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Introducing SoundDocs – Accessible Production Documentation

SoundDocs: Leveling the Playing Field with Accessible Production Documentation

Picture this: You’re the only woman on a 20-person load-in crew. The patch sheet got “updated” three times overnight via fragmented text messages. The stage plot exists only in the tour manager’s head. And somehow, you’re expected to make it all work seamlessly while proving you belong there.

Does that sound familiar? If so, you’re not alone. Navigating the live audio and events industry often feels like trying to solve a puzzle where half the pieces are missing and the instructions are guarded as “tribal knowledge.”

Hi, I’m CJ Vana, and I’m the creator of SoundDocs – a cloud-based platform specifically designed for live audio and event production documentation. While I currently work as a Production Manager and A1 for a national AV company, partnering with associations and corporate clients, my journey into this industry wasn’t always straightforward. In fact, it was a series of frustrating experiences early in my career that sparked the idea for SoundDocs.

Like many, I started learning audio in high school, diving headfirst into recording and mixing with whatever free resources I could find online. I’m completely self-taught, piecing together knowledge from YouTube tutorials and forums. This background instilled in me a deep appreciation for accessible, free learning tools.

After dropping out of college, I landed in the live events world right after the end of the pandemic slowdown. Despite being eager to learn and possessing demonstrable skills, I often found myself facing skepticism – sometimes due to my age (being in my early 20s in live events audio and mid 20s when I started in production management) and sometimes, it felt, simply because I didn’t fit a certain mold. When I transitioned into freelancing from working full time at a local shop, this challenge intensified. I’d walk into other local shops, explain my skillset, my experience, and still get consistently assigned to loader duty or entry-level tech roles, even when I knew I was capable of more.

It was incredibly frustrating to constantly feel like I had to “prove myself” beyond my actual abilities, while watching critical show information remain disorganized, inaccessible, or deliberately withheld, sometimes impacting who was truly in the loop. This reliance on informal networks and guarded institutional knowledge doesn’t just hinder efficiency; it actively creates barriers for newcomers, women, people of color, and anyone who hasn’t come up through traditional or hyper-local channels. When success depends more on who you know and what private document collection you have access to, rather than your technical skill and professionalism, the playing field is far from level.

That’s why I created SoundDocs. I thought, leveraging modern technology, why are we still stuck using ugly spreadsheets and unorganized solutions for critical show documentation? Wouldn’t it be amazing if there was a free, professional resource for audio and event pros, just like the free resources that helped me learn?

SoundDocs is designed to tackle these problems head-on, bringing accessible, professional-looking documentation to everyone, regardless of experience level or network size. It’s about giving everyone, especially those who have historically felt “uninvited” from aspects of this industry, the tools to look and feel like the professionals they are.

Here’s a look at some of the features I believe can make a real difference:

  1. Patch Lists:

As an A1 and PM, I know how vital a clear patch list is, especially when you can’t be on-site yourself. SoundDocs allows you to create detailed patch lists, including default configurations and essential spares. You can share these documents with “view” or “edit” links, allowing seamless real-time collaboration before anyone even gets to the venue. This ensures everyone is working from the same, current information, leaving no one out of the loop. You can also export high-quality PNGs (with PDF export coming soon!).

  1. Stage Plots:

Our stage plot creator is intuitive and allows you to quickly lay out instruments, mics, personnel, and add custom text. Like patch lists, they offer the same collaborative sharing capabilities. This is perfect for in-house techs or tour teams needing quick, clear visual documentation that everyone can access.

  1. Run of Show (with Show Mode!):

I have immense respect for show callers – corporate, association, and even some festival shows wouldn’t happen without them. But I personally dislike juggling printed run sheets on my desk. Taking inspiration from other (often expensive) solutions, SoundDocs includes a Run of Show creator. The coolest part? “Show Mode.” This feature provides a real-time view link that tracks the show’s progress, with countdown timers and clear markers for the current and next cues. All available for free.

  1. Production Schedules:

Based on an awesome template I used with a PM I connected with earlier in my career (the one who saw skill, not just age!), our production schedule tool lets you create detailed timelines and assign tasks to different crews (Audio, Lighting, Rigging, Caterers, etc.). Again, full sharing capabilities mean everyone knows exactly what needs to happen and when.

Perhaps the most crucial aspect of SoundDocs is its foundation: it is and will always be Free and Open Source Software (FOSS). This is non-negotiable for me because accessibility is at the core of this project. While many established professionals might be willing and able to pay for software, that’s not always feasible for those just starting out or for smaller productions. SoundDocs aims to level that playing field, ensuring professional tools are available to everyone, everywhere, enabling them to present their work with clarity and competence.

Since launching SoundDocs just a few months ago, we’ve already grown to over 600 users. This rapid growth confirms that the need for accessible, high-quality documentation tools is real and widespread across our industry.

