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Aline Bruijns, M.P.S.E 

 

Aline Bruijns, M.P.S.E, works in Audio Post Production, specializing in sound effects and foley editing, and as a sound designer and re-recording mixer.  Aline has been working in audio since 2007 and owns her own company called AudioRally Sounddesign in the Netherlands.

Early Life

When did you discover audio as a career path?

I knew very early on, at age 16 that I wanted to do something in audio but my interest was first in music. I was in a band and was asked to help out other bands which I really enjoyed so I first thought I wanted to become a music producer. At the time there weren’t really studies (that I found) that would be suitable for helping me in that direction so I went to the Conservatory Enschede studying jazz vocals instead to really learn musical language and to be able to collaborate with many musicians. During that study, I bought a Pro Tools license and a computer and started learning Pro Tools to do some recordings in my bedroom. I enjoyed that very much so I wanted to pursue a studio career, so I continued studying at the HKU (High School of the Arts, Utrecht) in the direction of music & technology. However, due to subsidies from the government at that time, I couldn’t pursue my main study in music and I was only able to apply a study in the sound design direction with music on the side. That got me introduced to sound design and I was hooked!!!

How did you get interested in audio? 

At my house growing up there was always music. My parents are both music lovers and photographers and have their own company (still!) in photography and video. So I grew up with technique available and music all around.

Educational Background

Did you attend a University/College/Trade School? 

I went to 2 colleges, The Conservatory Enschede for Jazz Vocals and the Music and Technology  Department of the School of the Arts Utrecht (HKU) in the direction of sound design  Graduating with a Bachelor’s in Jazz Vocals (got a 9, scale goes to 10) and a Master degree in Sound Design for the HKU.

Musical Background

My mother is an excellent accordionist and my father is a big music lover of all sorts of genres  (jazz, rock, folk, classical, etc.) My brother played bass in a rock band and after having piano, saxophone, and guitar lessons I bought an electric guitar and started a rock band where I sang and played guitar.

Career Start

How did you get your start? 

I was lucky to do 2 internships during my 3rd year at the HKU which gave me a good sight of the actual workfield in the Netherlands. After graduating from HKU I founded AudioRally  (together with a befriended composer friend from the HKU) and we were able to work together with many people we met during our time at the HKU.

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

It introduced the career side of sound design. Learning how to deal with clients (even just watching other people have conversations about a project), learning how to deal with time and schedules, and also being able to use larger mixing stages for re-recording mixing. Learning why certain choices are made and why some designs work and some don’t.

What did you learn interning or on your early gigs? 

That you have to work very hard and if you make mistakes you fix them. And I also learned to stay myself in character but work hard and be punctual and precise. And also how much time do jobs need? I struggled with it in the beginning because I learned how to be creative but the business side of it all was still something I found tough.

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

My mentor was my teacher Bart Jilesen on the HKU. Also, the people from the audio post-production company Metasound (now Cinemeta) were and still are lovely and let me use a lot of their facilities to help me with projects.

Career Now

What is a typical day like? 

I start up with coffee (def need coffee!!!) and then walk up my stairs to my studio after my kids are off to school and the dog has been walked. My studio is in my house which I love especially with my kids. Then I will start up whatever project I’m working on which divers from an audio tour for the Van Gogh museum, to foley editing of sound effects for a TV series or feature film, or sound design for a project that is about project mapping in a huge venue.

Also If I’m not on a paid job I’m trying to learn new stuff, record sounds or I’m busy working on a podcast about sound in the Netherlands called “Klankmakers” (Soundmakers) which I do together with befriended sound designer Lennart Kleinen. Or I’m doing stuff for the VCA, which is the Dutch Film & TV Audio Society where I’m on the board, or the SoundGirls Netherlands Chapter which I co-run.

How do you stay organized and focused? 

I make sure that I have a clear overview of what I need to do per day in terms of minutes of work for a project. Sometimes that’s easy due to knowing the length of a project (TV series or feature film) and sometimes that can be a hassle especially when there are a lot of feedback rounds and adjustments needed due to the creation of sound and images. But I try and keep an overview in my Pro Tools project or my agenda to make sure that I will make the deadline. I work best when I have a certain deadline in mind to keep me going and keep me focussed, but when you see my studio it can be a chaotic mess haha, but I like to call it that I have ideas lying around.

