Jackson, an Australian, was a true pioneer of the live sound reinforcement industry. He was the 'J' of Jands, the company which he co-founded in the late 60s and remains today as one of the biggest names in Australia's professional entertainment technology industry. A meeting with Roy Clair in 1970 led to a long and fruitful relationship with Clair Brothers Audio. Moving to the US, Jackson mixed monitor sound for Elvis Presley until the singer's death in 1977; later he worked for many years with Bruce Springsteen and Barbra Streisand. His mixing credits also included many other major artists, including Stevie Wonder, Diana Ross, The Jackson Five, Barry White, Johnnie Cash and Lou Reed.
But his skills as a top-flight live sound engineer were complemented by an unceasing interest in electronics and how technology could be used to find new ways of improving live sound. Among his many achievements on this front, he built an innovative live mixing console which was used for a number of years by Clair Brothers; he was involved with the launch of Fairlight's ground-breaking audio sampler; he founded Apogee Electronics, and later joined David McGrath at fledgling Lake Technology, where they worked with Clair Brothers to develop what became the much-lauded Lake Contour DSP sound system controller. More recently Jackson worked for Dolby as director of live sound.
For those who knew Jackson, the words 'generous', 'patient', 'humble' and 'kind' are among the terms most commonly used to describe him. He may have been a giant figure in the evolution of live sound, but you would never have heard it from him.
A statement from Jands said: "It was with great sadness that we learned of the death of Bruce Jackson, one of the two founders of Jands . . .
"Bruce will be sorely missed by his many friends around the world, and by those of us at Jands who knew him from the early days, or who got to know him more recently through his involvement with the Sydney Olympics and other major events.
"Our heartfelt condolences to Bruce's family and to all who knew him, worked with him and appreciated his immense contribution to the audio industry."
(Lee Baldock)
A Reminiscence:
Steve Moles, a regular contributor to Lighting&Sound International, writes:
Just one week before Live Aid in July 1985 I was in Wembley Stadium loading in Bruce Springsteen for a short residency. It was the end of the European leg of his Born in the USA world tour; the whole production was well in its stride, load-in was fast and slick. The LD, Jeff Ravitz," had decided to add half a dozen Maxi Brutes each side of stage for audience light. Brutes are a film flood, a big, metre square metal box maybe 30cm deep with six or nine PAR 64s in them. Including the equally huge barn doors, these things were monsters.
Jeff wanted them rigged high up the PA wings; this was pre-line array era and the Clair Brothers PA covered three decks each side of stage. As crew boss with time on my hands I decided to rig these beasts myself - a slow, laborious process.
Mid-afternoon and all the lamps were rigged and working when Bruce Jackson turned up with Springsteen and the band to sound-check. Jackson was a meticulous FOH engineer and always succeeded in capturing and projecting a very live and exciting show - he had a knack of making it sound like Springsteen was playing in a New Jersey beer hall for his mates. A little dirty and raw, it always sounded immediate and intimate, with the vocals in your face.
'You're going to have to move those Steve', Jackson said as I stood beside him. 'Sorry, Bruce?' I enquired, not quite understanding. "Those big black things in front of the third deck PA - they're yours aren't they?"