SoundDocs was built by folks who all run cables at 2 AM. We understand the challenges and the need for tools that make our jobs easier and help us shine. We believe that clear documentation isn’t just about efficiency; it’s about equity. It’s about ensuring that your expertise speaks louder than your connections, that information flows freely instead of being hoarded, and that the next generation of engineers, regardless of their background, can focus on perfecting their craft instead of cracking codes or fighting for basic information.

The SoundGirls community understands this mission implicitly. I’m incredibly excited about the potential for SoundDocs to support the work SoundGirls is doing – whether it’s providing tools for members, showcasing productions, or creating educational content around documentation best practices. I look forward to continuing the conversation and exploring how we can work together.

I hope you’ll explore SoundDocs and join me on this journey towards a more accessible and equitable live events industry for all. While never required, a donation link is available on the site, and all contributions are shared among the project’s contributors who pour their love into making this resource available.

Some of the newer and more advanced features I talked about above are only available on the beta site until there are little to no bugs being reported. You can try those out at https://beta.sounddocs.org. Or try the stable site with a few fewer features but more stability at https://sounddocs.org.

SoundDocs will always be FOSS software and donations are never required but, if you are able, there is a donate link on the home page of the site. Donations go towards buying developers coffee and keeping the server running.

About the Author: CJ Vana is a Production Manager and Audio Engineer based in the US, specializing in corporate and association events. A self-taught audio professional, CJ is passionate about creating accessible tools and fostering equity in the live events industry, leading to the creation of the free and open-source platform, SoundDocs.

Introducing Daytrip Productions – A Full-Service Production Collective

Daytrip Productions is a full-service production collective based in Los Angeles, CA. We specialize in heavy logistics for large-scale commercial and photo shoots. We have worked with top global brands like Jordan, Netflix, Vogue, Amazon, Converse, Nike, Lululemon, and Pop Magazine.

Founded by a tight-knit group of producer friends who met on set as production assistants, Daytrip has grown over the past decade into a family-style team and a trusted network of world-class creatives.

We offer end-to-end production services across both photo and video, with core capabilities including:

We’re always open to connecting with new talent and potential collaborators. Whether someone is interested in working with us or partnering on future projects, they can reach out directly at info@daytrip.pro or through our website’s contact form.

“When Your Work Doesn’t Talk But Screams” 

Part of our goal as a production collective is to say with media what can’t be said with words.

This allows us not only to share fascinating art and incredible creative talent with the world, but also to create impact through powerful messages.

If we could go back in time to when Daytrip Productions was born, we’d find four partners with an unstoppable drive to carve their own path, one they could walk alongside the right people.

Those young creatives, who first met on a production set as PAs, shared a vision. The goal became clear: speak to the world.

We’re lucky to say that we’re still on that path, and it’s only getting bigger. We never stop learning and drawing inspiration from the people around us, like Sophie Bruza, one of the best cinematographers we’ve ever met, and someone we’re proud to call part of Daytrip.

Or Sara Robin, an award-winning filmmaker and post producer at Daytrip, whose journey reminds us that passion often begins with curiosity and grows through intention.

What makes Sara’s voice so powerful is her ability to stay deeply connected to the soul of a project. She listens closely to the original spark behind the work and protects that vision from start to finish. She continues to be one of the clearest, most intentional voices in our collective.

One thing we’ve learned from working with such powerful creatives is:

Let your vision lead, stay rooted in what moves you, and trust that meaning finds its way through every frame, sound, and cut.

Stay curious, listen deeply, and never underestimate the impact of showing up with purpose.

Because when your work is true, it doesn’t talk, it screams.

We invite you to watch their most recent collabs with Daytrip Here: https://daytrip-productions.com/

Ally Hustings – Re-Recording Mix Technician, ADR Mixer, and Dialogue Editor

Ally Hustings is an accomplished audio professional with 14 years of experience working across film, television, and AAA video games. Wearing multiple hats as a Re-Recording Mix Technician, ADR Mixer, and Dialogue Editor, Ally brings both technical precision and creative insight to every project she touches.

Ally’s passion for sound began in high school, sparked by a love of movies, music, and the behind-the-scenes magic that shapes them. While she was never drawn to performing herself, she was captivated by the emotional power of sound—how it sets tone, builds tension, and transforms a scene. As a teenager, she experimented with editing home videos on glitchy software, where she began to understand how placing different sounds and music could completely change a story’s feel.

She honed her skills at the Institute of Production and Recording in Minneapolis, earning an Associate of Applied Science degree in Audio Production and Engineering with a focus on post production. The program equipped her with a strong foundation in audio engineering, production, and sound design for visual media.

Today, Ally thrives in the fast-paced and ever-evolving world of post-production, with credits spanning major studios and game developers. Whether she’s mixing dialogue for film, recording for immersive audio for a blockbuster game, or fine-tuning ADR for a dramatic TV moment, Ally is dedicated to making sound a seamless, powerful part of storytelling.

