Engineer Profile – Oscar Soederlund
How did you get started in the industry?
I love music, and as a musician, sound engineering was the natural path for me. It began in 1986 in Linköping where I grew up, and I helped a friend who owned a 4560 PA mix local bands. Later on I asked for an apprenticeship at the largest PA company in town.
My first tour started in 1990, and in 1999 I started Parashoot as a freelance sound engineer, and slowly traded all my instruments and band gear into audio gear. I still miss playing in a band but I feel a part of all the bands and artists I work with.
What tours have you worked on?
My first tour was with Dag Taylor (RIP), followed by a lot of Swedish artists, including Sven Ingvars (4 years), Bo Kaspers Orkester (10 years), Motorhomes, Melody Club, Backyard Babies, The Heliacopters, The Sounds, The Hives, Miike Snow, Fever Ray, Jill Johnson, Anna Ternheim, Ane Brun, The Cardigans, Veronica Maggio, and Eva Dahlgren. And of course, I provide audio rentals for many more.
How did you first hear about Allen & Heath?
Well, it was everywhere in the 90’s…
I spec’ed a 16-channel MixWizard for a Jazz club, and had 2 amazing years as house tech. Later, a dear friend of mine bought an iLive and I was filling in for him on an Anna Ternheim tour. I was very impressed with it – it’s a system that had the sound quality and potential I was looking for.
What’s your mixer of choice and why?
I love the S7000 because you can have almost everything on one layer… or the C1500, because of its small footprint. The most important things to me about dLive is the sound quality, low latency, stability and Connectivity, which is why I never use anything else!
How do you see the future of live sound changing?
We need to reduce footprint and make more room at FOH. Connectivity to other brands is also important. I hope that we can see the introduction of a new digital multicore system that sounds good, can run cable runs over 150m, and house large counts of fast data. A cable to rule them all. I also would like to see sound come closer to the audience - more small delay systems and clever sound distribution.