What Australian powerhouses Seaforth, Gretta Ray, Ruel, and Kingswood share isn't just musical prowess; they've all been part of a sonic journey curated by Stuart Willett, a seasoned sound engineer making waves behind the mixing desk.
At the very heart of any live music experience lies the intricate artistry of sound engineering. Beyond the dazzling lights and charismatic performers, sound engineers shape the sonic landscape that defines the atmosphere of a concert. They are the architects responsible for translating an artist’s vision into an immersive auditory experience, where every note, every nuance, finds its place in the collective heartbeat of the audience.
In this dynamic and ever-evolving world of live music, Stuart Willett has emerged as a trailblazer, redefining the contours of sound engineering and establishing himself as a pivotal force in the industry.
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Hailing from Melbourne’s west, Stuart’s journey into sound engineering began during high school, where the subject of Music Industry Skills piqued his interest. What started as a basic introduction to recording and live sound reproduction evolved into a career path that earned him a perfect study score of 50 in 2011 – the only student in Victoria to achieve such a feat.
“While I was in year 12 I was offered a volunteer audio position/load out at a small music festival that I would have otherwise been an attendee at. This is where my career path started really,” Stuart explains.
“To this day, I still do some stagehand work when needed as it is still a crucial roll to the running of a gig. I started getting more op gigs the more I started working in the industry and as time went on, the level of job increased.”
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Setting the stage for a career that would see him rubbing shoulders with some of Australia’s musical elite, early experiences at iconic venues like Bended Elbow and Wool Exchange further moulded Stuart’s approach to sound engineering. The eclectic mix of artists passing through these spaces forced him to adapt and learn swiftly, a journey further accelerated under the mentorship of Andre Trosky.
“I attribute a lot of my learning to Andre Trosky, he gave me the time and space to try things and would challenge me to try different techniques,” Stuart reflects. “One notable learning task he gave me was to use different mics/mic techniques to the standard which forced me to approach the technical side, EQ and compression and ect, differently making me further understand how to mix.”
Learning from some of the best in the industry, including the likes of Clinton Stagoll, Tony Bryan and Cam Trewin, Stuart not only honed his technical skills but imbibed the art of experimentation, constantly pushing the boundaries of his craft.
“These experiences also shaped the way I mix shows by getting to see some of Australia’s best engineers, Clinton Stagoll, Tony Bryan & Cam Trewin to name a few. Seeing how they interact with their artists and their process of getting a gig up and going and hearing the end result. They were also very accommodating toward me asking questions and such to improve my own ability.”
With skills that have woven him into the very fabric of live music in Australia, the proof is in his impressive portfolio that reads like your favourite mixed playlist, a testament to his versatility as a sound engineer.
International and national tours with Kingswood, Ruel, and Gretta Ray further showcase Stuart’s ability to translate his sonic mastery across diverse settings. From overcoming language barriers to embracing the energy of global crowds, he proves that a sound engineer’s influence extends far beyond the studio or venue walls. Stuart’s contribution to these touring experiences is akin to sculpting sonic landscapes that transcend geographical boundaries.
“Touring nationally and internationally has a variety of challenges. I would say the toughest one when touring internationally would be the language barrier but it can be overcome by the help of locals and just learning some key phrases. I would say the biggest rewards for touring as a whole would be seeing the crowd absolutely love every minute of a show and the energy that fills a room. I guess the other huge reward is seeing the country and the world week in and week out.”
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Festivals also pose unique challenges for sound engineers, primarily centred around time constraints. Stuart’s recent work with Seaforth at Ridin Hearts Country Music Festival and Gretta Ray on an Australian arena tour supporting Gang of Youths highlight his expertise in navigating the complexities of touring and festival setups. Success in this arena hinges on teamwork, and Stuart’s collaborative approach ensures the delivery of exceptional sonic performances.
“The way to achieve this is directly related to the people working the festival, whether that is stage crew, backline techs, systems engineers and so on. You have to be on their team to make their life as simple as possible so they in turn make your job as simple as possible.
“I have been on both sides of the coin here,” Stuart continues, “I just finished up a run with Seaforth, a country pop band based in Nashville but Aussie heritage. I was looking after the front of house, monitors and production management. The stage crew were essential to making my show happen, making sure I had everything I needed and all details were accounted for from backline to mic stands on stage risers.”
“When I am in a stage crew position, whether it be monitors, patch or stagehand, I am trying to give the same level of service to those who enter ‘my’ stage to that which I would appreciate if I was walking into someone else stage.”
In an industry perpetually on the cusp of change, Stuart stays ahead by embracing new technologies and refining his skills. His current focus lies on developing his production management skills, a testament to his commitment to advancing not just as a sound engineer but as a holistic force behind the scenes.
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While technical proficiency is a prerequisite, Stuart also attributes his success to exceptional people skills, a willingness to learn, and a discerning ear. In an industry saturated with talent, Stuart’s ability to build positive relationships and connect with people distinguishes him as a standout figure.
“I would say interpersonal skills are the most important in the audio job role. I was once taught you can be the best mix engineer in the world but if you are a terrible hang you won’t sustain as much work with artists. Being able to navigate the balance between event/venue and artist/crew can definitely be challenging from time to time. When a venue wants one thing and an artist/crew require another you have to walk the line of keeping both sides happy. I will generally lean on the side of the artist/crew so they have a great experience at whatever event/venue.”
Stuart reflects on a pivotal moment in his career, a gig with artist Dylan J that led to subsequent opportunities, including major festivals and an Asia tour with Ruel. These defining moments not only propelled his career but also established lasting connections that continue to shape his professional trajectory.
“This moment forever sticks in my mind. I was working as a house tech for an artist named Dylan J (Formally Dylan Joel). I had been familiar with his work and thought it would be cool if I could work with him.
“After the gig we did the classic contact exchange and a month or so later I got a call to ask if I could mix a show for him in Melbourne at 170 Russel supporting Illy. After this, I then went on to mix my first major festival, Groovin’ The Moo, with him. Everything sort of snowballed after that. I will always attribute a lot of my break into the touring scene to him.”
As the maestro behind the mixing desk, Stuart envisions a future marked by international tours and perhaps the pinnacle – a world tour.
“Next on the goal list is to tour the US and surrounding areas or even a world tour. At current there are no specific artists I would like to work with. I am open to whatever comes my way, however, at the moment the genres I enjoy the most are pop and country. So anything in those genres would be great!
“I would love to be at the top of the game in the US in time, live the ‘American dream’.”
And for aspiring sound engineers, Stuart offers straightforward advice: “Keep pushing and challenging yourself. The start is always a hard slog and big learning curve. It is an industry that requires clear determination and willingness. Always ask questions and be willing to mess up. We all learn from mistakes and don’t make the same mistake again.”
With an impressive resume behind him and a commitment to growth, Stuart Willett remains a prominent figure shaping the future of live music in Australia and beyond.
Keep up with Stuart’s movements within the industry here.
