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With our “In Focus” articles, we aim to shine a spotlight on exceptional sound engineers worldwide who share our passion for Midas and the art of audio.  In this edition we delve into seasoned FOH sound engineer Finn Jansen.  Starting as a young man with dreams of becoming a famous musician, Finn's career took him behind the scenes of Denmark's music industry, working with legendary bands and artists like Kim Larsen, Magtens Korridor, and most recently, a special project with Heilung.

Midas Finn Jansen
Finn Jansen

"I approach sound like I think others approach video games. It’s so much fun to me, so sometimes I can sit in the studio, and suddenly it's 5 in the morning," says Finn as we discuss his extensive career. He highlights his recent work at the Roskilde Festival with Heilung, where he crafted an immersive sound experience using the Midas HD96 console. 

Finn's journey began humbly. After years of struggling as a musician, he took a job as a coffee runner at EasySound music studio, upon the job centres advice. This seemingly small step became the foundation of his illustrious career. 

"I started tuning instruments backstage for 50 Danish Kroner per job, eventually doing monitor work for punk bands at Ungdomshuset," recalls Finn. His big break came with Danish band Simcess, where he transitioned to FOH sound engineer after their previous engineer left. 

"I blagged my way through my first concert with the help of a kind system technician," Finn laughs. This led to years of touring with various bands, including the iconic Dizzy Mizz Lizzy and later, 20 years with Kim Larsen. "Kim paid well, which allowed me to take on projects that interested me," he explains, including his collaboration with Heilung's Christopher Juul. 

Finn's first encounter with the Midas HD96 console was catalysed by a technical mishap at Red Rocks, Colorado.

Midas Fann Jansen

"My old console died during the show. The band leader told me to choose any console I wanted, so I picked the Midas HD96," says Finn. Known for his meticulous nature, Finn thoroughly tested the console before committing. "Reliability is key for me. I like consoles that add a little color, and Midas does that. It blends the sound better—it’s a bit analog," he adds. 

Digital consoles have transformed Finn's workflow, especially with virtual soundcheck capabilities. "Kim Larsen avoided sound checks, so virtual soundcheck was a gift. It allowed us to skip sound checks after the initial ones," he notes.

Midas Fann Jansen

Heilung's performances, or "rituals," require a complex setup, which Finn manages with precision. Using Midas products for both monitor and FOH, he runs the FOH audio on the HD96 console and monitors on two M32C consoles connected to a DL231 stage box. This setup allows the band to control their monitor mixes using iPads on stage, ensuring seamless, uninterrupted performances."Heilung’s concerts are rituals. There shouldn't be interruptions like gesturing to a monitor engineer," explains Finn. The system's flexibility and reliability have been crucial for their unique sound. 

Finn's work with Heilung at the Roskilde Festival marked a new milestone with the implementation of immersive sound. "The HD96 console’s ability to delay auxes up to 500 milliseconds was perfect for this setup," Finn elaborates. The concert, which received a 6-star review from Gaffa, was a testament to Finn’s expertise. "My girlfriend, my toughest critic, thought it sounded amazing—and so did I," he laughs. 

 

Midas Finn Jansen

Heilung's ambition is to make immersive sound a standard feature of their concerts, with the HD96 console at the core. "We’re using the console’s matrix system, not a specific speaker brand’s distribution matrix, which makes it adaptable to any venue," explains Finn.

Looking ahead, Finn is eager to incorporate the upcoming HD96-Air console, particularly its binaural audio capabilities. "With Heilung’s complex soundscape, binaural audio could enhance precision in in-ear monitors," he says.

Midas Finn Jansen

Finn Jansen’s career is a testament to passion, perseverance, and innovation. From his early days as a struggling musician to becoming a pioneer in immersive sound, Finn continues to push the boundaries of what’s possible in live sound engineering. With the Midas HD96 console, he’s not just creating music; he’s crafting experiences that resonate deeply with audiences around the world. "Immersive sound is the future, and we’re just getting started," Finn concludes with a smile.

Three Quick Questions for Finn Jansen
What is the highlight of your career?
That would be Roskilde and working with immersive sound. It's a huge technological leap forward. The way Christopher has approached it artistically makes it incredibly exciting for a sound engineer to be right in the middle of and experience. I’ve seen many fantastic and moving concerts with all sorts of artists, but this was the wildest project.
What trends do you see in your industry?
Immersive sound is definitely the future. But we're still at the very beginning of its development—it's like going from mono to stereo. We’re taking baby steps, at least in live settings. I think it’s incredibly important to keep it simple and therefore reliable. It has to be realistic in terms of what we can actually do. Do we need huge speaker systems, do we need a super brainy physics professor to go out and measure how it sounds inside Notre Dame because we want it to sound like that outdoors? Less can do the job, too.
What is your best advice for others who want to be a FOH sound engineer like you?
Don’t expect to get rich from it—because you won’t. Go with your heart—you really have to love it. And you’ll still need to love it in 20 years because there’s no pension plan in this career. You have to enjoy traveling and working with people. You need to be a social person, or it’s going to be hell. And make sure you work with music you genuinely like.