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Empowering the Next Generation of Women in Audio

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Building a Pipeline for Formerly Incarcerated Women in Audio

SoundGirls is exploring the creation of a mentorship and freelance pipeline for women who have completed The Last Mile Audio and Video Production program while incarcerated. This initiative aims to support women reentering society by connecting them with mentors, building networks, and creating freelance job opportunities in audio.

We’re reaching out to all of you—leaders, allies, and advocates in audio—because of your work uplifting women and marginalized communities in our field. We know the challenges of reentry are steep: stigma, lack of professional networks, limited job access. A supportive, structured pathway into creative freelance work can make all the difference.

The Last Mile is a nonprofit that prepares incarcerated individuals for successful reentry through job training and education. Its Audio and Video Production program gives participants hands-on experience in the tools and techniques of the industry. Now it’s time to take that training further—into real-world support, real jobs, and real connections.

If you’re interested in helping shape this pipeline—as a mentor, collaborator, or employer—please fill out this form , and we’ll follow up to set up a meeting.

Let’s build something powerful. Together.

The Ongoing Battle With Impostor Syndrome

Impostor syndrome is a concept I’d be willing to bet the vast majority of women in audio are familiar with. That’s not to say men don’t experience it too, but in a world where women (in any line of work) are more likely to refrain from applying for jobs where they don’t meet every single one of the criteria, you can see how it’s become such an issue.

I can’t remember when I first heard the term, but I do remember a conversation about it several years ago with a highly successful radio producer. She described how, having gone through several stages of a commissioning round and having her project proposal approved, she woke up one morning with the sudden panicked realisation that now she’d have to actually make it happen. Of course she was hugely experienced and had been through this whole process many times before. But still there was a nagging voice in the back of her mind which made her doubt whether she could do it.

The moral of the story was that it doesn’t matter how experienced you are: impostor syndrome never fully goes away. That may not seem particularly comforting, but there’s a lot to be said for knowing that you’re far from alone in feeling this way.

It’s certainly been an ongoing battle for me. For example, referring to myself as an audio engineer or a sound designer still makes me feel uncomfortable, even though these are both titles I’ve held in my work and in education. When I was working in the radio production field, I struggled with calling myself a radio producer, yet that’s exactly what I was. Sounds silly, right? So why does it happen?

I think in my case, perfectionism has a lot to do with it. When I was making documentaries, or sound designing/engineering projects for clients as a freelancer, I convinced myself that unless I was working for the biggest companies in the business, I wasn’t worthy of calling myself what I actually was. Which is ridiculous, of course. And deep down I knew that. But maybe it also had something to do with comparing myself to people who had been doing it for decades, with hundreds or even thousands of credits to their name.

And now it’s the same in theatre. Yes, I’m still learning, and all of the shows I’ve worked on so far have been college productions. But the point is, what I’m doing is the same stuff I’d be doing in a professional environment.

So I’ve started asking myself: ‘How can you expect to get hired if you won’t even allow yourself to use that title?’ I figure that, even if impostor syndrome never completely disappears, I can at least try to make a few changes to my relationship with it. That way, it might be less like the school bully who makes you feel inadequate, and more like that annoying relative you have to see a couple of times a year whose advice you don’t really listen to. It’s also worth remembering that if you continue to play down your skills and accomplishments, there will usually be someone else who has no problem stepping into the void despite having no experience whatsoever.

If you ever find yourself thinking: ‘I have no real right to call myself that’, take a look back at everything you’ve achieved up to now. Chances are you’ll have forgotten how far you’ve come compared to when you started. Our brains are very good at filtering out the positive things we’ve done and focusing too much on mistakes or setbacks. It can be worth remembering this whenever impostor syndrome strikes.

Strategies and a Suggested Standard Operating Procedure for Soundcheck

Welcome to Part Two! For a monitor engineer, consistency is key in making sure musicians always have great-sounding mixes, smooth communication, and awesome performances. Let’s explore a solid method for dialing in perfect mixes and living your best life in monitor-world

Part One

Ringing It Out

Before the Band Arrives

Recall your start scene.
Use pink noise to check that all monitors are functioning, set, labelled, and positioned as intended. Do this for your cue wedge too, which ideally matches the stage monitors for consistent referencing. Confirm your talkback system works to both stage and FOH. Do a line check to make sure the patch is correct and noise-free. Confirm every input is showing up at a reasonable level and troubleshoot anything that’s not.

Zero out the mix sends.
Start with a clean slate for each performer’s mix by making sure no input channels, other than talkback from FOH and MON, are being sent to the mixes. Check that aux or bus sends are activated and outputting properly for the room. Decide on pre – or post-fader per channel or mix and be extra mindful of which ones are post-fader, as fader moves will affect the artist’s mix. This can be useful, for example you can mute problematic channels quickly and catch the nuances of solos. If the band’s rider states what is desired in their IEM mixes a good starting point is 0 dB for vocals, -10 dB for instruments, and less for everything else.