What do you enjoy the most about your job? 

The diversity. Because I work in so many different areas, it’s great because I have to use different tools and different approaches and get to work with different people. I like that every project needs its own soundtrack, and its own audible story, so it never gets dull for me.

What do you like least? 

Administration, people who aren’t team players and equipment not operating and taking so much time to try to fix…

What is your favorite day off activity? 

I walk my dog, do stuff with my kids & husband, get inspired by other arts, and go to concerts or a movie theater. I hope to be able to make music again in the future but due to lack of time, that’s not possible at the moment.

What are your long-term goals?

I hope I’m able to keep doing this work, be creative, and work with other talented people to create something that brings joy or can educate people.

Building a studio next to my house in the future is also on my wish list. A place where I can design, record, and mix. And where I can work with whatever is going on in the neighborhood would be such a dream.

In terms of projects, I hope I can continue working on project mapping projects or do sound design for amusement parks. It is such a great medium and has so much potential to create immersive sound design. I did the sound design for an immersive museum called “Quake” in Lisbon, Portugal which is the Lisbon Earthquake Museum. That was a very challenging project but also great to work on! So I hope to be able to do more of these kinds of projects in the future.

A unique immersive journey through the history of Lisbon

I think as long as I’m able to elevate the story with my sound design or sound effects/foley editing I’m as happy as can be in whatever medium the story is being told in.

What if any obstacles or barriers have you faced? 

Since there were almost no women in audio post-production when I started out in the  Netherlands (I was the first woman in both intern locations) I heard so many times “Oh wow a woman, I have never worked with a woman” (luckily mostly happily surprised) but that was weird at first because I never had the idea that being a woman in the industry would be such a big deal to some. I was always supported by my parents and it never felt to me that I was chasing a career that would be weird to some. Nowadays there are more women around so it’s not that big a deal anymore and is starting to become normal. But that made me work harder because you also know that mistakes will be less forgiving and you won’t be forgotten for that.

How have you dealt with them? 

In terms of other people connecting with me or reactions to me being a woman in this industry:  Be professional, be kind but also don’t let someone walk over you (don’t lower yourself in case someone is rude), be a role model for others.

I never had a woman role model in the Netherlands and was so very grateful to find out about  SoundGirls and to meet other women in this great industry. As soon as I found out about the existence I started the Dutch Chapter of SoundGirls and now we have a great network of women,  trans people, and non-binary people working in Dutch music, audio, and post-production.  I’m also on the board of the Dutch Film & TV Audio Society (VCA) representing women in audio and making sure we are heard and trying to be a role model there.

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

Reach out to others (sign up to sound or other associations), learn stuff, know your strengths and weaknesses, always set your own boundaries and stay true to them, and keep yourself healthy:  mentally and physically. In this industry, it is so easy to be worn down, so we need to take care of ourselves while kicking ass.

And listen to the world around you. The more you use your ears the more you can get inspired.

Try to sit in a premix or ask for evaluations if you work for others so you learn how your work is helpful for others or if you need to change stuff when you work on a new project.

Must have skills? 

People skills, your network is everything.  If you’re a nice person to work with and work precisely and deliver, are good at collaborating with all sorts of departments is so important. Have a mutual respect and understanding of each other’s craft and try to make the best soundtrack possible with given circumstances. And know your strengths and weaknesses. Don’t be afraid to try out stuff, but don’t let it become your downfall on a project. And if something is not your thing don’t be afraid to say “no thank you” (and I know I’ve been there that you say yes to everything on your path because you don’t want to lose a client and try to get a foot between the door, but sometimes it’s better for yourself to say no to keep yourself sane. And people will respect you for that).

Favorite gear? 

I don’t really have favorite gear, but the ones I do want to mention:

My sound devices mix pre 6-II and my mics (LOM’s, Schoeps, Røde) so I can go out and record  sounds

My 5.1 PSI speakers, I love those speakers playing with sound in surround and hopefully will  upgrade to a Dolby Atmos in the somewhat near future.

