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Staying Tough & Moving Sideways

If we are lucky, both our careers and ourselves will change and grow for the better. Life has a funny way of evolving and taking us on a different path than we might have ever expected. When I reflect on the dreams I had as a teenager, for example, there have been some that were smashed and excitedly crossed off the bucket list, and others that teenage me could never have foreseen from a reminiscent time of analogue study and scoring notation by pencil.

Working in most industries, but particularly music comes with its share of setbacks and rejection as par for the course, and we learn early on to be thick-skinned and roll with the punches. Some years I’ve been fulfilling my teenage and adult dreams, whilst others I’ve felt like I have been starring in a low-budget female remake of ‘Withnail & I.’ Jobs, people and projects come and go naturally, and stagnation is a dirty word. But what do we do when making a change feels like it’s out of our hands, and has been forced upon us?

 

Through a very dark, frustrating and seemingly endless limbo period of fruitless auditions and interviews following illness, injury and the subsequent closure of my business, I lacked an obvious answer to the question of what to do next. During this time, I was aware of a steady stream of media that kept bombarding me online, on TV and radio about Rick Allen, drummer of Def Leppard. Here was a man who overcame the most unthinkable adversity losing his left arm in an accident aged just 21, who personified the qualities of strength, adaptability and creativity to find a solution and continue working as a drummer in a mere matter of weeks following his hospital release, and become even more successful in the years that followed.

We can gain both perspective and a reminder that things are not as hopeless as they seem when we look at the success stories of inspirational people such as Allen and can resolve to model the qualities they possess in attitude and action.

Aristotle’s Golden Mean is a theory relating to character and discipline of the mind that highlights a need for balance in whatever we strive for. We all have needs to be met as individuals that will be relative to each of us. Aristotle proposed that equilibrium in our actions and reactions was the path to virtue and that this is found on a sliding scale between two vices, e.g., between cowardice and foolhardiness. Similarly, ‘The Middle Way’ is a Buddhist practice of ‘non-extremism that leads to liberation,’ an ideal of ‘bravely confronting life’s challenges by identifying the root causes and seeking means of resolution while summoning the transformative strength and wisdom of Buddhahood from within one’s life to create harmony.’ Put very simply; these ideals remind us of the importance of knowing when to yield and when to take action, learning to accept the things we cannot change and change the things we cannot accept.

They say that necessity is the mother of invention, and so it’s up to us to find comfort and a Plan B that feels right, and sometimes we must move sideways to move forward. In reality, then, we must embrace change in whatever form when it befalls us, and look at what existing skills we have that can be improved, honed and adapted to work for our futures.

Often a different area of expertise is not a million miles away, however much it may feel so whilst in the midst of watching a previous life crumble. The difficulty can be figuring out exactly what we do next, as we embark on the uncertain tightrope of virtuous equilibrium, shakily imitating the monks, great minds and super-humans who’ve gone before us.

Business gurus and industry experts are unanimous that research/asking for guidance is one of the most important parts of building anew. Had Rick Allen not asked for help from his friend involved with an electronics business, his bespoke adapted drum kit may never have come into being, and the story may have been a very different one. Chances are, there’s a plethora of friends, colleagues, and acquaintances from previous work that are an untapped potential of alliances sitting in your smartphone right now.  Set up that meeting to pick their brains over coffee, start shadowing and get informed – this is as useful for finding what doesn’t work as much as what does, and often chatting through ideas and experiences will be invaluable to planning your next move.

The second point of monophony from experts is that great things sometimes take time. There’s no shame in taking a break to work behind the scenes making things happen, whether that be retraining or attaining the funds and proficiency to set up a new business model. Nobody wants to launch a sub-standard product or service, so the cliché of building on a solid foundation rings true, and the world can wait until all the kinks have been ironed out, and the new venture is a strong one.

Ultimately, the only thing we can control in life our thoughts, so it is important to take inspiration and learn from those who have examined the parameters of happiness and our human potential. Unexpected changes are inevitable for us all at some point. With a hopeful mindset, a balanced attitude and the determination to work towards a clear, well-planned goal, alchemy can and does happen.

 

 

 

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

February Feature Profile

https://soundgirls.org/shannon-deane-post-production-engineer-and-stunt-car-driver/


The Blogs

Pitch Perfect

Interview with Engineer & Producer Missy Thangs

Bitch Boss vs Boss Bitch

Internet Round-Up


The Grammys Celebrated Women. So, What’s Next?