Career Start

How did you get your start?

I had several internships and all of them were unpaid; on my own time and not for college credit. I started by interning at a music recording studio while in college where I

made coffee, took out the trash, washed dishes, cleaned toilets and bathrooms that were shared with another company, sharpened pencils, upkept the studio and tried to be as helpful as possible. In return I learned about acoustics, session prep, tracking and mixing, equipment care and maintenance including mics, preamps, consoles, plate reverbs, and tape-oping.

Three days after my graduation ceremony I packed up my belongings and moved to Los Angeles. I took more internships that had similar responsibilities to my prior experience. These opportunities were split between music and post production facilities while working full time in food service to support myself. At one point I had four jobs I worked between for 6 days a week for a year. I started my mornings alternating between one of three internships and would go immediately to a restaurant until around 2:00 a.m. to close.

One day I was called to fill in for a celebrity VO session because the previous person quit. It turned out to be an ADR session and everyone was pleased with my work, which was the start of my career as an ADR Mixer.

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

They helped me lay the foundation of my professional community and I still frequently cross paths with colleagues from my beginning days!

What did you learn interning or on your early gigs?

I learned what being a strong, contributing member of a sound team looks like in different ways and the importance of Best Practices.

Did you have a mentor or someone that really helped you?

I have been exceptionally blessed to cross paths with professional mentors and meet dear friends who’ve gone above and beyond to support me. I remember every person who gave me a couch to crash on.

Career Now

What is a typical day like?

I’m generally busiest at the start and end of my day. As a Mix Technician, I arrive at the stage ahead of the crew and prepare the Pro Tools sessions and consoles. Depending on the schedule for the day we may be working in multiple episodes or reels that need to be prepared ahead of time. Because there are several Pro Tools systems communicating with each other I ensure they’re connected properly and test signal routing, as well as troubleshoot software and hardware issues if they arise. Additionally I transfer and import any needed assets and picture files while getting any remote attendees connected.

It’s my responsibility that the final mix stems and printmaster assets are adhering to distributor specifications with correct formatting, labeling, and are backed up. I stay in frequent communication with project crew members including the Mixing, Editorial, Music, Engineering, and Data teams.

When I work in Game Dialogue and ADR there are a lot of overlapping principles and some differences in execution, equipment and specs. Game Dialogue does include ADR, and can also include VO and Performance Capture dialogue recording.

How do you stay organized and focused?

I use a combination of calendars, spreadsheets, documents, hand-written notes (I keep a note-pad per project), separate email addresses (depending on the type of job), and an album on my phone for work-specific photos such as consoles/patch bays. I’m always taking down notes and making to-do lists. I always prefer thorough preparation.

What do you enjoy the most about your job?

I love the energy and spontaneity that comes with team collaboration! There’s so much to learn and it’s satisfying to be with teams that are committed to pushing the form forwards.

What do you like least?

Inevitably there have been important events or holidays with loved ones that get missed. Sometimes the work-life balance can get skewed.

What if any obstacles or barriers have you faced?

It’s definitely a competitive industry in a HCOL city where prior to streaming there were limited/slower opportunities for advancement.

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

I would advise that people consider how the career they’re seeking aligns with the type of lifestyle they want to live. Do you want to work in person or remote? Are you okay with traveling, and if so how much? Are you okay with a gig based structure or a M-F? Late nights, rotating hours, or a 9-5? It’s okay to not know the answers right away, and even if you do your preferences can change over time.

I would encourage those wishing to enter the field to seek out and say yes to as many opportunities as they can to learn more about what suits them best. Every opportunity is a chance to grow and refine your skills. Seek feedback, follow technology changes, and research how and why applicable industry standards have been set.

Remember that every day you wake up and choose how you treat other people. Expect and become comfortable with excelling in your role under imperfect circumstances.

Must have skills?

Emotional intelligence and interpersonal skills such as self awareness, the ability to seek and receive feedback, curiosity, critical listening, attention to detail, adaptability, dependability, discipline, a positive attitude, and a collaborative spirit. You can be the smartest person in the room but if you’re rude and combative to others they will not be inviting you back.

Favorite gear?

The Sony MDR-7506 headphones are my favorite to edit dialogue on. I use an ergonomic Logitech gaming mouse as well.

Learning to Navigate a Loud Stage with a Quiet Confidence

Last week, I worked my first ever festival. It was chaotic, loud, sweaty, and terrifying. I should’ve been over the moon, and in so many ways, I was! But also? I found myself very in my head. This was the kind of milestone I’d been dreaming about since I started in the industry. I spent
years learning in college, shadowing, staying late on gigs, and saying yes to every opportunity, big or small, that would help me grow. And when that festival call came in, I was proud. I knew I had worked hard for it!