And in terms of software, I try to keep challenging myself.  But I also try not to buy new tools all the time. I already need more time during the day to get to know the ones I have better. But I try to stay up to date with what’s happening in the industry although that’s challenging with being the sole person at my company.

If anyone wants to come on over to the Netherlands please reach out. Would love to meet you all!

Accepting Applications for SoundGirls Bloggers 2024

 

Blog for SoundGirls

Are you passionate about the industry, do you want to share your experience and knowledge with the SoundGirls Community?  Then you may want to become a blogger for SoundGirls in 2024.  Our bloggers volunteer for a year of blogging  and choose how often to submit blogs (once a month, every two months, or four blogs for the 2024 year)

If you are interested, please apply here

Things we are looking for in our bloggers

Although we are mainly looking for people who can write well, are organized, and are passionate.  All areas of audio & music are welcome to apply. We look forward to welcoming you to our community.

Industry Knowledge

Not only is understanding the industry from a concept/fundamental standpoint important but having real-life experiences is essential for any great blogger.  Having real-life experiences allows you to share those experiences, learn from those experiences, build relationships, and learn things that are not taught by reading a book.

Passionate

Great bloggers must be passionate about what they are writing about.  We believe if you are writing about things you are not interested or knowledgeable in, it will show in your writing and to your readers.  People who are passionate about a topic or industry find it much easier to write about things that others with similar interests would enjoy.  Long-term, you have to LOVE what you do.

Writing Background/Experience

Of course, if you have a writing background or you have acquired good writing skills through years of experience, it will help keep your blogs engaging and more enjoyable.  Using proper grammar, descriptive verbiage, and compelling headlines can keep readers engaged in your content longer.  We think overall if you are naturally a good writer, it will allow you to create high-quality content much easier and more efficiently.

Organized

A great blogger should be very well organized.  It will be important to plan and manage your writing schedules.  Like running your own business or planning your week for your full-time job, blogging should be no different.  Brainstorming blog ideas and creating a writing schedule all need to be organized to maximize your work schedule.

If you fly by the seat of your pants (as many people do) and are disorganized, it will most likely lead to inefficiencies in your blogging.  You can also find yourself so consumed with daily tasks, that your content quality suffers because you are just trying to rush through the writing process to get something out.

Strong Work Ethic

Having a strong work ethic turns good bloggers into great bloggers.  Someone who is able to stick to a schedule, exceed personal goals and expectations, and push themselves, will stand out from the crowd.  Many bloggers are writing for their blog so it is not exactly a situation where they are getting paid for each post they write.  So it takes a person with a strong work ethic to see the long-term benefits and keep pushing themselves to consistently produce great content.

Network/Industry Reach

A blogger that has a large network and is known in the industry will make it much easier to promote their content.  As we all know, even if you write great content, you still need to promote it.  If you have built personal relationships with industry veterans, it can help earn credibility personally and for your blog.  If you can shoot a few messages and e-mails to key people in the industry who you know will promote your content to their networks, that can be extremely powerful.  Essentially you are leveraging your network and industry reach to promote content, gain feedback, and even help contribute to your blog.

SEO Knowledge

Having basic SEO knowledge is a plus for any blogger.  Bloggers who understand the benefits of good keyword research, how to promote content, and maximizing the potential of each post, will gain a larger readership in a shorter amount of time.

Goes Against the Grain

To be a great blogger, you need to sometimes go against what everyone else is doing and do something that is away from “the norm”.  Coming up with unique ways to stand out from the crowd is a way that great bloggers get found.  It could be a post, design-related, new way of promotion, unique content delivery, or something that has never been done before in the industry.

Social Media

Generally, bloggers spend a good amount of time on social networks like Twitter, Facebook, and Linkedin.  Being active on various social networks and engaging with people regularly will help bloggers get noticed.  If you are consistently promoting other users’ content, those users will begin to notice and return the favor.  If you read other industry blogs and leave thoughtful comments or even personally contact the blog owner, this is all-important for building your network and getting noticed.

A plus for a great blogger would be being a power user on social bookmarking sites like Digg, StumbleUpon, and Reddit.  If you can promote content and others in the community, notice and promote it as well.