A day in the life of Emily Lazar, Grammy-winning mastering engineer

We Need Women To Break Through The Glass Ceiling In Music Production To EQ The Gender Imbalance

Cinema Audio Society Elects Karol Urban As President


SoundGirls Jett Galindo and April Tucker interviewed about SoundGirls and The Recording Academy’s Diversity and Inclusion Initiative.

“Part of what Sound Girls is trying to do is just show that, ‘Hey there’s other women out here doing what we’re doing. We exist and we’re doing the job well,’” Tucker said.

“It’s a matter of representation,” Jett Galindo said. “Just seeing themselves on these websites, on the Academy Awards, on the Grammys, succeeding…it reminds them that it’s doable.”


SoundGirls News

https://soundgirls.org/event/bay-area-chapter-1st-mondays-meetings/?instance_id=1451

https://soundgirls.org/event/pittsburgh-soundgirls-at-calu/?instance_id=1463

The Studio Side – An Evening with Bob Horn

Viva La Muxer – SoundGirls Volunteers

SoundGirls and SoundGym

Music Expo – Miami – Representation on Panels –

Austin One World Theater – Demo & Tour

SoundGirls Launches Initiative for Members Working in Production Sound


Shadowing/Mentoring/Internship Opportunities


https://soundgirls.org/shadow-foh-ld-on-amanda-palmer-tour/

Shadow TM Erika Duffee – Canada

https://soundgirls.org/soundgirls-mentoring/


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

Bitch Boss vs Boss Bitch

Bitch Boss

The first time I was responsible for a big project, I messed up. Big time. I was tired and working two full-time jobs. The crew were volunteers; it was film school. I was a graduate supporting the production as a producer, production manager, catering, transportation, landlord, and a million other things. There was a lot of pressure to make it work. I completely lost it with the cast & crew one day when the mother of a child actor found a fresh roach (not the bug common to Florida) on set. Things were very tense after that, and no one had a positive experience on that shoot. I learned the hard way how to handle situations on set, but the damage was done.

Being called a bitch is hard. I’ve been called that name many times by my mother, by crew members, by supervisors, students, boyfriends, etc. Notable versions include: “stupid white bitch” and “low key bitch,” the latter is still a joke at work. It’s a default (read: lazy) response when a woman behaves in a way that makes someone else uncomfortable.

Self-reflection has led me to better understand my reactions and behavior. Was I making the other person uncomfortable purposefully? Was that comment snarky or rude? Yes, that person might have been a raging dick, but does that mean I need to match that behavior to make a point? The answer is no. Sometimes we lose our cool, I have been there, I will probably be there again. I’m a redhead; I’m feisty, I’m not nice. Does that make me a good supervisor? Absolutely not. We all need to be held accountable for our behavior, especially on the job. We are all pieces of a puzzle; we work together to make a bigger picture. There is not a situation where it is acceptable to be demeaning, patronizing, or harmful to another person. That’s not who we are, and it’s not what we would allow others to behave toward us.

“All people should be treated equitably and respectfully, regardless of their various identities. No matter how acclaimed, revered, or supported one’s art or one’s level of authority is, no one is above being held accountable.” -We Have Voice Collective 

Boss Bitch

I look up to women who take no shit with grace. Confidence and respect are key. A Boss Bitch is confident, respectful, and assertive. This is the crucial difference between bitch boss and boss bitch: respecting others. We do not need to put others down to reach our ambitions. Remember there is a difference between being nice and being respectful. I’m not suggesting that we need to be nice to not be called names. Respect and positivity are the paths to success, empowering yourself and those around you. Easier said than done. This is my personal struggle every day, the choice to use my voice for positivity, to have a goal to be better. As an educator, I strive to be a role model for my students, to show them rather than just tell them what’s right or wrong.

Some people find confident, independent women intimidating. Good. Often women in male-dominated industries have to work harder to get to the same place as their counterparts. Many of my friends are Boss Bitches. They worked hard in their education and career, and they have confidence that I envy.  Their career satisfaction is based on their achievements, not the perception of others.