Confirm the stage plot and input list with the band or manager.
Update the stage team and FOH if anything’s changed and adjust your start scene accordingly. At festivals, a clipboard or whiteboard you can draw the stage plot, input list, and monitor mixes on can be helpful.

Add wireless and IEM channels to your software.
Once the input list is validated, add any wireless and IEM channels into your coordination software (e.g., Wireless Workbench or Wireless Systems Manager). Always have a few backup frequencies ready in case of interference.

Do a wireless frequency scan.
Conduct a scan (as discussed in Part One: Ringing It Out) to check for any RF interference in the venue. Use your system’s scanner to identify the clearest frequencies and update the wireless system accordingly making sure all transmitters are synced and ready to go. If you don’t have a dedicated RF tech, make sure to continuously monitor RF levels pre-show and during the show and be ready to swap gear or channels if needed. If interference arises after the scan, assess whether it can be addressed within the changeover time. Sometimes you may need to prioritize getting the stage workable.

Be Careful with In-Ear Monitoring (IEMs)

Soundcheck Process

Introduce yourself:
Use the talkback mic, make eye contact, and confirm the band can hear you. Use mnemonics or other memory activating techniques, like the method of Loc, or simply writing down names, to remember as best you can the band members’ names. Remembering names is a soft skill that speaks volumes, it shows respect, builds rapport, and reinforces all the hard skills you’ve worked so hard to develop over the years.

Start with vocals:
Most performers rely on vocals as their main reference. Getting this right first helps everyone feel grounded; it’s essential for communication and is often the loudest input requested in monitor mixes. That said, some bands or FOH techs may prefer to start with channel one, usually the kick drum, you can always just ask and check what works best for the team, but I would default to vocals first and then moving on to the rhythm section.

Guide the band through the check:

Some Tips on Handling Feedback Before reaching for the EQ

Always Remember

Leveraging Technology on Stage

Using a tablet like an iPad connected to the console can streamline soundcheck and save you a lot of literal steps. Just make sure you’re on the right Wi-Fi network/subnet and enter the correct IP address from your console. Additionally, some systems, such as Klang, allow musicians to control their own monitor mixes their own device. If the band is comfortable with this, it can empower performers to punch in their own preferences. Let them know you are there to assist, adjust settings, and even teach them how to use software whenever needed. Remember, making them feel confident and comfortable is the priority. Even if the band is self-mixing, check in to make sure their devices are connected properly and that they know how to use the system.

Final Touches Before the Set

When the Show Starts

By following these strategies and suggested operating procedures you’ll be able to deliver a smooth, personalized soundcheck experience that supports the performers and keeps you loving life in monitor world. Stay consistent, be proactive, communicate clearly with artists and crew. Keep on gigging and don’t forget to giggle sometimes.

I love references and cite it out when in doubt!
Check out these two fantastic articles by Michelle Sabolchick Pettinato, one of the OG SoundGirls. Her wisdom on live music mixing continues to inspire and guide generations of engineers.

While you’re at it, dive into the psychology of mixing monitors by Becky Pell—a must-read for anyone serious about understanding the human side of sound.

 

Reference links: 

1https://www.mixingmusiclive.com/blog/what-does-a-monitor-engineer-do

2https://www.mixingmusiclive.com/blog/the-sound-engineer-is-the-conduit

Additional Resources:

https://www.rationalacoustics.com/pages/smaart-home

https://opensoundmeter.com/en/

https://soundgirls.org/ringing-it-out/

https://www.prosoundweb.com/different-strokes-mixing-monitors-for-disparate-personality-types/

Save Early, Save Often

If you’ve been reading my blogs for a while, you’ve probably noticed that a lot of them don’t directly relate to sound. That’s because sound is actually such a small part of what we do on a day to day basis. Being an incredible mixer is all well and good, but if you crumble under pressure or can’t show up on time, you won’t work for long. If you’re an A2 or monitor engineer and you can’t communicate with people, you won’t even know what people need so you can effectively do your job.

Today I’m going to wander well off the sound waves into what I consider one of the most all encompassing topics for dealing with life: Money.

Now, I’ve been writing blogs for five years at this point. I can’t tell you how many drafts of this very topic I’ve written and hated. Money is such a taboo topic that we probably know more about our best friend’s sex life than we do about their bank account, so it hasn’t been easy trying to find the best way to talk about it. However, I’ve never been known for my subtlety, so we’re just going to dive in head first.

Money is important. We can go through all the overused sayings that money can’t buy happiness and that it isn’t everything, but the fact remains that money is a major factor in our lives. Having a savings account with a few months of expenses tucked away can make all the difference when emergencies or life changes come your way.

We all have different relationships with money. Part of it is nurture: the environment we grew up in and how we saw our parents handle money, but just as important is nature: who we are and what we value in our lives. My parents taught my sister and me similar things about money, but we have different priorities and habits that have developed because we’re different people with different life experiences in different careers.

This blog won’t have all the answers for every situation, but what I really want it to do is put financial literacy on your radar and maybe show what it can do for you, given time. That way you can start to figure out how you personally relate to money and what your priorities are.