I walked onto the festival grounds with my backpack, overly heavy pelican, and the biggest case of imposter syndrome I’ve ever experienced. I was surrounded by highly experienced, mostly older male techs who seemed to move effortlessly through the day, clearly having done many of
these shows before. I felt young, different, and a bit like I didn’t belong. ***it’s important to acknowledge that this was not true, nobody was staring at me thinking “What is she doing here?”, it was just all so new!

That’s the tricky thing about imposter syndrome: it has a way of showing up right when you should be celebrating your success. It makes you feel that you’re not really qualified, even when all evidence says otherwise. And for women, especially in technical fields like live production, these feelings can be magnified. You might walk into a room and feel like you’re constantly having to prove you know your gear, your process, your craft – and most of the time to people who never had to prove the same things themselves.
But here’s what I’ve come to realize: You don’t need to justify being in the room when you’ve worked to earn your place there. I’ve put in the hours, I’ve built my skill set. And this summer, I helped make live shows happen (real ones, with big artists, big crowds, and very high stakes! Like how cool is that!). I have problem solved under pressure, supported my team, and did the job I was hired to do. Ive made HUGE, awful, humiliating mistakes that will haunt me til I retire, but each one has taught me a huge lesson. Yet, there are still moments I feel underestimated or overlooked.
There are times when older colleagues question me more than they need to or hint that they don’t like seeing someone so “green” coming up through the ranks. But here’s what I want to say to anyone feeling that same discomfort: don’t shrink yourself to make others comfortable. Your ambition, your work ethic, and your presence are not a threat, they’re an asset!

If you’re just starting out and dealing with imposter syndrome, know this: you are not alone! Most of us feel it at some point. It’s not a sign of weakness, it’s often a sign that you’re stepping into something meaningful. You’ve earned this! Your opportunity didn’t come out of nowhere. It
came from your effort, your learning, your consistency. Keep asking questions and keep taking up space. Keep trusting that your work speaks for itself, even when others don’t say it out loud. I’ve personally run into stagehands who view my drive as “cocky”. There is a giant difference in
knowing your worth and being egotistical. Having trust in your abilities is not arrogant, It’s knowing you’re prepared. It’s a great thing to know what you know! It’s an even better thing to know what you don’t know, and not being afraid to ask or learn. There’s a big difference between
having an ego and respecting your own ability.
This summer’s busy season has already taught me more than just how to manage working under pressure. Its taught me how to believe in myself when that belief is tested. It reminds me that confidence isn’t always loud, it’s okay for confidence to be quiet and steady, growing one gig at a time!
Finally, sometimes, I have to remind myself that a lot of these feelings (feeling unwelcome, feeling like I have to prove myself twice as hard) aren’t always based on reality. Imposter syndrome can convince you that everyone’s watching, judging, or doubting you. But more often
than not, the loudest critic is your own inner voice. I’ve also learned that not everyone on the crew is out to challenge you. Most people genuinely want to see you grow. I’m very lucky to work with a handful of lovely, talented, skilled, and seasoned techs who treat me with respect, offer guidance without ego, and see me as a peer in the making, not a threat. Finding those people, the ones who build you up instead of break you down, is a game changer!
To every underrepresented voice in this field: you have every right to be here. Pride just always gives way to something else: doubt. Keep showing up, keep learning, and keep being proud of what you bring to the table, because you didn’t just get lucky, you got here through hard work!

My End of Year Show – Sweeney Todd

Earlier this year I wrote about my first experience of theatre sound design and mixing. Hard as it is to believe, my time as a student has come to an end and I’ve just finished my final show, Sweeney Todd.

We were divided into two groups and assigned roles on either Sweeney Todd or The Witches of Eastwick. This was dependent on the proposals we submitted, stating our case for wanting to work on a particular show. I chose Sweeney Todd partly because of my interest in the story and the period in which it’s set, but I also wanted to challenge myself as much as possible. Sondheim is known for his complex musical arrangements and the songs in Sweeney Todd are notoriously difficult to perform. While this made the prospect of mixing the show pretty daunting, it was a great opportunity to put everything I learned this year into practice.

In the rehearsal room, I began the process of mentally figuring out how to balance the vocals. There are a lot of overlapping parts, and in fact one of the most taxing moments of the show also ended up being my favourite: ‘Kiss Me (Part II)’, sung by Anthony, Johanna, Judge Turpin and the Beadle. There is so much going on at a fast pace, and you really have to concentrate hard to follow the script. With so many different words being sung at the same time, it’s also really important to make sure each individual character can be heard clearly and that no one is drowned out. In addition, our production had only one male cast member, which meant finding the right balance between three female voices and one male voice (when originally this song would have been sung by three male voices and one female). All of this meant that, when it went right, it was immensely satisfying.

One of the other things that really appealed to me about Sweeney Todd was the news that our musical director would be using an amazing piece of orchestral software called Sinfonia. This allowed him to essentially be a one-man band while conducting the cast, and it was incredible to watch and to mix. It was certainly a challenge I embraced, as I had worked with tracks in QLab on my previous two shows, so it was good to have a different experience.