“Bitch is a derogatory term; we shouldn’t use it at all.” Of course, it is, of course, it is inappropriate. I’m not suggesting that it is acceptable to refer to anyone in such a way. Bullies who patronize and demean others are out there; we may be guilty of it ourselves at times. Feelings of positivity and community are not often part of our industry, as we always seem to be competing against each other. This is detrimental to us as workers, as teammates, and as humans. It’s our responsibility as role models, leaders, educators, to be the better person. To demonstrate how we expect others to behave on the job. We can be tough, knowledgeable, experienced, snarky, and still be great leaders.

“It appears that where #BitchBoss is clearly an indication of frustration #BossBitch is a term of endearment. Isn’t language fun?

It’s like racquetball! For your mouth!” – Chris Traeger, Parks and Recreation

 

Interview with Engineer & Producer Missy Thangs

Missy Thangs is an engineer, producer, songwriter, and keyboardist based in Raleigh, North Carolina. Thangs is currently a house engineer and producer at The Fidelitorium, an amazing and unique studio (complete with guest house!) located in Kernersville, NC, about 90 miles west of Raleigh. Throughout her career, Missy has had the opportunity to work with bands like The Avett Brothers, Ex Hex, Ian McLagan (Small Faces), The Tills, Las Rosas, and Skemäta. Thangs has been a prominent member of the Raleigh, Durham, and Chapel Hill (aka The Triangle) music community since the early 2000s, having performed with The Love Language, Toddlers, No One Mind, and Birds of Avalon. Missy has helped shape the sound coming out of the region not only through her songwriting and musicianship abilities but also from the sound she has crafted in production roles.

What first opened you up to the idea of becoming a recording engineer?

I grew up around pop music; my dad is a pop music freak. He had thousands of CDs and records and was way into MTV when it first came out. There was always music on, and my dad’s happiness was sort of funneled through music, so it was such a part of growing up. He was my informer. He was playing everything from Weird Al Yankovic, to DEVO, to Bowie, to Melissa Etheridge — non-discriminating. If it was a good song, had a good melody, and sounded good, he was all about it, and I think I got a lot of that from him.

I think on a real deep psychological level I’m trying to recreate that feeling. Hearing and making sounds that are exciting and make you feel really good. Often those sounds are big and colorful or raw; those are the things that stand out in my memory. So, it wasn’t listening to music from the perspective of how it was recorded; it was more the way music made me feel that got me into the recording aspect of it.

I hadn’t considered recording as a career until I was in college. I was studying meteorology and French at UNC Asheville and looking for something more. I came across the Recording Arts Program, and I remember looking at the course catalog and feeling like it resonated with me. I was like, “What have I been doing?” I want to be in music, and I want to record music, and so I just jumped into that program.

What was your program like at school at that time? Were you learning ProTools at all?

The program was really small; I was the only woman in my graduating class of 25. We started out on an old Tascam 24-track tape machine and an ADAT machine; then we got the first ProTools in maybe 2000 or 2001, which was the start of working on DAWs for me. As soon as we got ProTools, I was like, “Great!” I didn’t use tape or ADAT at all after that. I instantly felt familiar with and comfortable on the computer.

At that point, had you recorded at all as a musician in the studio, or did you just dive in once you started school?

No, it wasn’t until after I was in the program that I started meeting a lot of other musicians. I started playing in a band called Piedmont Charisma, and that was when I had my first recording experience as a musician. We recorded at a super small space in downtown Asheville. It wasn’t around for very much longer after we recorded there. This was before Echo Mountain was in town and there wasn’t much in terms of recording studios. In school we went to a CD processing plant, we got to visit Bob Moog before he passed away, and we went to a voice-over recording studio, but I hadn’t seen a real sexy recording environment ever, and I was like, “What am I going to do?”

It makes sense that you decided to pursue music for a while if you didn’t quite have the resources to jump into something immediately.

That’s right. I was self-taught in recording up until college, and I didn’t have a really strong relationship with any of my professors, so I was kind of on my own, trying to figure out how to get good sounds and how to run a session. I had some friends and colleagues I had made along the way to bounce ideas off of, but I wish I had sought a mentor or someone to talk to. The idea never really crossed my mind.

You moved to the Triangle after school and gradually started playing in more and more bands, and as your career took off, you had the opportunity to record in bigger studios. Was there anything that you took away from your time as a musician in the studio at that time that you think about now when you’re engineering?

Definitely. My abilities to empathize with how the musicians feel and how to anticipate their needs are tuned in, and I think that is everything. For example, I can understand the feeling of having a bad headphone mix, an inner-band conflict, or not being able to get the right take. My past experiences inform the way I handle all those things.