Because time is your greatest asset. Even if you start small it can make a huge difference.

So, money is important, we get that. Where do we start?

First, start to pay attention to your money. Do you know roughly how much you make in a year? Do you know how much you spend? That’s the basis of all personal finance. You don’t have to go full forensic accountant on your life, but check your bank and credit card statements and start to see what your big picture is.

Personally, I don’t have a strict budget of “I can spend $X on groceries, $Y on clothing, and $Z on social activities,” but I do track my expenses, so I know roughly what I spend in a month or over a year. I use Quicken (any similar personal finance software will do a similar thing) which imports my transaction, lets me put them into categories, and I can generate a report if I want to check on things. You can also just use a spreadsheet: it can be a basic accounting tool, or you can go nuts with formulas and formatting if you really want to go in-depth and customize.

Once you’ve taken a look at that, you’ve found your baseline and rough expectations. Do you have extra money some months that you might be able to start saving? Does your income vary wildly each month so you need to put some into savings for your slow season? (Welcome to being a freelancer. By nature of our schedules, we have to be more financially aware than our 9 to 5 counterparts.)

Did you learn that you’ve been spending more than you make and your credit cards have made up the difference? Or that you’re making just enough and working paycheck to paycheck, but if anything out of the ordinary happens you’re operating on a razor thin margin?

If you’ve hit this point and you’re looking at things thinking, “oh shit!” take a moment and breathe. It’s okay. That feeling just means you have a goal to work towards.

Now that you know where you are, it’s time to look at where you want to be. Ideally you want to have minimal debt and be making more than you spend so you’re able to save. This process looks different for everyone, and Paula Pant, who runs the site Afford Anything, covers it more completely than I can in her post about “Growing the Gap.”

TLDR: you can try to grow your income (asking for a raise, monetizing a side hustle, investing, etc) while keeping your spending the same, or decreasing your spending while you income stays consistent. Doing either of those create a “gap” between what you make and what you spend, so you’re able to put that into paying off debt, savings, or eventually investing.

Once you can start saving, your money will start to work for you. Which is a concept that’s difficult to really understand until you’ve seen it in action. You may have heard the term “compounding interest” bandied about like some magic phrase, but what does that actually look like?

It means a savings account will pay you interest, and that interest will keep adding up.

It means a business can make a profit, which you can put back into it to make it bigger and more productive.

It means a stock might pay you a dividend which can be reinvested, adding more shares to your portfolio.

Let’s look at an example savings account. A high-yield one might pay 4% interest per year:

At 25 years old, you put in $100 a month. At 55 years old, you would have put in $37,000 ($1,200 per year for 30 years), but the account balance would actually be $74,000. It’s double what you put in it, but where did the other $37,000 come from?

The interest.

So the first year you put in $1,200. The interest on that was $48.

Total of $1,248.

The next year you add $1,200, now the balance is $2,448, and interest on that is $97.

Total: $2,545.

Next year is another $1,200, the balance is $3,745, and interest on that is $149.

Total: $3,895.

Screenshot

 

And so it continues with the interest getting just a little bit bigger year after year.

At 35 you’ve put in $13,000 and the account would be $16,000.

At 45 you’ve put in $25,000 and the account would be almost $40,000.

Time is the magic ingredient in a lot of financial success. If you give it some training (invest it, put it in savings, start a business, etc), soon it’ll start working all on its own.

One of the favorite financial tools to illustrate the benefit of compounding interest is called the “Jack and Jill” comparison. It looks at Jill, someone who started saving/investing at the beginning of her career, and Jack, who decided to wait a few years.

Let’s look at this in a couple different scenarios:

First: Jill starts investing $1,200 per year when she’s 25, stops when she’s 40, and just lets the account grow on its own from there.

Jack starts investing $1,200 per year at 40, until he’s 55.

Screenshot

Both contributed the same amount: $19,200. But when they’re both 55 Jill’s account is almost $50,000, while Jack’s is only $27,000. Those extra 15 years of interest make a $23,000 difference for Jill.

In another situation, Jill starts investing $1,200 per year when she’s 25 and keeps going until she’s 55.

Jack starts investing at 40, but he puts in $2,400 per year so he can catch up.

Jack actually ends up contributing at little bit more than Jill: his $38,400 to her $37,200.

Her account is still ends up being $20,000 more than his: hers is $74,000 to his $54,000.

The moral of the story? Start early. Time is your friend, not only in compounding interest, but the sooner you start paying attention to your money, the more you learn and the better you get at managing it.

There’s a proverb that says “The best time to plant a tree was 20 years ago. The second best time is now.” Since most of the readers of this blog are fairly early in your careers, my hope is that in 20 years you can look back at this “tree” and be happy you planted it when you did.

Hypothetical scenarios are all well and good, but how do you start digging?

If you’re just starting out and all this feels completely overwhelming, take a look at Dave Ramsey’s Baby Steps. He’s built an empire around financial literacy, but I recommend you treat it as a good place to get your bearings, but not the gospel truth. Steps 1-3 are a good place to start and once those make sense, look around at other philosophies (like the ones below). I don’t agree with everything he recommends (doing away with credit cards and investing in mutual funds being the main points of contention), but his method can be a helpful resource to get yourself started.

