I had the distinct honor of running the sound board for two performances by the 4 Seasons several years ago. It was before my mom passed and she was proud as a peacock!
and we are too. 
Thanks JF.
I sorta fell into the opportunity. I had a friend who was trying to do a nice thing and bring live concerts featuring notable performers at an affordable price. As is often the case he was making do on a shoestring.
I got a call one evening that the company he had hired to do the sound for this series of concerts had abruptly backed out on him, leaving him stranded. He knew that I did sound (at an amateur level) with the bluegrass jam my brother and I hosted. So he approached me with an impossible ask: can you come in - cold - and cover my ass?
Naturally I'm always up for a challenge so I agreed. Two concerts featuring the 4 Seasons at two different locations using my PA but house sound mixers I had never seen or touched before. Piece of cake!
The promoter put me in touch with the house managers so that I could figure out how much equipment I would need to bring. I had no contact with the artists other than an aloof nod of the head that passed for introductions. I didn't (couldn't) know what they were thinking, whether this was just another day at the office for them or an indication that they perceived it to be a train-wreck destined to happen. I hoped that my air of confidence hid the panic I was experiencing!
The promoter gave me cut sheets with set lists, cues and breaks, and a template for equipment locations and settings - the night before the first show. I had to bribe the stage manager to allow me access to the venue early so that I could set up and study the mixer board. The auditorium held about 150 seats and the control room was set high and far at the back of the room. I quickly assessed that I was completely outside my comfort zone. Setting the stage was easy - I had done that a thousand times. Connecting my gear to the house was tricky as there was no legend or color code to identify what went where or controlled things.
The sound board was far beyond my modest gear. It was 24 channels, all digital, all very scary looking with rows and rows of buttons, knobs, and sliders. My partner and I got to it and, although I didn't know what 90% of the controls were supposed to do, got it going.
We had a few surprises and a couple of accidental feedbacks but we carried it off. Two nights later we did the second show. I looked forward to this 2nd event like someone who has an appointment to get a tooth pulled - the stress of the last show had been oppressive! But they had a guy there who was familiar with the house electronics and especially the mixer. So the 2nd night turned out to be a breeze (comparatively speaking).
Two solid shows. The artists were given another opportunity to shine (and they were outstanding to listen to!). The promoter met his obligations and kept his credibility intact. The venues made some modest profit. I tried to keep my motives in check. I think I succeeded (for the most part). I challenged my fears to take on a difficult project that meant that other people's success depended on my success. I wanted to help a friend (well, more like a friend of a friend - but who's counting?!). I secretly hoped that I could parley this into a regular gig as a sound guy. And of course I was looking for recognition. That didn't happen.
Instead at got nothing from the "stars", not even a "nice job azzhole". I got an offhand thanks from the promoter, and that was it. Well, that and the acknowledgement that Murphy's law is alive and kicking.
That's my story of my brush with greatness.
Happy Sunday