Enjoys Sharing and Helping

Great bloggers genuinely enjoy helping others.  Many bloggers blog because they want to showcase their knowledge in the industry.  Of course, that is part of why people blog, but it should not be the only reason.  Gaining satisfaction from helping others in your industry is a trait that all great bloggers have.  Taking the time to personally reach out to someone ask a question or thanking someone who leaves an intelligent comment on your blog is going above and beyond.  It shows that you do care about what others are saying.

Producer Spotlight: A Conversation with Brandi Carlile & Emily Lazar

Artist, Producer & We Are Moving The Needle soundboard member Brandi Carlile sits down with founder and Mastering Engineer Emily Lazar for an in-depth conversation on her work as a producer.

Not only has Brandi Carlile been a driving force behind her own albums, but she’s also lent her production chops to albums for some very special artists. Her production credits include: Joni Mitchell’s Live At Newport, Tanya Tucker’s Sweet Western Sound, Brandy Clark’s self titled album, Lucius’ Second Nature, The Secret Sisters’ Saturn Return, as well as  newcomer, Tish Melton’s “Michelle.” This year, Brandi also self-produced covers of “Home” for the final season of the beloved “Ted Lasso” series and “Closer To Fine” for the sensational blockbuster smash “Barbie The Album”

Get inspired by an invigorating conversation between two needle movers and advocates for underrepresented voices in music!

Music in this video:

Song – You and Me on the Rock

Artist – Brandi Carlile (feat. Lucius)

Special thanks to Brandi Carlile & her incredible team!

Shoutout to Change The Conversation, Equalize Her, She Is The Music, SoundGirls, Women’s Audio Mission and Women in Music for working towards a better future for underrepresented voices in music.

About us:

We Are Moving The Needle is radically reshaping the future of the recording industry. Founded in 2021 by GRAMMY-winning and 8x nominated mastering engineer, Emily Lazar, WAMTN empowers women, non-binary, and trans music creators to succeed at the highest levels.

Being a “Modern-Day” Music Producer

Just like how 50 years ago, you could have been “just a singer”, these days you need to be almost supernaturally gifted as a singer, plus you need to be a songwriter, record your vocals, dance while performing, be an aerialist, and overall just be a better singer than the trailblazers before you.

For a music producer, it’s the same. Being a producer in today’s world means more than simply making a beat.

Being a “music producer” means various things to different people, and the duties of a producer have dramatically changed over the past 50 years. We won’t get much into what those differences are in this blog, but rather, we’ll go into what being a producer means right now. This will be generally expected of anyone who decides to put up the “open for business” sign as a music producer. While you can create your own music production business that focuses on your strengths, the more value you can add to the artists you work with, the more likely you are to build a music production business that thrives.