For anyone who feels financially stable but doesn’t know the first thing about investing, take a look at JL Collin’s blog. He does a good job of talking about the stock market in accessible terms and is a proponent of simple, set-it-and-forget-it investing. (He also has a book that I highly recommend.) Paula Pant, who I mentioned early, is at Afford Anything, and offers another take on managing your money as well as talking about investing in property and other business instead of stocks.

If you want to do a really deep dive, Google the “FIRE movement” or “Financial Independence” and jump down that rabbit hole. (If you get easily overwhelmed, maybe save this for later. There’s a whole world of information out there, so it can be easy to feel like you just started drinking out of a firehose, but that also means there are plenty of resources to help you.)

I’m not a financial expert, but here’s my own two cents:

First, figure out where you stand. What do you have? What do you owe? Just knowing that can put you miles ahead of the crowd.

Second, open a savings account somewhere familiar (If you don’t have a checking account yet, open that first.) A “high-yield” savings account should give you 3-4% interest, so look for that. You might use the bank where you have your checking account or even the same company as your credit card. Starting somewhere you already know will make it easier to take that step, and if you want to switch banks later, you absolutely can.

Next, open an IRA. These are retirement accounts that you put your own money into and get tax benefits when you fund them. My general rule of thumb is: if you make less than $150,000 in a year, open a ROTH IRA. If you make more, open a Traditional IRA. If you’d like to learn more about those, there’s a good explanation here at DowJanes.com.

After that, use some of the links I’ve included to start looking at ways to increase your net worth. Whether that’s paying off debt, putting money into your savings account, or opening a brokerage account for investments, you’re working towards that goal.

As you’re setting financial goals, take a moment to think about what’s important to you. Imagine what your life looks like if you’ve got $100 in savings, or $1,000, or even $10,000.

Does that mean you won’t have to panic when your show closes with two weeks notice (or less) because you know you have enough to pay your bills for a few months while you look for another job?

It might look like taking on a passion project that you want to develop and love working on, even if it doesn’t pay much right now, and might grow into something later.

It could be realizing you’re in a toxic work environment and knowing you don’t have to stay in an unhealthy cycle while you look for another job.

It’s having a retirement account that’s accumulating quietly off to the side as political pundits debate if Social Security will still exist in 40 years.

Personally, having savings means I have freedom and my priorities are about making time for my family and my friends.

When I moved to the city, I made the decision to pay for an apartment that was bigger than I’d need just for myself, because it meant I had room for people to stay with me when they came to visit.

I could afford a vacation to meet my parents in London as they make the most of their retirement.

I can take time off to go visit old tour buddies in DC, Vegas, and Chicago or help my friend with her Christmas show in Pittsburgh.

The goal is to get to play as hard as I work. Sure, last year I didn’t have any vacation time from January to June because we were getting Outsiders up and running and then immediately went into Tony voting season. I didn’t mind it because I knew the expectations of the schedule and I like my job. (And that’s why I have the apartment. When I can’t get away, my friends are welcome to come to me.)

But that meant when we had subs trained, I made a point to follow through with plans and take time off to see people.

Recently, having that savings cushion (the FIRE community calls it “F-You Money,” which I do quite enjoy) meant that I made the decision to leave Outsiders this summer without a lot of extra worry. For some people, a hit show that’s going to run for at least a few years brings security and they’ll stick around for a while.

Honestly, I’m ready for the next challenge, and I planned ahead and talked to Cody (my designer) and made a plan. Part of that is getting the Outsiders tour set up. I’ve missed touring, so even just getting to go through tech and then handing it off to the crew will be a fun way to dip my toes back into that life.

Past that, there isn’t much of a plan. I’ll switch to being the sub on Outsiders and return as a sub for SIX (ah, that freelancing life!), and I’m looking forward to the change. I know I have the resources set aside so a couple months of light work isn’t a death sentence or anxiety inducing.

None of this would have been possible if I hadn’t started saving and investing while I was on the road.

And that’s what money gives you: freedom. It may not buy happiness, but it certainly does buy options. Everyone’s goals will look different, but do you and your future self a favor: get started on saving because there’s no better time than now.

Who Has a Sharpie? – A Tech Case Tour 

It did not take me long to learn that showing up to a gig prepared is EVERYTHING. Whether it’s a sweaty rock show or a black tie corporate event, having an organized, thought out, tech case is crucial and will be your saving grace at one point.

Over the past few years of loading gear into venues, I feel I’ve finally fine-tuned my kit into a reliable, compact, (and cute) kit that has saved me from embarrassment more than I care to admit!

*disclaimer: some of these seem crazy but I’ve been asked for everything in here at least once!*

Here is what is in my tech case! **aka survival kit**

Cables

Tools

Backline

Survival

Misc

Get Involved with a SoundGirls Chapter!

