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Troubleshooting Ourselves to Gain Perspective

 

Do you ever notice how now and then, a series of annoyances seem to happen one after another? I’ve had a month where it feels like every day has provided something new to test my patience.

When we have weeks like these, it’s so easy for feelings of fatalism to set in – the philosophical belief that life is predetermined no matter what our actions may be. Stuck in a mental slump borne out of frustration and annoyance, I needed to pick myself back up again.

I remember that sometimes it would be better that some things don’t happen the way you want them to. Although this one is hard because it’s human nature to let ourselves get carried away in our imagination, picturing the things we think we want only to be disappointed when they don’t work out. Often we never get to see how that untraveled alternate path would have panned out, but once in a while, life will give us a glimpse of why this wasn’t the best thing for us.

Last year I was turned down for a gig that I was sure would be fulfilling for me both creatively and financially, and I felt like I’d missed out at the time. Not long after, I was shocked to see in the press that there had been an incident that turned into a politically charged legal and PR nightmare and a very real safety issue for those involved in the gig. It was a disaster. I certainly would have been caught in the middle of the crossfire with potentially long-lasting ties to it if I’d landed the job. It’s been useful to have this rejection in the back of my mind to draw upon when times of frustration come around as they inevitably do, and remember that sometimes things not happening can be a good thing.

The second phase of my fatalistic detox was thinking about perseverance and what it means. The alternative to going after what we truly want in life is accepting defeat and ceasing to try anymore. Surely this feels worse than any setback? Kim Liao’s viral article from 2016 Why you should aim for 100 rejections a year beautifully outlines her outlook on perseverance in the creative world of work. But it really can be applied in any area of life where we are losing our cool. Liao theorises that the more times we fail, the fear of failure itself shrinks and holds infinitely less power over us because the act of persevering has become routine. Additionally, Liao reasons that the more we practice at anything, the better we get, including building our resilience.

Most people tend to feel they need something to aim for to grow. I first became aware of Maslow’s hierarchy of needs during my teacher training, as it is heavily referenced in the British education system. Maslow’s expanded model is a motivational theory of human behaviour, though these needs are interchangeable, and some may even supersede others entirely.

  1. Biological and physiological needs– air, food, drink, shelter, warmth, sleep, etc.
  2. Safety needs– protection from elements, security, order, law, stability, etc.
  3. Love and belongingness needs– friendship, intimacy, trust, and acceptance, receiving and giving affection and love. Affiliating, being part of a group (family, friends, work).
  4. Esteem needs– which Maslow classified into two categories: (i) esteem for oneself (dignity, achievement, mastery, independence) and (ii) the desire for reputation or respect from others (e.g., status, prestige).
  5. Cognitive needs– knowledge and understanding, curiosity, exploration, need for meaning, and predictability.
  6. Aesthetic needs– appreciation and search for beauty, balance, form, etc.
  7. Self-actualisation needs– realising personal potential, self-fulfillment, seeking personal growth, and peak experiences.
  8. Transcendence needs– A person is motivated by values that transcend beyond the personal self (e.g., mystical experiences and certain experiences with nature, aesthetic experiences, sexual experiences, service to others, the pursuit of science, religious faith, etc.).

The final part of my troubleshooting process is to mentally file which goals and needs can be met by reassessing my plans and actions accordingly. Henry Ford is quoted as saying, “If you do what you’ve always done, you’ll get what you’ve always got,” and I feel like this mantra is so useful when thinking about what we can proactively do to help ourselves.

Over the years, some of our goals and needs will remain the same, while others require tuning into in order to keep their relevance and propel us forward. Even when we are happily travelling down the same road as before, our surroundings or circumstances can change, making our old goals seem outdated. By being rigid, we can close ourselves off to change when it might be helpful to us, and they say that the definition of insanity is repeating the same thing while expecting a different outcome. If we can embrace change, whether in ourselves when it is needed and chosen, or when it feels like it is happening “to” us, we are also building resilience, and whether it feels like just what we need to hear or a philosophical reminder, the only real constant in life is change.

Glossary of Sound Effects (Part 2)

Our first Glossary of Sound Effects post was so popular we decided it would be fun to expand on it. This time around we not only included more specific search terms, but also a handful of modifiers. These terms, such as ‘by’ ‘up’ or ‘quick’ speak to the characteristics of the sound choice you are looking for. Try adding them to other terms (i.e. ‘zip quick’ or ‘violin up’)  to further narrow down your search.