  1. Recording Engineer – While this can be intimidating if you’ve become comfortable working “in the box” creating beats, setting up your room and a good vocal chain (mic to preamp to computer) is all doable, affordable, and not too techy! As a matter of fact, I’m happy to give you my eBook “Recording Sweet Vocals at Home” for free. This will take you through the basics of shopping for the equipment setting it up and getting signal.
  2. Editing –  The skill of editing, which includes compiling takes, blending takes to mask edit points, time aligning instruments and vocals, tuning vocals, removing noise before, between, after takes, etc. can be really tedious to some but super satisfying to others. If you have tried it and absolutely hate it, there’s a chance that you just need to practice so that you can get faster at it. If you still hate it after you get faster (and better), this is something you can outsource. Since we are focused on adding value to the artists we work with, outsourcing to someone who can do it better may be your best option. If you kill the editing game, that’s how you can add value to your artists.
  3. Mixing Engineer – Mixing is a skill that can take years to develop (contrary to what many YouTube gurus will tell you). Mainly because it’s not necessarily about the tools you have but more about your ear and how clearly you can hear detail. I am constantly amazed at how my ears can “zoom in” to things if I really concentrate. But if I’m tired (sleepy tired, mentally tired, or “ear-fatigue” tired) I have a difficult time hearing that detail. You also have to know how to use your tools correctly! Mixing can be a fun and creative part of the production process. It can also be a huge part of your production business, though some producers will still outsource the mixing. Again, since we are focusing on adding the greatest value to your artists, if you can hone in on this skill set, you can really become a creative partner with your artist and potentially keep the timeline tighter and even their cost lower.
  4. Songwriting – It may be tempting to produce any and all songs an artist throws at you. But, as hard as this is to admit, most of us songwriters don’t write our best songs when we are first starting out. Even after we have some good songs in our catalog, an occasional mediocre song will surface. An artist will truly be grateful if you can help them elevate their songs (ok, maybe they won’t be grateful at first, but eventually they will!). Having an instinct for what makes a song really great can make you a valuable partner to your artist. Even without becoming a co-writer, if there’s an awkward line, a boring melody, a monotonous arc, saying so (in a respectful, professional, and helpful way) and then being able to offer suggestions, can elevate the song so that you are both proud upon its release.
  5. Great Arrangements – If you haven’t already, study your favorite productions. The arrangement consists of what instruments are used, what they do, and when they occur on the timeline of the song. Every single decision you make will have an impact on how the artist’s song will (or won’t) connect with its listeners. Once again, contrary to what many YouTube gurus will tell you (produce hit songs in only 4 hours!), this also is a skill that can take years to refine. I’ve found that really listening to every detail of production as a “listener” can be challenging. The BEST way to learn what a producer did in a song is to reverse engineer it. I wrote up a blog about that a few years back. Give that a read here. The more skilled you are at arranging, the more likely you are to know what a song needs to cut through and connect artist to fan.
  6. Vocal Coach – The greatest disservice you can do to an artist is to mentally “check out” during their recording session. It’s literally what helped me carve out a space in my own local music scene as a producer. Since I came from the angle of being a singer/songwriter and vocal coach turned vocal producer, artists flocked to me because they knew that I would help them get their best vocal performances in the studio. While you don’t actually need to be a vocal coach, hearing the details in a singer’s performance, such as the diction, the vowel shape, the emotion, the phrasing – all of it is important, as is the skill of how to communicate in a helpful, supportive way to the singer. If you are checked out while they are recording, they will feel it and will surrender to the fact that they are “on their own” for this part. Engaging will help them feel accountable to do their best, and give them a sense of having someone in their corner, coaching them along. Remembering that this is a KEY moment for your artist will establish trust with them and keep them coming back to you.
  7. Recognizing Trends in Instruments, Effects, Sounds, and Songwriting – While you can certainly choose to produce only a specific style or genre, a thorough knowledge of what defines a genre or style or even an era or decade of music can give you more access to a greater pallet of sounds. For example, if an artist gives you an Amy Whinehouse song as a reference song and they can’t say exactly what they love about it but they want the vibe of their song to be similar, you should be able to recognize that what made her music “special” was the techniques used in recording, the songwriting format, and mixing approach, all designed to give her music a throwback, 60’s, retro vibe. This is one specific example, but when your artist provides reference songs for you, it should be easy to recognize what they want to hear in their music. You should also feel comfortable recreating specific sounds, effects, mixing techniques, etc., so that you can help the artist bring their vision to life. Reverse engineering (as mentioned in #5) is a great way to improve this skill.
  8. Thorough Knowledge of Instruments – You don’t have to be able to play every instrument that you use in your productions. Thank goodness! I’m a pianist…not a great one if we are talking about technical proficiency. But really comfortable on the instrument. You should be at least “comfortable” on an instrument; preferably a piano or guitar. Having a grasp on the circle of fifths will allow you to program any virtual instrument to play what you want. With today’s technology, virtual instruments are quite incredible at sounding like real instruments, because real samples (ie, recordings) of the actual instrument are used. However, you DO need to know what those instruments do and how to nuance the virtual instruments to sound more real using the settings and triggers. This can all take time to learn but will ensure your productions sound really legit. If there’s an instrument you find you are being asked to create virtually often, invest in a really good virtual instrument, then spend time learning how to nuance that instrument before moving on to the next one.
  9. Understanding the Music Business: what do I do now? – Contracts, songwriting, marketing, copyright, publishing, splits, sync,  etc. There is SO MUCH for an independent artist to know and do. The more you know about the infrastructure of the music business, the more value you can potentially add to your artists, therefore, deepening that relationship with them. If you feel confident in your ability to create great music, add another layer of service to your artists by providing a Releasing Music Checklist or something similar. It’s another way to build trust between you and the artist and to add value to their journey as an independent artist.

