House is a full-service live event production and entertainment company based in Bedford, Ohio, producing ~1,500 events a year from social celebrations to national festivals.

Pay: $50,000.00 - $60,000.00 per year

Benefits:

• 401(k)
• Dental insurance
• Employee assistance program
• Paid time off
• Relocation assistance
• Retirement plan

Work Location: In person