Looking to connect with like-minded women and non-binary folks in audio? Join a SoundGirls Chapter near you and be part of a local community supporting each other through events, networking, and mentorship.

We currently have chapters in:

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United Kingdom

Want to join a chapter?
Sign up here

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Local chapters are where collaboration, opportunity, and inspiration come to life. Whether you’re new to the industry or a seasoned pro, there’s a place for you in our community.

#SoundGirls #WomenInAudio #NonBinaryInAudio #SoundGirlsChapters #ProAudioCommunity

Early Women Pioneers in Sound

At a time when women faced restrictions in many aspects of society (voting, higher education, jobs), a number of talented and enterprising individuals broke through gender barriers to pursue work relating to sound, in the music and science fields. Their contributions helped further audio technology and musical culture, and their dedication and perseverance is to be greatly admired. Here are three brilliant women that worked in fields relevant to sound, who you may or may not have heard of:

Sophie Germain (1776 -1831) was a French mathematician, physicist and philosopher who made major contributions to the field of acoustics. She overcame her parents’ disapproval and the barring of women from attending higher education to study mathematics by secretly reading books from her father’s library and using the name of a male former student to submit assignments at the university, until a faculty member recognised her talent and agreed to mentor her. Despite the lack of opportunities for women, she worked independently and made significant contributions to number theory and the theory of elasticity. She won a major prize from the Paris Academy of Sciences for her essay on the patterns produced by sound vibration, which was fundamental to the study of acoustics. Her biographers state that “all the evidence argues that Sophie Germain had a mathematical brilliance that never reached fruition due to a lack of rigorous training available only to men.”

Megan Watts Hughes (also known as Margaret) (1842 – 1907) was a Welsh singer, songwriter, scientist and philanthropist who invented a device to record sound visually. After finding success singing on the local concert circuit, she went on to study at the Royal Academy of Music but was later forced to abandon her studies due to ill-health. She invented a device to visualize sound called an “eidophone”, which consisted of a mouthpiece leading to a chamber over which was stretched a rubber membrane. She would sprinkle a variety of powders onto its surface, then sing into it to see what geometric patterns were formed from the resonance of the voice. She went on to publish the book The Eidophone; Voice Figures: Geometrical and Natural Forms Produced by Vibrations of the Human Voice.

Frances Theresa Densmore (1867 – 1957) was an American ethnomusicologist and music teacher. As a child she would listen to the singing and drumming of the Dakota people across the river as she lay in bed at night. She studied music at Oberlin College and Harvard, and inspired by ethnologist Alice Fletcher’s work, she went on to study Native American music. She worked with Native Americans around the United States, learning, recording and documenting their music and customs and helping to preserve their musical culture at a time when government policies were trying to erase Native American customs. She began working for the Smithsonian Institution’s Bureau of American Ethnology. While she struggled at times in a field dominated by men, over her 50 year career Densmore wrote 20 books and collected over 2500 audio recordings of 30 different tribes using a Columbia Graphophone wax cylinder recorder. Her recordings are now held by the Library of Congress.

Sources:

Being An Autistic Woman In Audio

It’s been almost a year since I interviewed for what, at the time, I considered to be my “dream job” in audio. A few days beforehand, I received an email informing me that there would be a short technical exercise in the studio prior to the interview itself, designed to give them an idea of how comfortable I was using a mixing console.

Unfortunately things did not go to plan, in any way. The “short technical exercise” turned out to be a series of complicated tasks lasting nearly an hour, on a system I’d never used before (and which was only available within this particular company). It was followed by a string of questions about how I’d go about solving various hypothetical problems (and this was before we’d even got to the actual interview). Every time I thought I had a satisfactory answer, they’d come up with another reason why it would fail. I’d have to find yet another solution, and so on, until I inevitably ran out of options. All the while, the interviewers on the panel kept looking at me—and then each other—with expressions I struggled to decipher, while making notes about my answers.

Needless to say I didn’t get the job. Afterwards I felt completely exhausted by the whole ordeal and spent the next two days recovering at home. So much importance is placed on appearing confident and calm in interviews. Admitting you really struggle with them is frowned upon in case it reflects badly on you as a professional; no one wants to give the impression they can’t handle it. I was ashamed and embarrassed about the fact that I always seemed to fail miserably at interviews, despite knowing that I had so much to offer. No matter how much I tried to prepare for what I might be asked, it never worked out. It was always the same story.

That interview wasn’t the only challenge in my life at the time. Something I didn’t realise until later was that I was also in severe burnout. Everything seemed to be falling apart bit by bit. I thought there was something horribly wrong with me and couldn’t figure out what it was. In the end I discovered there wasn’t anything wrong with me, but something different.

I am autistic

My journey into the world of theatre sound (having abandoned my previous idea of what my “dream job” looked like) coincided with my journey towards self-acceptance, learning who I actually am, and how my brain works. Getting my autism diagnosis has come with a roller coaster of emotions. There’s the relief of finally being able to make sense of past experiences and struggles and the differences I always sensed about myself, but couldn’t quite pinpoint. There’s also the frustration of things not being noticed as early as they could have been, and of going through adolescence without the support I and the adults around me didn’t know I needed. I’m now also learning how all of this fits in with my current career trajectory.