I think it’s so important to be a recording engineer and also be on the other side of the glass. Sometimes you forget what it’s like to get that nervous feeling while in the band; everyone’s staring at you from the other room, waiting for you to get the right take. It’s a good reminder of how to be while you’re leading a session and how to treat the people you’re working with.

Making a record with people is such a vulnerable experience. It’s so essential for the vibe to be dialed in and everyone to be as close to the same page as possible.

Yeah, everything about this job is about people and vibe. When you are working with a group of people or one artist you are constantly picking up cues on their mood and working with that information and trying to get the best out of them. That’s so much of our job! From bringing people a cup of tea or telling everybody to take a break. There’s a lot going on behind the scenes, but the musicians don’t need to know that; it’s not what they’re there for.

You work with a lot of bands at the Fidelitorium doing live-tracking sessions, do you think this is due to your experience of the music you listened to growing up or the bands you’ve played in, is it the nature of the studio, or a combination?

The community that I live in and play in is so intermingled. Everyone is in everyone else’s bands and supports each other, and a lot of people in this community are just here playing music because it’s our lives and it’s what we want to do. My network has sort of facilitated my sound in a way. A lot of people that I’m working with I know personally, and we’ve only got three days, and it’s a five-piece band, and they have a small budget, so we have to make it work. What’s happened as a result of it is that I’ve sort of cultivated this sound for fast-moving sessions. It’s like; you’ve got to track live because we don’t have time to do it any other way!

Then again, the studio does play into that because The Fidelitorium has a large, wonderful sounding room and you can get easily full band in there. There are also a ton of opportunities for isolation so you can get everybody in the space comfortably. It allows me to work quickly when I need to.

What’s happening to me is that my friends, or friends of friends, are hearing a record I did and are reaching out and saying, “Hey I like what you did with this band, we want that sound.” And the way I got that sound was with a quick turnaround live-tracking session. I’ve dabbled in lots of different genres and recording styles, but that’s sort of what I’m doing right now.

It seems like work has been consistently finding you then, which is a positive thing! Do you ever find yourself having to look for work or grow your network in that way? What is that process like for you?

I’m pretty shy; it’s really a lot of word of mouth. There have been one or two bands that I’ve gone up to and been like, “I want to record your band!” But, word of mouth is really everything. A lot of my clients come to me because they’ve heard really great things about other friends’ experiences, and their friends come to me and take a chance with me. It’s really humbling, and a lot of times I can’t believe it. I’ve been really lucky so far, at some point I think I’m going to have to step out of my comfort zone and figure out how to reach new people!

You are now a house engineer at the Fidelitorium, owned by musician and engineer Mitch Easter (REM, Game Theory, Let’s Active). Are you alone a lot in the studio or do you have opportunities where you’re learning directly from Mitch?     

Mitch has been my one true mentor. He took me in when I was really down on the industry and taught me what he knows and let me go. I go to him often with questions, and he usually Mr. Miyagi’s me, but every once in a while he offers me some direct advice. I want him to tell me all his deepest mixing secrets, but he’s like, “Who cares? Do your thing!”

I like that idea a lot. I read another article with you where you mention something along the lines of, “the bolder the color, the bolder stroke, the better… there’s no rule in the book.” Can you talk about how this philosophy informs your approach in the studio?

I’m always game for chance or making decisions based on how I feel, versus what’s technically correct. I try not to overthink things, and I’m not afraid to mess up. I think that’s the foundation of where I sit. Being fearless. I want to turn a head. I want people to hear the music from these bands I’m working with and be like “WHAT is that?!” And I think part of that is making bold sounds and being dangerous. It’s not always easy to do, but that’s what I’m striving for.

What should we be paying attention to that you’ve just finished working on? What are your goals for the year?

Well, my main goal for this year is to get back into the studio after having a baby!

A pretty big deal, haha.

I’ve got a lot of cool projects on the horizon! There’s a really talented woman named Reese McHenry I’ve been working with; her record will be out in April. I’ve also been working with this band called Pie Face Girls for a few years that are getting ready to return to the studio to finish a record. And another band I’m going to be recording in May. I’m really excited about – just stay tuned for that, haha.

I’ve worked with many groups with all guys over the years, and I’m finally working with more and more women, and I love it; it’s a nice change of pace. I love everybody I’ve worked with, and I try not to think about it either way, but I have noticed this year that I’m working with more women in the studio and it’s been a really good corner to turn!

