INTERVIEW WITH DAVE HAMPTON
/1. Tell me your story of how you started doing live sound.
Scottie Baldwin: I got my start in engineering being around Prince as his Drum Technician for several years in the early '90s. Just being in the same space as Prince I couldn't help but pick up all sorts of valuable theories on live sound. After seeing several prominent names in the FOH and Monitor mixing positions get fired (or as Prince told me, “They’ve all fired themselves"), it was easy for me to recognize that almost every engineer to this day seems to offer only a serviceable job at best, and it was quite easy for me to apply my techniques and skill set to have a successful career as a FOH Engineer.
2. Do you like what you do? If so, why?
SB: The reasons for enjoying what I do have changed over the years, but there are two constants. The first is that I literally don't walk away holding anything in my hands. I don't manufacture anything. I like that. What I produce disappears in the air and is left to the enjoyment of the audience, the people that are directly responsible for bringing an artist to popularity in the first place. The second reason is that I have had some far-reaching effects on young engineers and technicians in the industry by offering guidance and solutions to their interests and abilities in real, workable situations. Those kinds of influences are worth much more to me now than ever.
3. How did meeting me and reading my first book make you look at your career?
SB: I've considered you a mentor since we met in 1996. The most important reason is that you taught me the missing piece of the puzzle about the music industry. I already knew a lot about both the ‘musical’ and ‘technical’ aspects of engineering, but you helped me understand what I consider to be the most important element of all: the ‘relational’ aspect. The influence of your advice has impacted how I interact and deal with artists, fans, band members, promoters, management, and technicians. That has been the most valuable tool that I've learned. That's what your book is really all about: the relationship aspect of music to people, people to emotion, and emotion to experience.
4. What do not only live sound engineers, but all audio professionals need to understand about their work?
SB: Every industry professional needs to realize that engineering is technical support of an artistic endeavor. Within that technical support there is artistry itself but the musical or narrative content is always what matters most. Our technical role is one of transparency, When we do our jobs well, the work is passed through us without unrealistic colorization, noticeable differentiation, or unbalanced foundational architecture. To be heard but not noticed is the best we can offer in most cases.
5. If you could look into the future, what would you say would be around the corner for live sound and other careers in this field?
SB: The future of engineering from a technical standpoint is always smaller, more efficient, more powerful, That never really changes. The real future of engineering is
all about revenue streams, point-of-sale purchase, and an overall picking up the pieces of the broken model of record companies to regain the power, depth, and the connectedness of music to its fans. That is clearly going on now in the live sound industry as artists are finding their revenue is heavily dependent on live shows, recordings, and performances, and live streaming concerts. Possessing knowledge in various areas of support are key in an ever-changing industry like music.
6. How important has it been to spend time in other disciplines of engineering? (Recording studios, Monitor engineering, public speaking, etc?)
SB: It’s the most important way to better understand all facets of engineering, whether in or out of the music field, and make it fit into what I like to call “applicable experience." Some of the best lessons I've learned in life have nothing to do with the related experience, but everything to do with the application of the experience into another endeavor. For example, I once knew a junior national champion pool player. I noticed him intensely watching two inexperienced people just having fun shooting a game of pool. When I questioned him later about why he would waste time watching them play, he said that the people who seemingly know the least about something sometimes come up with the best and most creative solutions, as they know no bounds or rules as to what can be applied. He also added quite immediately that the table on which they were playing was recently re-covered in new felt and he was learning the bumpers and roll of that table for an upcoming tournament. This makes sense and can be applied to just about everything. Pay attention and be open to learning from different disciplines, be it in audio or life in general.