Ambiance – Atmospheric sounds to build the space of a scene. Also look up: background, amb, environment

Beam – A steady synthetic sound. Also, look up: glow, ray, phaser

Beep – The tonal sound of a button press. Also, look up blip

Bork – A cartoonish sound that conveys disappointment.

Brush – The sound of leaves or foliage. Also, look up: leaves, bush, foliage, twig

By – This modifier should be added to searches for moving objects like Jet or Car, characterized by an increase and decrease in volume as the object passes by.

Chatter – A repetitive sound that conveys shaking, commonly associated with cartoonish teeth movement. Also, look up: shake, rattle

Chitter – small animal noise, repetitive and often cute sounding. Think squirrel or hamster.

Doppler – A sound that changes pitch as it passes by. Think truck horn starting from a distance and dropping in pitch as it crosses your path.

Drop – The sound of something falling to the ground.

Electricity – The sound of an electrical current, often wavering in volume and intensity. Also, look up: arc, crackle, spark

Flutter – Any sound with a very fast cycle of volume from low to high. Think of a humming bird’s wings or pod racers from Star Wars.

Ghost – Ethereal, often melodic and scary in nature. Also, look up: spirit, whisper

Hydraulic – The very distinct sound of something propelled by liquid moving in a confined space. Think forklift or fancy door hinges. Also, look up servo

Impact – The sound of a collision, be it small or large. Also, look up: hit, crash, smash

Debris – A cacophonous sound, usually starting thick and eventually settling. Can be used as the aftermath of an event as big as an explosion or as small as kicking up dirt.

Konk – A hollow hit, usually tonal in nature. Also, look up: bonk, coconut, hollow

Laser – The sound of a synthetic weapon. Also, look up: ray gun, pulse, beam

Movement – This modifier can be added to any search requiring both material and motion. Also, look up in short form: mvmt

Old – A modifier for sounds that are typically somewhat poor in quality, as though they were recorded a long time ago. This term is about looking for a specific character in your sound. Also, look up: old, classic, antique

Poink – A short, pointy sound. Also, look up: pluck, doink

Quick – Use this modifier when looking for sounds with very short duration. Also, look up: fast, short, sharp

Ratchet – A repetitive clicking sound Also, look up: crank, pulley, latch, turnstile

Ricco – This shorthand for Ricochet is the sound of a bullet bouncing. Can be used in cartoony moments when a character zips off screen very quickly.

Ruckle – The repetitive, throaty warble character of a sound. Typically emanating from the depths of a large animal or monster. Think of the T-Rex growl from Jurassic Park.

Rummage – Quickly digging through various materials. Also, look up junk

Servo – Short for servomechanism, this is the sound you would typically associate with the moments of a robot or other motorized electronics. Also, look up robot

Slide – This modifier signifies a changing in pitch; a character often associated with violin recordings or whistles to convey emotion in cartoony moments.

Splinter – The sound of small breaking or cracking wood. Also, look up: twist, stress, crack, wood break

Stinger – A musical sweetener that helps place emphasis on a dramatic moment. Also, look up: trailer hit, action

Telemetry – Rhythmic and somewhat repetitive beeps. The sound of calculating technology. Also, look up: computer, scan, beeps, tech, process

Up/Down – Add these modifiers to your search to convey the pitch motion of your sound. Slide whistle Up, for example, would start at a low pitch and end on a high pitch.

Valoop – The sound of something squeezing out of a small space.

Wobble – A repetitive, quick pitching sound used for moments of shakiness. Also, look up: warble, hypno, flutter

Zip – Any fast movement, often with some sort of musical character. Also, look up zing

See the original post here.

 

Creating Suspense 

Recently I’ve been working on a couple of projects that require some suspenseful swells of music. After trying out a few different methods, I decided I would share some of the techniques I used that seemed to be quite effective.

The first method I tried was to bury some long gong sounds leading up to the peak of the suspense. This worked as it was a very classical sounding score. However, if you were wanting to use this in another genre, you could always edit the sound with a pitch shifter, reverb, sending it through pedals. Etc.

My second tip is to just keep layering sounds during a build-up section. The idea of suspense could mean that the first section of your piece can be very controlled but the build-up really needs to grow. A really great way to do this is to add new sounds to every bar. This can be anything from recorded sounds to synths and instruments.

My final tip is to increase the volume automation throughout your build-up. This really helps especially when the music needs to be minimal but you still want the audience to sense some kind of change.