Another element I really enjoyed was using reverb. I’d done some research on past productions and was fascinated by how Broadway sound designer Nevin Steinberg used reverb creatively. While we obviously didn’t copy this approach, it did give us a few ideas. Our director encouraged us to have fun with reverb for the screams in the more violent scenes, and that’s exactly what we did. One particular scene involving a character being thrown into an oven was really exciting because everything came together so well: the reverb, the lighting and silhouette, the tension in the musical underscore.

That’s ultimately what I’ve loved most about mixing shows this year: the teamwork involved in bringing everything together and creating something that audiences walk out of saying, “That was brilliant.” Of course there were the usual technical difficulties and stresses, but the final show couldn’t have gone better. It was a sell-out audience, my family were there (the first time they’d ever seen one of my shows, which was really special) and everything sounded great and ran unbelievably smoothly (rare but wonderful!). It was an experience I’ll remember for a long time to come.

Sound, Memory, and Festival Season

I love the transition into the warmer months, and changing out heavy coats and boots for jackets and flip-flops is always a welcome change for me. One of my favourite parts of the northern summer is knowing the festival season is on the way, and imagining all of the potential that lies ahead.

As the prospect of moderate sunburn, balmy nights, and attempting to shimmy like Mick Jagger through hordes of people beckons me for another year, I find myself thinking about how deeply music ties into memory. It’s not just about the songs we love – it’s about the way they hold onto our experiences. It’s funny how a sound or a song you haven’t thought about in years can instantly bring back a place, a feeling, and a version of yourself you might have forgotten.

These moments aren’t just nostalgia or a natural part of getting older – they’re a form of emotional time travel. And festivals, in all their chaotic glory, seem to generate these memories more powerfully than almost anything else.

It turns out, there are scientific reasons why these events are emotionally charged and feel so good when we partake in, and later reminisce about them. So, whether you’re working, performing at, or attending festivals this year, the chances are you’ll experience some of the benefits they have to offer.

The Festival Effect

Festivals offer more than just music – they create a full sensory experience. For many of us, they are the largest events of the entire year, and we can find ourselves suddenly surrounded by thousands of people, powerful lights, unpredictable weather, movement, and intense levels of sound.

All of this contributes to a kind of heightened awareness, which is a key factor in making memories stick. Dr. Daniel Levitin, a cognitive psychologist and author of the fascinating book This Is Your Brain on Music, explains:

“The more sensory input and emotional weight a moment has, the more deeply it gets encoded”. 

And it’s not just the big headline sets with all the bells and whistles that stay with you. There are numerous benefits to experiencing the smaller moments in these environments, which can contribute to the positive effects on both the body and mind.

Physical Effects

We know that music has a profound ability to foster connection among individuals, especially in group settings. Research shows that shared musical experiences enhance social bonds, promote empathy, and contribute to a sense of community.

When we engage in musical activities together, it can lead to increased feelings of closeness among the participants. We literally release endorphins and oxytocin in our bodies, which are the neurochemicals associated with pleasure and social bonding.

Another intriguing physical byproduct of festivals is synchronization. Synchronizing movements with others, like when we are singing and dancing in unison, can blur the lines between self and others, leading to a heightened sense of group identity. This phenomenon, often referred to as “self-other merging”, is believed to be a mechanism that’s enhanced by environments like music festivals.

Mental Health Benefits

As well as the physical, measurable effects, it’s also been proven that the collective experience of enjoying live performances fosters a sense of unity and belonging – it basically reduces feelings of loneliness while promoting psychological well-being. The improvements to the mental health of attendees in scientific studies show that festivals can also be hugely beneficial for our moods as well as our bodies.

In a practical sense, the combination of music, social interaction, and a break from the daily grind of our usual routine can of course, all contribute to these therapeutic effects felt in the body and mind, but ultimately, the magic really lies in the emotional and physical experiences we have in the moment.

Why Music Triggers Strong Memories

There’s a reason hearing a song from a past summer can take you back years in an instant. According to Dr. Amee Baird, a clinical neuropsychologist and author of Music and Dementia:

“Music can access autobiographical memories because of the way it engages both the emotional and memory centers of the brain.” 

The hippocampus (which deals with memory) and the amygdala (which processes emotion) both respond strongly to music, especially when we’re already emotionally activated, like at a festival.

Later on, those songs become tools. You might put on a playlist you made that summer and find yourself remembering things you hadn’t thought about in years. This phenomenon has been studied in Alzheimer’s patients, and it’s been discovered that even people with severe memory loss could recall events when they heard personally significant music.

And it’s not just about looking back – music also helps us carry something forward. Listening to past festival anthems can ground you when life feels unrecognisable, or energise you when you need a reminder of who you are.