It can be overwhelming to think about all you need to be good at as a Modern Music Producer! Just remember, growth comes slow and steady if you stay consistent. Take one area at a time and focus on improving your skills in that area before tackling the next one. Build your music production business to be one that keeps artists coming back to you over and over again; the one that the artists tell everyone about because of the positive experience it is to work with you. Be that producer!

 

Review of Beneath the Boom Pole

When I open Beneath the Boom Pole: The Art & Science of Boom Operating for Movies & TV by Patrushkha Mierzwa, I am opening a treasure chest with over 40 years of experience in location sound for film.  Mierzwa has been nominated as part of a team for Academy Awards on Ad Astra and Once Upon a Time in Hollywood… and her most recent credit is Killers of the Flower Moon.  When not on a film set, Mierzwa lectures and teaches at various prestigious film schools around the world.

Beneath the Boom Pole is about what it takes to be the human that holds the boom pole.  Each chapter tackles the skills and basic gear that is required of a Boom Operator.  Starting with the history of film and then progressing through the production of a film, the book also covers health and safety for those working on set.  This results in the chapters following a logical order.  However, Mierzwa mentions that the best way to use Beneath the Boom Pole is as a handbook: looking through a chapter as it becomes relevant.  My approach would be to skim through the whole book first, then keep it close as a reference guide.  Course credit should be given for reading this book because of the wealth of knowledge and experience Mierzwa brings.  There is an anecdote to back it up the warnings and stories to solidify the advice.

Last year I reviewed Mierzwa’s Behind the Sound Cart for SoundGirls, and there are many similarities between the two books.  In fact, they are 2 of a three-part series on production sound by Mierzwa.  Where Behind focuses on the Utility Sound Technician, the person at the sound cart, Beneath is about the Boom Operator.  While many independent productions have one person for both of these roles (I recommend that you buy all of Mierzwa’s trilogy when the third is released,) there are productions that have at least one of each.  Boom Operators are working next to the cameras and lights, being invisible to both, while being in the best placement to capture the sounds coming from the actors.  There is a physicality and diplomacy that occurs in such a role, and it permeates every chapter of Beneath the Boom Pole.

As mentioned before, the Boom Operator is in a balancing act.  There are microphones to consider and polar patterns to visualize in recording the best sound.  However, Mierzwa focuses on more than gear or technical skills.  She repeatedly points out how interconnected each department is on the film set.  A team only works when all parts communicate their needs and boundaries.  Diplomacy and problem-solving is a recurring theme throughout the chapters.

Another major point in this book, as it was in Behind the Sound Cart, is safety.  Due to the balancing of the boom pole and the long hours of standing, several chapters are devoted to the caretaking of injuries that occur on set.  In addition, there are various case studies to show that it is not a matter of if, but when injuries occur.  Mierzwa takes the time to let others learn from her mistakes, and improve best practices for the next generation of Boom Operators.

At the start of her career in the 1980s, Patrushka Mierzwa was one of the first women in location sound on bigger productions.  By training future Boom Operators, Mierzwa is leading the cause for gender parity.  The chapters in Beneath the Boom Pole on this subject need to be included in all similar publications for other film crew members.  Parenting has a whole section devoted to how it intersects with career, and it is not assumed that the main reader will be a mother.  There are also recommendations for personal necessities that differ based on anatomy, and finally, someone put that neglected FAQ into print.  Hygiene affects everyone.  My only complaint is that Beneath does not go far enough in its sensitivity to gender.  I understand that Mierzwa is one person, and only has the experience of her own life, but there can be a more nuanced way to address gender differences and relationships.  This one criticism aside, I do not see other industry career guides providing this much insight into the hardships of parenting and self-care.

As a disclaimer, I will mention that Patrushka Mierzwa sent me a copy of Beneath the Boom Pole to review.  However, that does not detract from the importance of having a book that dives deep into the world of location sound.  As a companion to Behind the Sound Cart, this book builds upon that foundation.  I eagerly await the third installment.

The Importance Of Celebrating Ourselves And Others

 

A regular feature of our modern world sees us finishing one gig or project and moving straight onto the next without pause – let alone celebration. Sometimes we can be so busy and forward-focused that it doesn’t even occur to us to take a beat and reflect on our accomplishments.