I hope some of these tips can help you create some suspense in your pieces. My advice is to just always keep playing around with different elements of the score, and eventually, you’ll find something that works.

 

 

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

October Feature Profile

https://soundgirls.org/bryony-october-tolerance-patience-the-ability-to-remain-calm/

The Blogs

Living In and Out of A Big Fat Suitcase

Sound Design in Another Medium

Launching Content 

SoundGirls News

 

Accepting Applications for SoundGirls Bloggers


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up


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Recording Academy Putting Focus ‘Behind the Record’ With New Social Media Initiative

Regardless of whether it’s an indie or record label production, every individual involved in the music creation process deserves to be credited. It might seem like a small gesture, but for many music creators, engineers and producers, this hard-earned credit directly impacts their livelihoods.

So what better way to honor and celebrate the birth of an album than by acknowledging everyone involved in its creation!


SoundGirls Events

Portland SoundGirls Chapter Social

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Launching Content 

In 2019, most people can class themselves as a content creator. Whether you post pictures on Instagram, are in a band or write poetry in your spare time, you’re creating content. The more difficult part is getting people to notice (if that’s what you want to do of course).

As I have come towards the end of the BBC New Creatives scheme, myself and the team are planning how to promote the audio piece and which platforms it will sit best on. The piece is a five-minute clip of my Dad reading out his poems, snippets of family conversations, and me reading out emails and letters my Dad has written to me over the years.

I will most likely put the “podcast”/audio piece on SoundCloud, where I first started posting commentary with friends on my Dad’s poems throughout university:

https://soundcloud.com/yadroteoem

I then hope to post a relevant image of my parents on my Instagram page, along with a clip of the audio and subtitles for the dialogue. I haven’t figured out how to do this yet, but I will do! I will also post on my Facebook page that was dedicated to my tri-lingual student radio show and now is used for any media updates and opportunities through my work.

I will place a link on my website to my SoundCloud. I, unfortunately, will not be able to post on Mixcloud as the audio piece is too short. I will make sure to tag everyone that has been involved, from BBC New Creatives, Naked Productions, Tyneside Cinema, Arts Council England, and BBC Arts. I will post on LinkedIn too at some point and add to my profile.

This blog has also been such a great way to document the process! I hope to be able to continue talking about my side projects and creative endeavours. The final workshop in Newcastle for BBC New Creatives was a great way to see and listen to all the work created by different participants. It was so inspiring to see how experimental and inventive everyone had been.

I can’t wait to see the journey of all the different projects!

Check out the link here to all the projects:

https://newcreatives.co.uk/creatives

One issue has been the name of my podcast; we’re still working on that one and will have it confirmed soon hopefully!

WHERE ELSE TO FIND ME:

Tri-lingual radio show (Sobremesa): https://www.mixcloud.com/Alexandra_McLeod/

Sobremesa Facebook page: https://www.facebook.com/AlexandraSobremesa/

YouTube and Geography blog: https://alexandrasobremesa.wordpress.com/

LinkedIn: https://www.linkedin.com/in/alexandra-mcleod-79b7a8107?trk=nav_responsive_tab_profile

SoundGirls Mentoring at AES@NAMM

SoundGirls Mentoring at NAMM will see some big changes this year.  In collaboration and sponsored by AES we will be hosting five mentoring sessions during AES.  All sessions will take place on Thursday, January 16th. Each session holds 20 people and they will be sure to sell out fast. To accommodate as many as we can, please choose a session in your audio discipline.

You will need to be registered and confirmed to attend. While you are not required to have an AES Badge to attend, we do encourage you to become a member of AES and register  for an AES Badge.


SoundGirls Mentoring Post-Production/Film & TV – 11:00 to 12:00 PM

Mentors: Leslie Gaston-Bird, April Tucker, Shannon Deane, Katy Wood, and TBA

Register Here


 

SoundGirls Mentoring Live Event Production – 12:05 to 1:00 PM

Mentors: Meegan Holmes, Karrie Keyes, Whitney Olpin, Claire Murphy, Tiffany Hendren, McKenzee Morley, Mary Broadbent

Register Here


 

SoundGirls Mentoring Recording Arts – 1:05 to 2:00 PM

Mentors: Leslie Ann Jones, Jett Galindo, Catharine Wood, Lenise Bent, Fela Davis

Register Here


 

SoundGirls Mentoring Manufacturing & Sales – 2:05 to 3:00 PM

Mentors: Dawn Birr, Samantha Pink, Sara Elliott, Becki Barbaras, Erika Earl

Register Here


 

