Author and sound engineer Dave Swallow takes the lead in the Audio Think Tank at PLASA 2012 as he asks the question: 'If you had the chance to mould the future, what would you do?' Described as a forum 'made by sound engineers for sound engineers', the Audio Think Tank is designed to generate new and radical ideas about the shape of audio to come. Originally Swallow's brainchild, he explains how the interactive site came about, "I decided to setup a little thing where engineers could come and talk about sound-type things. A small spark of inspiration can be infectious, soon developing into a realistic idea that can be transformed into something tangible. I like to think of myself as nurturing that conversation."
With a CV that includes the likes of Amy Winehouse, Corinne Bailey Rae and La Roux, Swallow is more than adequately qualified to understand the complex relationship between the creative juices required for mixing live sound and the technical skill of coaxing exactly the right audio dynamics from banks of knobs, buttons and faders. He has a self-confessed passion for 'pushing the boundaries of how we understand our sonic environment' and sees knowledge sharing and collaboration as the most effective tool for guiding the development of audio technology.
Audio engineers have to be conversant in both creative and technical know-how; I asked Swallow how he thought audio could develop for the live entertainment market and what factors might drive that progress. His response reveals what an enthusiastic debate will be in store for visitors to the Audio Think Tank: "From my personal view point, I want mixing sound to be far more accessible artistically. We come from a world where we had our audio pallet right in front of us, but now we've hidden it away behind menu buttons and digital tomfoolery. Don't get me wrong, like most of us, I like to embrace digital technology but it's not the most creative tool in the box yet. With a bit of guidance I'm sure it can be.
'We got where we are now because of the pressures and constrains of the financial aspect of the industry. Smaller cases mean better truck packs and fewer trucks, but I feel that a lot of shows have suffered from that. The financial part is a massive player in future technology, so we need to look at how this can be addressed.
'A really exciting part of all this will be sustainability. The lighting industry have managed to get on the path to using less power, but the noise boys seem to be a little further behind. Using wireless multicores? Surely they are being begged for? I know it's really difficult with current technology, but what if? It would make doing front of house so much easier in a festival; I have some ideas on that front..."
So, for Swallow, the human, artistic element of the mix will always take priority but does everyone agree? Perhaps it should be technology driving the creative direction - a case of the tail wagging the dog. As Swallow comments, "One thing that always strikes me is the amount of focus on the technical side of the audio industry, what is the best mixing console, what is the best PA system, when in fact, to an extent, what is the best is irrelevant. Greatness comes from the people behind the technology. Technology is technology; it's out-of-date already, so I don't think it needs to be addressed. If you walk up to a console it should feel natural to place your hands on it and make sound happen. Does that often happen anymore? Is it the responsibility of the engineer or the manufacturers? That depends on who you ask."
In either case, the FOH engineer is always at the sharp end of critical reviews be they from the audience or the artist. Do you need a special 'gift' to become a great sound engineer or can anyon