The Music That Stays With Us

What’s striking is how long these sounds last. Long after the tents are packed up and your wellies are dry, the music remains. It plays quietly in the background of your life, showing up from time to time through the years that follow.

As musician and producer Brian Eno once said:

“Stop thinking about art works as objects, and start thinking about them as triggers for experiences.”

That’s exactly what festival music is. It’s not just entertainment – it’s a collection of emotional markers, each one tied to a moment in time when you felt something real.

Festival Season 2025

Every festival season offers us the chance to make more of these moments. Not in some grand, life-changing way, but in small, genuine ways that linger. If you’re heading to a festival or two this year, don’t just chase the perfect shot or main-stage setlist.

Let yourself notice the background sounds, the in-between sets, the weird little connections, synchronistic moments, and songs you wouldn’t have chosen on your own. Because years from now, it might be one of those that plays on unexpectedly and reminds you of who you were, and how alive it all felt.

Join SoundGirls + Meyer Sound for an Exclusive Behind-the-Scenes Experience

 

Meyer Sound hosts SounGirls on Tuesday, July 23 at 1 PM in Berkeley, CA!

2832 San Pablo Ave, Berkeley, CA 94702, United States

Tour is 2.5 to 3 Hours

Get an insider’s look at the innovation and craftsmanship behind Meyer Sound’s world-renowned loudspeakers and digital audio technology. This exclusive tour offers:

A behind-the-scenes peek at the engineering, manufacturing, and production of Meyer Sound systems
An interactive demo of Spacemap Go — Meyer Sound’s powerful spatial sound design and mixing tool
A chance to experience the full sonic impact of Meyer Sound’s newly renovated, state-of-the-art Pearson Theatre

Stick around afterward as we head over to Missouri Lounge for drinks, casual hangs, and continued conversation with fellow attendees.

Whether you’re a student, a seasoned audio pro, or just curious about spatial audio and cutting-edge sound design, this is a unique opportunity you won’t want to miss!

️ RSVP now and come geek out with us!

#SoundGirls #MeyerSound #SpacemapGo #AudioEngineering #WomenInAudio #SpatialAudio #BehindTheScenes #SoundDesign #AudioInnovation

 

Thea Gustafsson Producer, Songwriter, and Recording Artist

Thea Gustafsson currently records emotive alt-pop as Becky and the Birds, a project which released its debut album Only Music Makes Me Cry Now on November 8th, 2024. As recent as this seems, she has a rich background in audio, from her days at Stockholm’s famed Musikmakarna Songwriters Academy to a later internship with Aviici. In 2025, Gustafsson was awarded Producer of the Year at the Swedish Grammis and in April, she released the single “Should’ve known better (choices),” on which her accordionist father contributes some accompaniment.

 

What excites you most as a producer?

What really excites me is when I go into sounds, or twists in the sounds that are unexpected—like changing the key abruptly, or using an effect that comes in just every now and then. I love very petite changes that make a big difference in production. Every time I hear a production where I can hear that someone has put a lot of time into it, and it’s complex, it just makes me so happy.

What are some of your favorite subtle shifts that you can accomplish in a recording?

I like to put in small, hidden messages. It could be a voice sample that only I know where it comes from—like a phone call—then I just take one word from that phone call, for example, and use it as a snare. It’s things that no one else probably would hear or notice. It makes such a difference in the process of creating it. But then I really like to play with my own voice, see how I can pitch my voice, flex time my voice, or use it in various ways. That’s probably why I love samplers so much, because you never know what you’ll get. You know what you put into the sampler, but then, from there, it just gives you so many endless possibilities. Samplers: they’re my best friends.

What is your go to sampler?

I love the Serato sampler. When I got it, it was free, which was incredible. I also use the (Teenage Engineering) OP-1 a lot. I’ve been using (Native Instruments) Maschine quite a lot to chop up stuff, but I don’t find it to be quite as easy. It’s not a standalone. I’ve tried to, like, really love it–and I used to love it–but I don’t love it as much anymore. I like Maschine for drums. It’s easy to quantize, but it’s also kind of complex. You need to really learn the Maschine, and, to be honest, I’m not much of a nerd when it comes to, like, learning the instrument. I just want them to work, or if I don’t know how they work, I want them to be easy to just figure out somehow.

Tell us about your experience producing other artists.

I’ve had sessions with people where we come from different worlds, and I think that could be good. But so far, my best experiences have been with the people who have similar taste and sound. We have similar thoughts. When you find that, it’s just fun. I think it’s good as a producer too, or as an artist, to get out of your own head. You can learn so much [from] someone saying a sound that they want you to use, and it might be a sound that you have never thought of or that you would never use, but you learn so much from just trying to find that. Then I’ve been making a lot of samples for other producers, which has been really fun. It’s easy to sit and be like, “oh, I need to make a whole production of something,” but I’ve also found a way where I’m, creating ambiences–or creating soundscapes, in a way–and then I let someone else come in to make the drums or the bass. The process of adding bass is very boring to me. I’ve been quite forceful too, in my no’s. I’ve not been afraid to say no, which has been good for me as a producer. I used to jump into projects, but it’s easy to find yourself kind of scattered if you’ve done a lot of different things that you’re not really keen on.