SoundGirls Mentoring Contracts and Negotiations – 3:05 to 5:00 PM

Hosted by RafterMarsh. Mentors: Sean Sully Sullivan, Karrie Keyes, Piper Payne, and Catherine Vericolli

Register Here


 

 

 

SoundGirls Mentoring Contracts & Negotiations

If you have questions about how to navigate your career with contracts and negotiations this session is for you.  Hosted by RafterMarsh, who will provide attendees with standard contracts and legal advice. Come ask the questions you need answers to from industry veterans. This two-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change

Sean “Sully” Sullivan has worked in live sound from the early age of 15 when he started out mixing for his brother’s band and for other local bands. Now, he has worked with artists such Beck, Justin Timberlake, Rihanna and most recently Shania Twain and Red Hot Chili Peppers.

 

 


20160717_113247-1Karrie Keyes – Monitor Engineer for Pearl Jam and Eddie Vedder – Executive Director and Co-Founder of SoundGirls

Karrie has spent the last 25 plus years as the monitor engineer for Pearl Jam. Karrie started out doing sound for punk bands in Los Angeles in 1986 under the tutelage of Dave Rat of Rat Sound, where she spent twenty years helping to establish the company. She was able to gain an immense amount of hands-on experience and technical knowledge at Rat, which eventually led to her becoming the monitor engineer for The Red Hot Chili Peppers from 1990-2000. She first met and started working with Pearl Jam who opened for RHCP on their 1991-1992 Blood Sugar Sex Magic Tour. She has worked with Sonic Youth, Fugazi, and more.


Piper Payne – Co-Director SoundGirls

Piper is a mastering engineer in Oakland, CA, where she works on albums for independent artists and major labels. Piper is the Owner and Chief Mastering Engineer of Neato Mastering, and she is a Co-Founder and the Chief Product Officer for Second Line Vinyl, a new Oakland-based vinyl pressing plant opening in 2018.

She recently finished her term as President of the SF Chapter of the Recording Academy and serves on the P&E Wing Advisory Council. She is also on the committee of the AES SF Chapter and heads the AES Diversity and Inclusion Committee. Piper is an audio professor and guest lectures often about mastering and recording.

Piper has mastered a wide variety of music including nationally renowned artists Third Eye Blind, Madame Gandhi, Geographer, Elettrodomestico (Jane Wiedlin/Go-Go’s), Shamir, Between You & Me, David Messier, and Fritz Montana, as well as Bay Area favorites Kat Robichaud, ANML, Sioux City Kid, The She’s, Emily Afton, Abbot Kinney, Travis Hayes, Kendra McKinley, Van Goat, and Diana Gameros.

Read more about Piper


Catherine Vericolli – Co-Director SoundGirls

Catherine Vericolli is a recording and archival engineer, and an outspoken analog purist. She opened Fivethirteen Recording Studios in Phoenix, AZ in 2005, where for nearly fifteen years she’s dedicated herself to keeping the traditional analog recording process alive in the desert. Her studio hosts national touring bands, guest engineers, and film scoring projects, in addition to providing a high-end recording experience for the many local bands that call Arizona home. Now, Catherine specializes in production, studio management, machine maintenance, and analog transfers. Splitting time between Nashville, TN, and Phoenix, she’s also the transfer and project manager for Useful Industries, Archiving and Restoration. She can be found traveling the country speaking on panels about audio, writing for industry publications, and educating the next generation of audio engineers. Catherine is also active in advocacy for women in audio, and she serves on the board of SoundGirls.org.

www.513recording.com

Read more about Catherine


 

SoundGirls Mentoring Post-Production/ Film & TV

If you have questions about how to navigate your career in Post-Production and Film & TV, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change

Katy Wood is a freelance sound supervisor and sound editor originally from New Zealand. Her career in sound for film and television has spanned the last 23 years and four countries. She has worked extensively in the United States, New Zealand,
Australia, and the United Kingdom.

Katy has covered all aspects of sound production and post-production on projects ranging from large feature films, such as The Lord of the Rings trilogy, American Sniper, Guardians of the Galaxy Vol 2, Creed II, and Ant-Man and the Wasp to compelling documentaries like Disarm, Girl Rising and No Dress Code Required. She has a Masters Degree in Film and Television Specializing in Sound from the Australian Film Television and Radio School. In addition, Katy has taught courses on sound post-production in Australia, Mexico, and Chile.