Like many autistic people, I have various sensory processing challenges, one of which relates to sound. Competing noises really bother me: people talking over each other, making it impossible for me to follow a conversation, and certain harsher sounds drive me crazy. I’m also one of those people who can hear the high-pitched whine of a phone charger plugged in on the other side of the room. When it comes to my work, however, my sensitivity can be a big advantage. It allows me to pick up on unwanted frequencies quickly and hopefully make good judgement calls as a result.

I can also lean on other strengths that typically make autistic people excellent employees across multiple industries, like attention to detail and hyper-focus. These things all make me better at what I do. So does my honesty, my direct communication and my absolute commitment to a task.

However, while neurodivergent people have so much to offer in the workplace and that should be celebrated, it’s also important to acknowledge that there will likely be challenges we need support with. This is because too many workplaces are simply not designed to accommodate differently wired brains. The idea of providing reasonable adjustments seems to be off-putting to some employers (in all types of industries), but in most cases people are not asking for things that are complicated to implement. What an autistic person needs from their employer will depend on the type of job they are working in, as well as the fact that autism presents differently in each individual person. But generally speaking, having the ability to take regular breaks, making sure work spaces are as sensory-friendly as possible, and being given enough time to process information are things that can make a huge difference to an autistic person’s well being at work.

But unfortunately this doesn’t always happen, and I have found that theatre is no exception. In the UK, there are organisations and initiatives which aim to increase representation and promote inclusion on stage and among audiences. But in my experience to date, the needs of neurodivergent/disabled theatre technicians are not as widely discussed.

Until I experienced the stress and intensity of tech week, I had no idea what I was letting myself in for. The hours are long and there is so much going on sensory-wise that autistic burnout is a big risk. I personally found it absolutely vital to step away as often as possible and take a breather (preferably in a quiet space with low lighting). I won’t pretend this is a straightforward thing to do when people are asking you for multiple things at once and this task, that you only found out about five minutes ago, needs to be done right now, in as fast a time as possible (not fun when delayed processing comes into play). But as an industry I really believe we need to take a look at our whole approach to tech, and bear in mind that there may well be neurodivergent people within your department who need understanding and compassion (of course, prioritising well-being is something we should be doing for everyone, because no one should have to make themselves ill with stress in order to do their best work).

This likely won’t be the last thing I write here about neurodiversity. But to conclude things for now, I want to return to the topic I began with: interviews. A year on from that incredibly difficult experience, I had an interview with a company that made reasonable adjustments when I disclosed my autism during the application process. They sent me a list of questions beforehand: a simple act that made a massive difference by allowing me to focus completely on the best things to say about myself, rather than worry about my tone of voice/body language/level of eye contact and how this would be perceived. Yes, there may still be interviewers who are not prepared to see past this stuff, but that’s their problem, not mine. Because I’m finally learning that I should never have to hide or suppress those parts of myself that are different. Not weird, or wrong. Just different.

And that is okay.

Joanna Lynne Staub – Sound Designer, Composer, and Audio Engineer

Joanna Lynne Staub is a highly accomplished freelance sound designer, composer, and audio engineer with over 30 years of experience spanning Broadway, Off-Broadway, and regional theatre, as well as live events, corporate audio, concerts, television, and podcasts. As an independent contractor, she is a proud member of USA829 as a sound designer and IATSE as an audio engineer.

Currently, Joanna is engaged in exciting projects, including sound design and composition for George Street Playhouse and American Players Theatre. Currently, Joanna is working on the renovation of the sound system at the Hayden Planetarium and the creation of the new Space Show at the Museum of Natural History in NYC.  In addition to her theatrical work, she is an audio engineer for ABC Television, Clair Global, and the podcast Playing on Air.

Early Life & Passion for Audio

Joanna’s deep connection to music and audio was ingrained from childhood. Growing up in a family of musicians and audiophiles, discussions on music production, performance, and history were a daily part of life. Surrounded by an eclectic mix of records and radio broadcasts, she developed an early fascination with sound and live performance.

Her interest in audio as a career path emerged during undergraduate studies, fueled by a passion for music production and the culture of live performances. Attending concerts at a young age, she became captivated by the behind-the-scenes execution of live sound.

Educational Background & Training

Joanna holds a Bachelor of Science in Audio Engineering from Ithaca College and a Master of Fine Arts in Sound Design & Technical Theatre from the University of Illinois Urbana-Champaign. Her formal training encompasses music, sound design, audio engineering, and technical theatre. As a classically trained flutist, she also has a background in composition and orchestration, which informs her work in sound design and music integration.

A Multifaceted Career

Throughout her extensive career, Joanna has worked across a wide range of theatrical productions, live events, and broadcast audio, demonstrating expertise in both creative sound design and technical engineering. Her work continues to shape the auditory experiences of audiences across multiple entertainment industries.

With an unwavering passion for sound, storytelling, and performance, Joanna Lynne Staub remains a respected and sought-after professional in the field of audio and theatrical design.