How did you get started as a producer?

Actually, I went to a production and songwriting school, but I went in there as a top liner. This was in Sweden, and it’s a quite good school. It’s the school that a lot of good producers and songwriters have gone to, but I didn’t even know the concept of producing, so I picked top liner, But then as I got into that school and I started to write, and I wrote for others,  ended up always finding myself nagging at the producer, like, “Oh, you should try this. You should do this.” It was always male producers. I hadn’t seen a woman produce at that point. I didn’t really have any influencers or anyone that I could look up to, besides maybe Björk back then. It kind of grew out of frustration, because I saw these men just came into the studios and took over, and I didn’t even think they were good at what they were doing. So then, after a while, I kind of locked myself in, because I was so tired of everything. And I was like, I don’t want to be a top liner; this is not for me.

I started to produce by myself, because I had learned so much, because I had seen others produce. I remember that I wanted to do my artist project, but I couldn’t find a producer for it. I was just standing in line for these male producers. I had to wait, then they would start something, but they wouldn’t finish it. So then I was like, I’ll just do it myself. I did it out of anger, but also out of pure excitement. I immediately was just so blown away, like, “oh my god, why haven’t I done this sooner?” It’s one of the few things in life where I really get caught up in it, and I can just lose myself completely. Up to that point, I hadn’t really felt that feeling. It was so much fun to not know a lot about it either, because that gave me so much freedom and space to try things out, which made me ultra creative. Then, from there, I found my own ways of doing it. I remember a guy looking through my project, and he was like, “you can’t have the compressor first and then the EQ, that’s wrong.” And I was like, “Who says that it’s wrong?”

Do you still put the compressor before the EQ?

I actually put the EQ before the compressor most of the time. I know more common rules of what sounds good and what doesn’t sound good, but it’s so easy to get caught up in the rules of producing, and just forget about the creativity and the endless possibilities that are there if you actually put the compressor before the EQ [sometimes]. And it might be a sound that is way cooler than the compressor after the EQ.

Can you say the name of the school that you went to?

Musikmakarna. It’s a really good school. They split you up in groups, you know, so you’re either a “top liner” or a producer, which makes it weird. It’s weird when that’s your first interaction with the industry. You suddenly have to put yourself into a box. I think that limits you, like, “well, if I’m a top liner, I can’t be a producer.” I do think a lot of things have changed, though. This was quite a lot of years ago. I love the word creator; I just want to be a creator. And I think that, especially as a girl and as a woman, too, it’s easy to forget that you can do everything. I think society enforces [men] to be like, “I can do whatever I want,” but as a girl, you have to make everything perfect before you can say that you’re a producer. You have to produce a hit record before you can say that you’re a producer. I’m just trying to work around that all the time, and [as] soon as I try something, I’m like, “I’m that.”

Do you have someone who really helped you, like a mentor?

I didn’t really have anyone who I can say was, like, a mentor, but I did feel a lot of encouragement from people who were in the industry–from other women producers especially. I think there’s a lot of connection there, from female creators overall. I’ve found a lot of calm in talking to other girls who are making something creative, because it takes a lot from you to put yourself out there. It’s kind of vulnerable as a woman. So to see other girls being powerful, and being nerdy, or being deeply interested in something that doesn’t have anything to do with men, is very inspiring to me. Every woman, who’s making something for their own sake, has always been very inspiring to me.

So tell us about your process for making your latest album.

I was going through a breakup, and I’ve never been a big diary writer. My way has been to record myself when I’m playing piano and singing, so I did that a lot, and I just let whatever wanted to come out, come out. It came from this very intuitive place. So I would have long recordings, like 30 minutes that I had recorded, that I then took and sampled. I let those samples kind of lead the way for the whole album. Then I would add production to it, I would add drums or whatever it needed, which was hard, because a lot of them didn’t even have BPMs or a tempo. Some of them still don’t, which I have found, very freeing in a way, because I just had to accept that. Once I let go, I was like, oh, it can be whatever it wants to be.

What are some of your long term goals?

I really want to work with people, with big people, who are interesting and inspiring. I want to get more into hip hop, and use my samples there, and also more into the alternative scene, [producing] for others. I want to produce even more for others, and then release more albums. I’m moving to the US, which will be terrifying, and so much fun. I really also want to pave the way for female producers. I just want to be inspiring, and I want to stay inspired, too.

What made you gravitate toward music to begin with?