Shannon Deane is a Los Angeles-based audio engineer, specializing in sound design/editing/mixing for film, TV, web content and more.​ Originally from Austin, TX, she attended The University of Texas, where she received her Bachelor’s degree in Radio-Television-Film with a concentration in Audio Production. More than 15 years experience in audio post-production, and 20 years experience in music performance, recording, and composition.  

April Tucker: April is a Los Angeles-based re-recording mixer and sound editor who works in television, film and new media. April is a SoundGirls Representative to EIMPA and blogs at her website Pro Audio Girl

 


Leslie Gaston Bird: Leslie owns a post-production company (Mix Messiah Productions), serves the Audio Engineering Society as Vice President of the Western Region, and was an Associate Professor at the University of Colorado Denver until 2018. She currently resides in Brighton, England with her husband and two children.


More Mentors TBA

SoundGirls Mentoring Manufacturing and Sales

If you have questions about how to navigate your career in Pro Audio Manufacturing and Sales, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change


Dawn Birr Pro Audio, Channel Development, and Business Analysis for Sennheiser

Dawn began her career in the audio industry in 2000, joining Sennheiser fresh out of college.  She started as a temporary receptionist and began to learn her way around and through the company. Shortly afterward she moved into Customer Service and began learning how the customers and company worked.  Thanks to a nurturing company culture and strong role models who encouraged her to learn as much as possible whenever possible, Dawn was promoted over the years to Neumann Product Manager, Professional RF Product Manager, VP of Sales for U.S. Installed Sound, Global Commercial Manager for Audio Recording, Channel Manager for the Americas for Sennheiser Business Solutions and most recently to a global position for Pro Audio, Channel Development and Business Analysis.  Dawn completed her MBA in 2006 and is a proud Advisory Board Member for the Women’s International Music Network and member of Soundgirls.org.


sara-coversdolliesimg_1024 Sara Elliot COO and Co-Founder of VUE Audiotechnik

With more than 20 years of experience in professional audio, Sara has held strategic marketing and operational positions with numerous sound production companies including Burns Audio, A-1 Audio, and PRG.
Sara also served as Director of Marketing and Sales for Live Sound International Magazine and ProSoundweb.com, two of the industry’s most respected news and technical information sources. Sara brings to VUE Audiotechnik a wealth of industry relationships and a deep understanding of business operations.


Samantha Pink – Colleagues call me Samantha. Family and friends call me Sam. My personal favorite though is Mom. I’d say that I am a happy combination of all three. If I were able to meet my adolescent self, I would encourage her to pay attention to the wise advice of her grandmother, mother, and aunts. Listen to your inner voice and trust your instincts!

I have worked in the MI/Audio industry for 19 years, gaining experience in Purchasing, Inventory Management and Operations. Currently, I am the Director of Business Operations at JAM Industries USA. I love helping teams find solutions to problems, improving customer satisfaction and finding ways to increase profitability. I have also held positions at Full Compass Systems as Vice President of Purchasing, and The Music People as Director of Operations.

Becki Barabas At 20 years old, Becki turned her passion for music into a career in audio, with a job managing the office
at Score One Recording. She has since worked in MI, Tour Sound, and with Integrators and Audio Rep firms, doing everything from Sales to Marketing.
She has held many positions since coming to HARMAN 10 years ago. She started the HARMAN Professional Ambassador and Influencers Program in 2016, signing such names as Chuck D, Parliament-Funkadelic and Black Rebel Motor Cycle Club. She is currently Managing Business Development for
Recording and Tour.


Erika Earl has been working in the professional audio industry for over 15 years. She has worked as the Director of Hardware Engineering at Slate Digital and has held key positions in the audio industry: Chief Tech at The Village Studios, working in live sound, and quality control and repair for leading audio manufacturers including Drawmer, Focusrite, Tube-Tech, and Daking.


EveAnna Manley began her career in audio manufacturing over 30 years ago when she was hired onto the assembly line building printed circuit boards and wiring up vacuum tube amplifiers. Fast-forward 30 years later, her own company Manley Laboratories, Inc. has dominated the high end niche recording markets around the world with legendary vacuum tube processors such as the Manley Variable Mu Stereo Limiter Compressor, Massive Passive Stereo EQ, and the VOXBOX. EveAnna has endured over the decades pushing technology and fresh engineering concepts in her products backed by a culture of integrity she has fostered in her company.

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