predict ‘networking’ to be a major influence on working practices
Soldiers of sound
Theatrical productions and conference events are becoming more important to live sound engineers, the majority of whom are busy and happy with their lot. As David Davies reports, they even seem to be increasingly enthusiastic about the Brave New Dawn that is networking...
FROM ITS very first edition, PSNLive has canvassed views on the state of the live market from manufacturers and hire/rental companies. But it was only in 2010 that we began speaking directly to those at the pointy end of live audio – the FOH and monitor engineers without whom stages from Algiers to Ashby-de-la-Zouch would simply fall silent. Several abiding themes have
emerged across the three reports to date. Engineers, it is evident, are worried about the influence of new technologies and techniques on the ‘art’ of live show mixing. The need to achieve quicker turnaround
20 l PSNLIVE 2012
times – often with highly complex technical set-ups – is another concern during this economically-pressurised period.
“The quality of staff is a lot lower than it used to be...” Respondent
It should be noted that a
lower percentage of sound engineers than in any previous report are expecting their overall activity levels to increase in
2011. But, in the main, engineers appear satisfied with their lot – relieved, no doubt, to be part of a sector that remains relatively dynamic when so many others are ailing. The geographical breakdown
of interviewees can be seen in Graph E1. Many thanks to all for their time and insight.
CORE MARKET DATA In time-honoured fashion, sound engineers were firstly asked whether they envisaged their workloads increasing/ decreasing in full calendar year 2012, in comparison to the previous 12 months. While a greater number of people
predicted a decline than last year, a combined 84% of respondents expected their workload to stay the same or increase – slightly up on last year’s 77% (E2). The minimal changes in this field of enquiry should offer no cause for alarm. As in 2011, the general economic climate was commonly cited by way of explanation. But there was also a feeling that the industry is inherently cyclical – “the work comes in waves, it’s never constant” – and the recognition that a proactive approach of enhancing overall inventory and customer service constitutes the best way of safeguarding future business.
A more emphatically positive
response was elicited by a question about payments. Cheeringly, the highest percentage in the history of the sound engineers’ survey predicted a rise in the average fee (28% vs 23% in 2011). Once again, the largest single percentage (48%) expected the median payment to remain essentially unaltered (E3). The next area of enquiry, concerning participants’ division of workload, revealed some intriguing developments. The growing importance of theatrical productions has been a recurring motif of these reports, and this year, for the