What advice do you have for any new or up-and-coming engineers?

Get out there, play in bands, go to shows, and immerse yourself in your musical community! Collect as much gear as you can. Get inside of getting sounds, being experimental, and not being afraid to mess up. Hit up your friends and start asking to record people. I feel like that’s basic knowledge, but it’s an important reminder!

Connect with Missy:

 

Pitch Perfect

Using Pitch Shifter in Your Mix

If you’re looking to enhance your mix or simply just want to experiment with some effects, pitch shifter is a great place to start. The effect has been used for many years in dance music although it is slowly creeping into some major pop songs as well.

If you’re new to plugins and effects, a pitch shifter simply does what it says on the tin – it will raise or lower the pitch of your audio signal.

So why might this be of interest to your mix or project?

Well, I believe it can be a simple way to add depth and development to any style of music you’re creating.

The first technique is to add a pitch shifter effect under a main vocal. This can be quite effective for a second verse in a song as it allows the track to develop. This can be done by duplicating the vocal and adding the pitch shifter to this track and then adjusting the effect to the setting you prefer.

If you want to add more bass to a track, this is an excellent way of doing just that. By pitch-shifting the vocals down and playing around with the volume and panning, you can get quite a nice bass sound without doing very much at all.

You can also add pitch shifter to your instrument track. This is a great way of experimenting around with your instrument in a mix and who knows you might find the perfect sound that blends well with the music you’re creating!

You can chop and change this effect to benefit your mix in whatever way you find necessary. The great thing about pitch shifter is it is an easy way to change the sound of a track without really putting in much effort. So, if you’re looking for a way to spruce up a mix you have lying about perhaps add in a pitch shifter to a few of the tracks.

 

 

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

February Feature Profile

https://soundgirls.org/shannon-deane-post-production-engineer-and-stunt-car-driver/


The Blogs

Editing SoundGirls into Wikipedia

Knowing your Limitations

Persistence is Key

Internet Round-Up


The Grammys Celebrated Women. So, What’s Next?

A day in the life of Emily Lazar, Grammy-winning mastering engineer

We Need Women To Break Through The Glass Ceiling In Music Production To EQ The Gender Imbalance

Cinema Audio Society Elects Karol Urban As President


SoundGirls Jett Galindo and April Tucker interviewed about SoundGirls and The Recording Academy’s Diversity and Inclusion Initiative.

“Part of what Sound Girls is trying to do is just show that, ‘Hey there’s other women out here doing what we’re doing. We exist and we’re doing the job well,’” Tucker said.

“It’s a matter of representation,” Jett Galindo said. “Just seeing themselves on these websites, on the Academy Awards, on the Grammys, succeeding…it reminds them that it’s doable.”


SoundGirls News

https://soundgirls.org/event/orlando-soundgirls-social-5/?instance_id=1457

https://soundgirls.org/event/melbourne-soundgirls-meet-and-greet-beth-oleary/?instance_id=1462

https://soundgirls.org/event/houston-soundgirls-social/?instance_id=1459

https://soundgirls.org/event/bay-area-chapter-1st-mondays-meetings/?instance_id=1451

https://soundgirls.org/event/pittsburgh-soundgirls-at-calu/?instance_id=1463

The Studio Side – An Evening with Bob Horn

Viva La Muxer – SoundGirls Volunteers

SoundGirls and SoundGym

Music Expo – Miami – Representation on Panels –

Austin One World Theater – Demo & Tour

SoundGirls Launches Initiative for Members Working in Production Sound


Shadowing/Mentoring/Internship Opportunities


https://soundgirls.org/shadow-foh-ld-on-amanda-palmer-tour/

Shadow TM Erika Duffee – Canada

https://soundgirls.org/soundgirls-mentoring/


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

Persistence is Key

“People can tell you no, but it’s up to you whether you listen to them.”

One subject few people talk about is the immediate situation after leaving university, especially for those who want to work in media. Yes, it is excellent if you get a place on a Graduate Scheme straight away in a large London based company, but this option is not for everyone (believe me, I’ve tried). You can’t force yourself into a job you don’t want to do. But what if you don’t know what you want to do? I took inspiration from Radio 1 DJ Annie Mac, who I saw speaking at Teignmouth Pavilions in May 2016 as part of BBC Radio 1’s Academy. She decided to list the three most important things to her to help her decide future job prospects. For her it was: Music, Friends and Creativity. (Hence her successful radio career and additional music projects). Mine are:

  1. Languages
  2. Travel
  3. Media

They can be vague; they can be specific, as long as it gets you thinking!