My dad is a musician, but he’s an accordion player, and he’s been very much into klezmer music and jazz. So I always started out as a little bit of an underdog, you know, because I was just listening to his records, which were klezmer records, all day long. Then I started playing violin when I was seven. I played in a lot of orchestras, and I was also writing songs for orchestras, which was my first way of expressing creativity and making songs. I think that has had a huge impact on the way that I produce, too, because I come from an orchestra perspective, and I’ve also always been singing in choirs. From that, I’m very used to different harmonies and different sections, which I’ve had a big use for in my production. I’ve always been in music, I’ve always been around music, and I think if I would have known that it was possible to produce earlier, I definitely would have. It was just that I didn’t even know that you could do it until school.

Your choir background definitely comes across in your album.

Yeah, I love choirs. It’s so much fun singing with other people. The beautiful thing about vocals is that it’s an instrument that is closest to us, because it comes right out of us; there’s no instrument in between. It’s just straight from our soul. I find that if I’ve been in an era where I’ve been only producing a lot and I haven’t been singing so much, I can feel how I’m disconnected from myself, almost. I really think singing connects you to you somehow. It’s just beautiful.

More on Thea Gustafsson

https://beckyandthebirds.com/

New single announcement: April 30th, 2025

https://www.instagram.com/beckyandthebirds/

Selected Interviews with Thea Gustaffson:

The Luna Collective

Clash Music Interview

How Women Made Music Review

In 2015 the Ink N Iron Festival in Nashville was, on paper, an utter failure.  No-show Headliners, abysmal attendance, and sweltering heat all plagued what had promised to be a showcase of alternative culture centered around rusty vintage vehicles and bold tattoos.  However, in my eyes, it was my most memorable concert experience.  What introvert could argue with no lines, clean portalets, and front row seats with general admission prices?  The performances were legendary.  Wanda Jackson, at a few years shy of 80, hollered with a Jack White-picked back-up band to an audience of burlesque dancers and other headliners.  And in between her rockabilly hits she dished out juicy stories of her tours with Elvis.  Although the true highlight was Sharon Jones & The Dap-Kings in the year before her death to pancreatic cancer, kicking off her shoes and dancing as though she was twenty years young.

What does this memory have to do with a book review?  How Women Made Music edited by Alison Fensterstock is a collection of such memories, with interviews and opinion pieces curated from Turning the Tables series on NPR.  The series was developed to even the balance of articles written by and about men.  If you look at the top 50 of Rolling Stones’ top 500 albums only a measly 18% are by bands or acts with at least 2 members who are women.  That is not even a quarter of the albums.  Turning the Tables are making their own lists, writing their own articles, doing their own interviews.  Underappreciated no more.

Even though Turning the Tables is no longer active, they cemented their legacy with a book, a highlight reel of what their several years of work created.  Included in the appendices are their ranked lists of albums and artists, inviting the reader to do their own aural research.  The lists also help bridge the gap between what made it into the book and the amazing talent that just missed the cut.  How Women Made Music is divided into arbitrary categories, grouping artists based on their stage presence and influence rather than telling a history of modern music through a feminine gaze.  Chapter headings aside, the categories take a backseat for an opportunity to showcase the intersectionality of artistry.  While American Pop Music has the largest representation, How Women Made Music makes an effort to display a spectrum: of genres, gender expression, of culture.  In transitioning Turning the Tables to a book, what I feel is the weakest aspect of How Women Made Music is how much was omitted.  To dedicate enough ink to each selection meant a smaller number of artists included in the main text.  There are genres that have deeply rooted patriarchal stereotypes like metal and mariachi that could have more pages dedicated to the feminine iconoclasts.  In addition, I felt the book did not venture far outside the United States.  In choosing NPR as source material, they could have focused on US-based charts to make their selections, and then partner later with other publications to broaden their scope, but they decided to dabble somewhat with artists of other regions.  But I digress, I am delighted in who they decided to include.  And the writing is edifying journalism paired with insightful interviews.

When writing about women, especially in an industry dominated by men, there are common tropes that journalists cling to.  This book is no exception.  With many of the articles and interviews, there is a highlight of the reaction to the competitiveness of an industry dominated by men.  The women are showcased as first, as role models for others, as leaders and mentors.  All of these fail the “Finkbeiner Test,” an unofficial metric of measuring how stagnant journalists are at writing about women.  In the basic nature of Turning the Tables, yes, the articles are going to fail the test on the basis that they seek out to write about women who influenced music.  However, by curating a massive collection of writings, NPR has provided an opportunity for future music journalists to move beyond the over-trodden path.  Turning the Tables has written about the oft-forgotten, the behind-the-scenes muses, the iconoclasts and the pioneers.  Those women who needed to be interviewed and written about in order to document their influence now have ink dedicated to them.  Now we can move on to writing and interviewing without the tired cliches.  Write about artists being influential because of their accomplishments, let them claim their superlatives without asterix.  Shake up the homogenized top lists that lack the depth to truly represent the best.  How Women Made Music is a stepping stone in that direction, a resource to give you the knowledge to do better.

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