Career Start

How did you get your start? 

My first job doing sound for theatre was as an intern audio engineer at the Hangar Theatre in Ithaca, NY.  Then, I took a gap year between Undergraduate and Graduate School.  During that year, I worked as an Audio Engineer at the Santa Fe Opera and then at the Arena Stage in Washington DC.  I moved to NYC after completing Graduate school, and have been based there ever since.

How did your early internships or jobs help build a foundation for where you are now?

While in undergraduate school, I did internships in both theatre & recording studio engineering, learning fairly quickly that I prefer doing sound for live events.  I enjoy the interaction with live audiences.  But I deeply appreciate the skills and connections I made while working in a recording studio – and I have a great appreciation of the level of detail & creativity required to do studio engineering well.

What did you learn interning or on your early gigs? – Never look down on anyone you are working with.  Someone who is your assistant today may be your boss tomorrow.  Everyone in the room has skills that you can learn from – and you should.

Did you have a mentor or someone that really helped you? – While studying at Ithaca College, Dr. Peter Rothbart & Dr. John Bracewell were incredibly influential in starting me out on my career path.  After I moved to NYC, Carin Ford & Beth Berkley were mentors who helped me learn how to navigate the Broadway community.

Career Now

What is a typical day like? 

What I love about my job is that it is ever-changing, and no two days are the same.   Different points in the process have vastly differing days – also changing based on what job I am working on a particular project.

Early in the production process, known as pre-production, I spend a lot of time at my home office preparing shop bids and design paperwork, along with taking creative meetings with the director and other collaborators.

Once a show is in rehearsal, I will go as often as possible to see what the director and actors have dreamed up, as well as look at timing for required sound design and compositional effects, which I am building at the same time.  Whenever possible, we will add recorded sound cues into the rehearsal process for the actors to work with and see if they are appropriate for the production.  If a show is a musical, I will also attend band rehearsals and provide audio support for the Sitzprobe rehearsal – which is the first time that the cast and band are in a room together rehearsing.

If a show or project has hired all or part of a sound system, the audio team will spend a chunk of time at a rental shop.  During this process, we work with the shop gathering all of the gear into one space, setting up the entire sound system, and testing every piece of gear to make sure it works as specified.  This includes everything from setting up computer programs and FOH console programming to running test rigging of speaker hangs, along with testing every piece of cable in between.  After the testing is complete, we have to organize and pack all of the gear to be shipped to the theatre or performance location in a manner where we can find everything we need whenever we require it.

Loading in a sound system can take anywhere from a few hours to a few months depending on the size and scope of the project.  Broadway Theatres have almost no sound gear permanently installed – entire sound systems are loaded in from scratch at the start of every show, and have to be loaded out at the end.  This includes the sound system for the audience, pit orchestra, onstage effects and foldback, as well as backstage communications at CCTV required for the show.  It is an extremely laborious process that takes a skilled crew to accomplish safely.  I often tell people to imagine the largest show you’ve ever worked on, and put it in the smallest space you’ve ever been in.  That’s Broadway – big shows in theatres that are 100s of years old and never meant to hold shows of this size.  But we make it work with a lot of planning and hard work.

After load-in is complete, technical rehearsals begin.  These are long days at the theatre making sure every cue and every sound level is perfect and works with performers and other design elements.  This quickly moves into the preview process – where we work during the day making adjustments to the show, while giving public performances in the evening.  This process allows us to “test out” how a show works in front of an audience while making changes during the daytime rehearsals.  After we complete the preview process, a show is frozen – when we stop making changes, but continue to perform preview performances to practice the final show – until the show officially opens.

Once a show is open, the process of running & maintaining a project begins.  Some Broadway shows can run for years – and keeping them maintained is a whole other procedure.  It often starts with cross-training staff, which means that the various audio engineers on the show learn how to do each other’s primary jobs so they can cover each other when necessary.  The backstage audio engineer will often learn how to mix the show, and vice versa, as well as additional substitute staff training.  Gear is tested daily, and maintained with proper cleaning & replacement as needed.  This is in addition to executing eight or more performances per week.  The designers and production staff who work on the show will not be at the theatre every day, but will often visit to check in and make sure that things are running smoothly and supply support as needed.

When a Broadway show reaches the end of its run, all of the gear must then be loaded out and returned to the rental house.  Again, this is a multi-day process of removing every item that the show rented and returning it to the rental company.  Every piece of audio gear – from large speakers to the smallest adaptor – needs to be accounted for and returned.  If a piece of gear is missing, the show must pay the rental house for the replacement cost of the item.

Most Broadway theatres are considered historic landmarks, and therefore must be restored to their landmark state at the end of each production.  This work doesn’t always fall to the show’s staff – but is usually completed in the days following the end of load out.

What is important to note is that many people who work on Broadway are often working on several projects simultaneously.  It is not unusual for an independent contractor like myself to be working on the pre-production stage of one project while sitting in technical rehearsal for another.  It’s a huge balancing act that is often only accomplished by having a skilled team working with you.