One of my New Year’s Resolutions was to only apply for jobs I want not to waste my time. But which advice should you follow? You don’t want to seem too desperate. Do more applications to the same company equate to more chance of being noticed? Below I have screenshotted all of my unsuccessful BBC applications (not sure I should be highlighting this!), but it shows my dedication and persistence. Maybe it’s not meant to be. Maybe I haven’t figured out the system yet. Maybe I should start looking elsewhere. It is essential to learn from each rejection. Every problem/rejection/failure is an opportunity. I have some friends who keep a “rejection” folder on their desktop. I don’t (it would take up too much space/memory lol). I choose to move on, forget about it and find an alternative opportunity or make a note to apply again in the future, or apply to a different department or location.

There is conflicting advice about application forms. Some say quantity over quality, apply for as much as possible. Others will suggest spending time on making one perfect application. There are pros and cons to both. Find out which method you prefer. I always look for short application forms, a quick CV upload or a click on LinkedIn. It can get tiring when you hear nothing back for months. But something will stick. I was given this advice from a career mentor at the University of Exeter who had previous work experience at the BBC and YouTube.

I also somewhat believe that everything happens for a reason in some cases. One opportunity can lead to another. For example, during a week of CBBC TV Drama work experience, I was advised to join the Facebook page: ‘People looking for work in TV: Runners’. I applied for many opportunities on this page, one of which is a European placement in a creative industry. It was a job that would involve languages, travel, and media. Was it luck that I found it? Would I have found it anyway? I’ll never know.

Another important aspect of finding the perfect media job is networking. Whether that be via email and LinkedIn or in real life. I keep a handwritten book of contact details of people who have interviewed me, employers I’ve met at events, graduates I’ve spoken to at Careers Fairs and professionals I’ve been in touch with through mentoring programmes.

One piece of advice I have kept with me is: “BE GOOD AT EMAILS.” I was told this by Tim Johns (BBC Radio 2 Producer) at the Student Radio Association Conference (SRACon) in April 2015. At first, I didn’t understand how you could be bad at emails, but this simple but practical and essential advice has led to opportunities such as interviewing artists and authors and working live music events.

Potential tips for good emails

I follow inspirational CEOs in various creative industries, from Steven Bartlett (Social Chain) to Zoe Sugg (Zoella). Whoever inspires you, it could be in an unrelated industry; it could be a cheesy Instagram account, it could be a friend – whoever it is, continue to be inspired by their online work.

 

It seems that millennials are reclaiming the word “hustle.” It’s not a word I had used before but have found myself saying it more recently when explaining stories of job applications. Especially in media and freelance work, the word “hustle” is great to explain the process of finding a job.

I also think it is important to realise that some (not so great) short-term jobs do provide key skills that could be needed in the future. It’s hard to imagine, but many successful people look back at catering jobs, bar work and retail positions as the most important work they did in terms of learning, social skills, time management, and HARD WORK.

WHERE ELSE TO FIND ME:

Making a Case For Audio School

Why I Think It’s a Good Idea.

It’s the time of year for application deadlines and acceptance letters. I have noticed a lot of discussions lately about whether it is worthwhile to enroll in school for audio engineering.

Institutionalized education can be a great way for many people to learn and while there are many audio schools to choose from, it can be overwhelming to figure out which one may be right for you. These are my unendorsed opinions on why I think you can benefit from an education in audio engineering.

Schools tend to publish their graduate job percentages as a tool to gain prospective students’ interest.  Follow some easy tips that may help you to look beyond those numbers and find out what a good audio school can really offer you.

Facilities:

A good audio school can help connect students with current and widely used technology. They will offer hands-on training in the most common DAWs (digital audio workstations) and other software, mixing consoles, outboard gear, microphones – you name it. Look for a school that provides use of and education in the most current versions of these tools.

Curriculum:

It could be argued that you can learn the same, if not more, from independent sources than simply from attending post secondary school. If you consider yourself highly motivated there is a plethora of information available online for learning new skills, refresher courses and tools to advance beyond ‘beginner’. However, what a good audio program can provide is a curriculum specifically designed to help you understand both the technical and the professional intricacies of a career in audio.  Some programs may be more specific than others (ie: music production vs. audio post) and If you are unsure of where exactly your interests lie within the audio industry, look for a program that offers a broad curriculum. Gaining knowledge over many subjects will help you find the one that you are most passionate about.

