Aryuth Yingkwancharoen | Thailand


How did you get started in the industry?

Well, when I was in college, I used to play music in a club and in 2002, one of the graduated seniors who used to be in that club with me, asked if I wanted to try working as a band technician. I worked in that role for a short while before becoming a guitar technician and while working in this role, I had to help the sound engineer a lot and he became a mentor to me, I learned a lot from him.

I spent about 9 years working as a guitar technician, but as my physical health became worse due to the challenges of being on the road, I considered retiring. But then the sound engineer asked if I wanted to try his role instead, and that's when I decided I wanted to become a Front of House engineer. I first started working as the supporting monitor engineer, after years of experience, I have so many opportunities to work with a lot of great bands.

What tours have you worked on?

In the beginning, I got to work with a lot of bands, mainly alternative and up-and-coming ones, but eventually, I became the engineer for 'Room 39', who I used to be a technician for.

I also work as a freelance sound engineer for some other bands and small events too.

How did you first hear about Allen & Heath?

The very first mixer I started on was Allen and Heath ZED series mixer. From there, I kept up with the brands' releases and discovered iLive, Qu and the GLD series too. But the one I was most attracted to was dLive. It suits me in a very way; from the ease of use, sound quality, its portable size, effects and the system’s flexibility.

The dLive series is the mixer I always recommend whenever people ask for my advice. I mainly use a dLive wings setup, which centres on a DM-MixRack, along with the dLive Director software; one of the reasons is because more and more artists/tours are requiring a highly portable, compact mixing system and Allen & Heath have nailed that need with Wings.

What’s your mixer of choice and why?

As I've already mentioned, dLive! My favourite model is the S5000 paired with a DM64 MixRack. I also love that they offer the optional networking cards, so I can put in a Waves card for artists who require it. Other than using Waves as a plugin, I also use a Dante card for the multitrack recording and virtual sound check and superMADI card and its capability with UAD plugin systems. dLive really provides everything I could ever need!

How do you see the future of live sound changing?

I’ve always believed that the live sound industry has always been trying to achieve a closer sound to that of the studio recording. Just look at how tracking, plugin usage and the mixer quality has developed to this point, especially with the use of 96kHz.The fact is that the better the sound quality and the speakers PA, the more detailed the overall sound can become.

In Thailand, people often make a joke like ‘are they using the premixed backing track or what?’ Or ‘It sounds just like CD’ whenever the sound quality is good. It used to be a joke, but I honestly think that in the near future, live sound could really sound 100% like the mastered file and make the whole concert more enjoyable for all attendees.