How do you stay organized and focused? 

To stay organized, I take a lot of notes & write everything down.  95% of what I write down, I never look at again.  But, the process of taking notes has always been how I learn & remember things.  I recently moved to being paperless, which has been huge.  Finding the right software to use to keep files organized & to be able to find the information I need when I need it was key.

Staying focused is a different story.  I have often found that the best way to stay focused is to not do too much at once – not always an easy task.  Pacing myself & not leaving things to the last minute is key.  But also acknowledging that if I find my mind wandering or I get distracted, taking a break or walking away for a second (when possible) makes it easier to restart a project.

What do you enjoy the most about your job? 

All of the interesting people I meet, the amazing places I get to go, and regularly getting to be a part of “once in a lifetime” experiences.  I also love NOT working in a cubicle.

What do you like least?

Long hours & sore feet.  And constantly hustling for the next job.

If you tour, what do you like best?

I toured for about 7 years with various Broadway 1st National Tours.  I was very fortunate to be touring at a time when large shows did long sit-downs in big cities – more than they do now.  I loved bringing Broadway shows all over the country while having enough time to explore and learn about the places we were visiting.

What is your favorite day off activity?  

When I’m at home in NYC, I enjoy bike riding & yoga, and also having good food & drinks with friends.  When I’m traveling, I like to get lost in whatever city I am in – exploring, finding new things & meeting new people.

What are your long term goals? –

Getting more women hired as sound designers on Broadway – including myself.  Broadway has a long history of having a lot of women audio engineers.  But, very few women have reached the top levels of sound design – especially for large musicals.  Before the pandemic, only 2-3% of Broadway shows in a season were sound designed by women.  Since Broadway re-opened in 2023, closer to 8-10% of Broadway shows are designed by women – but a majority of those shows are done on smaller shows with smaller paychecks.  We can and must do better.  There are a lot of extremely talented women designers who are not being afforded the same opportunities as our male colleagues.

What if any obstacles or barriers have you faced?

The same barriers that almost every woman of my age who works in audio has experienced.  “Backwards and in heels” is a real thing – women have to work harder and be better to get half the distance of our male colleagues.  Women of my generation had to keep our mouths shut and tolerate – if not play along – with bad behavior and mistreatment.  It is getting better.  And I owe a lot to some of my younger women colleagues for teaching me to finally speak up.  I’m glad to see the culture is changing.

How have you dealt with them? 

Lots of dinners and drinks with the girls.  Having a strong support system of allies makes all the difference.  In recent years, feeling able to speak up when things are wrong has been a huge change from what we dealt with previously.  And just staying determined.

Advice you have for other women who wish to enter the field? 

Find the places that are the best ways for you to learn.  Not everyone will benefit from a college degree or a master’s program.  But you have to find out how to learn the skills required for the position you desire.  There are options.

Understand that you will always be marketing yourself.  Do not hesitate to reach out to the people you want to work with and introduce yourself.  They are rarely going to seek you out.  Know that, at some point in their career, they were doing the same thing to someone they admired.

And lastly – know where you want to be at the end of your career and plan for it as early as possible.  If that means having a family, or children, or retiring in the Caribbean, you have to think about it as early as possible.  (I admit that I am stealing that one from some amazing female colleagues who said it to me once).

Must have skills?

Theatrical Sound Design has become far more complicated than it was when I first started in the industry.  If you are going to work in commercial entertainment, you need to understand both artistic/creative design AND technical system design, even if your work is primarily focused on one or the other.  Having a baseline understanding of music and acoustics is important.  And lastly – computer networking.  Almost every aspect of professional audio involves networks now, and the more you know the better off you will be.

Favorite gear? 

iZotope plug-ins.  Neutron, Nectar, Ozone & RX Suites.  I use them as limitless tools while working in content creation, composition, editing, and post-production work.

Closing Thoughts

I’ve been in this industry for a very long time.  I started out in regional theatre, then off-Broadway, touring, and Broadway.  I’ve worked in every job there is in live theatre.  But I have also worked extensively in live television, concerts, corporate events, and sports.  I’m very proud of all of the work that I have accomplished – having depth to my skill set allows me to fluidly shift between jobs & provides me with more opportunities.  Not everyone can offer that.  This level of flexibility is essential if you are going to work in live entertainment – especially as an independent contractor.  The more you bring to the table, the more options that should be available to you.  Don’t pigeonhole yourself.  You will find amazing experiences in places you were not necessarily looking.

Understand that it’s still not uncommon to be one of the only women in the room.  Despite a lot of people’s best efforts, women are still not treated equally.  Even our closest colleagues don’t always realize that.  Be prepared – and find the people who are your true allies quickly.  It takes a lot of courage and resilience to get & stay here.

Don’t get down on yourself – you are not imagining how hard it is sometimes.  I know a lot of people who think they suffer from imposter syndrome.  Just know that you are not lesser than anyone else in the room – you are often just working with amazing people who are challenging your skills.  Challenge theirs in return.  You deserve to be there.

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