Internships:

Internships are arguably the best way for a less experienced person to find their way into the industry. Most of the time, these internships are unpaid, though recently there has been legislation put in place to oppose unpaid internships. One workaround for businesses to utilize unpaid internships is if they are part of an educational curriculum. Therefore, finding a school that requires an internship as a part of their program may help a student get that foot in the door. Of course, there are some businesses that will offer an internship regardless of education and there are some that will even offer paid internships. Also, a program that requires a co-op or internship will often have aides in place to help support the student, prepare their resumes and even help them find and apply for a work placement so consider that to be a great bonus!

Staff:

The program professors have been selectively picked by the institution for their expertise and experience. Most often, those professors are still active in the industry outside of teaching. Opening a window to the industry is definitely a perk for students in audio school. Your professors will be able to share the most useful information to ensure student success after school. They may also offer connections to their own industry contacts, which can prove to be highly valuable when you are entering the workforce.

Networking:

Apart from your professors, there is another group of people who you will be able to add to your network connections:  your classmates! Making strong connections with your classmates is great while in school, but even more amazing when they become your peers in the industry. There is no telling what benefits will come from these relationships.

Not all schools are created equal. I hope this information gives you the tools to begin your search for the right audio program. There are many resources on the Soundgirls website to help you on this journey as well – whether you decide on institutionalized education or not.

School is not for everyone. Some people are successful at learning on their own, some are not financially able to afford post-secondary education. There are many successful folks in the industry without a degree or diploma in audio. Knowledge is key to working in the industry but so is your drive and attitude. If you want to succeed, be a good person, have a good work ethic and never stop learning


 

Knowing your Limitations

As we are still at the beginning of the new year, it is now we should look at those new year’s resolutions that we made, our dreams that we want to become real and the goals we would like to achieve.

It is the time to evaluate what we need to get on with, to achieve our dreams and our goals. It is time to take a good hard look at yourself and your knowledge, time management, and work-life to see what can be improved.

Knowing your limitations is a good start for example; what is limiting your chances to achieve your goals? What does it take to get from point A to point B?

What do you lack to get to where you want to be?

Say you want to become the most celebrated pianist in the world, what does it take to get there? Take a look at your practising routine, are you putting in enough hours to become the greatest pianist in the world? Are you utilising your own time in the best way possible to be the most effective when practising? Are you already the greatest pianist in the world but no one knows it? Well perhaps then less time needs to be spent in front of the piano and more time in front of people networking.

This applies to any industry; if we want to improve we need to face the hard fact that we have limitations and flaws. We will always have weaknesses but that does not mean that we can not work on them and improve.

Give yourself some honest and constructive feedback, but do not talk down to yourself. Do not be upset with yourself because you are not getting something straight away. It is hard to admit your weaknesses to yourself, but we have to do it if we want to improve.

Do you know where point B is?

It is easier to follow a route if you know your destination. It is easy to get sidetracked if you do not have a north star to guide you and to keep you motivated. Want to work on a big festival stage? Absolutely, but maybe that big festival is point C.

So you start working at your local one-day festival. You can not get to point C if you have not been going through point A and B first.

The ability to achieve something is only limited by a lack of knowledge. You need to study to improve your understanding, but then you need to put that study into practice.

There is only so much you can learn in a safe and comfortable environment. You have to put yourself outside your comfort zone to improve and to learn from real life experiences. It is so important to be able to work under pressure and to find opportunities to fine-tune your skills.

As well as knowing your limitations, you will need to learn and respect your strengths. For some, not acknowledging your strengths is a weakness. You have got to be confident in your knowledge, you have to tell yourself ‘You know what, this is what I am good at’ and use that to your advantage and balance it out with your weaknesses.

If you struggle to see your weaknesses and strengths then ask a good friend; what are my strengths? In what areas do I need to improve? Be open to feedback from others as they see you in a different light than you do. Being open to critique can be incredibly difficult for some, but it will help you to be able to improve your skills.

Now is the perfect time to sit down and write it all down. Aim high but be realistic, some goals might not happen this year, but that does not mean it will not happen in the future. However, getting to know your limitations will put you on the right path towards your dreams and goals.

 

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