I was recently catching up with a girlfriend, and we were bringing each other up to speed with our life and work situations when it hit me just how easily we were downplaying our efforts, heavily focusing on the things we still wish to improve, and our future goals. While both of us embrace a healthy dose of British self-deprecating humour, this was a lot – my friend, a respected academic, was juggling two full-time roles while running a regular series of live events, maintaining a relationship and a household, and being a buddy to me. I was staggered that I was having to point out her victories, and she mine.

 

Reflecting On Positive Outcomes

As we noted this and the conversation progressed, my friend brought up the CARL framework of reflection. This model is very often used in recruitment settings and can be used to recall the positives, engage, and find meaning from our situations. CARL stands for:

While seemingly simple on the surface, it’s an effective tool for combing through life’s experiences with a more optimistic and deterministic head. As I spent the next few days re-evaluating, I felt perhaps it wasn’t enough to just reflect, but there’s also a need to celebrate what we’ve learnt and accomplished.

At this time, I heard a podcast featuring tennis legend Novak Djokovic, where he noted that when something bad happens, we cry for a month, but when something good happens, we celebrate maybe for one night, and then simply move on. Djokovic’s observation stuck with me and led me to observe the wild disparity between how much time and energy we assign to each reaction independently, and also in our connections with others. While it’s tough to feel that we can’t burden others and share our problems, perhaps it’s also problematic to feel unable to celebrate our successes and achievements with anyone.

Who You Surround Yourself With

Businessman and motivational speaker Jim Rohn coined the saying, “You’re the average of the five people you spend most of your time with.” While it has become a popular idea in self-improvement and personal development circles, science backs Rohn’s theory. The Framingham Heart Study examined the social network of over 12,000 participants in the town of Framingham, Massachusetts, over several decades. The findings of the Framingham Heart Study revealed that social connections have a significant impact on our well-being and lifestyle choices. It was discovered that not only physical behaviours such as smoking and obesity were linked but more interestingly, the results showed that happiness could be influenced by the people with whom we associate.

Similar thinkers have emphasised the importance of who we surround ourselves with since the inception of the self-help genre. One of the first authors in this field, Napoleon Hill, outlined three recommendations about this in Think and Grow Rich.

  1. Mastermind Group: One of the core ideas in Think and Grow Rich is the concept of a “Mastermind Group”. Hill suggests that assembling a group of like-minded individuals who are driven towards similar goals can lead to increased creativity, motivation, and problem-solving abilities. The collective knowledge and synergy of the group can propel each member towards success.
  2. Power of Association: Hill underscores the influence of association on an individual’s mindset and success. He encourages readers to associate with individuals who have achieved the level of success they desire, as this association can provide inspiration, guidance, and opportunities for growth.
  3. Influence of Optimism: Hill emphasises the importance of a positive mental attitude and optimism. Surrounding oneself with optimistic and positive-minded individuals can foster a similar outlook, leading to increased confidence and a belief in one’s ability to achieve success.

The ideas Hill outlines above aren’t to be confused with the “toxic positivity” philosophies of the modern age but are part of a model more attuned to engaging in relationships where parties can feel able to share stories, offer support, and brainstorm ideas safely. These aspects can make a big impact on both the inner and outer worlds when we place our awareness here.

JFK popularised the idiom “A rising tide lifts all boats”, which is often attributed to the general meaning that when one does well, everyone does well. Perhaps we need to make time to reflect on our learning from project outcomes more often, re-examine our circle of associates, and reach out to those we can celebrate our victories with, no matter how small. It’s been a very enjoyable addition to catching up with my friend, as we now appreciate the milestones of our efforts, reflect differently on gigs and contracts that have been completed, and consciously make time to celebrate before embarking on the next adventure.

Work Life + Personal Life = Balanced Life?

A balanced life is defined as achieving optimal health in every aspect of your life including work and personal life. Unfortunately while working in this industry the personal life often comes to a grinding halt.  It’s no secret that I have always chosen my work life above almost all else. This is a personal choice, obviously not one everyone makes. So what does that “balanced life” look like to someone who chooses work life first and how do the other aspects fall into order behind the priority? While this particular article is an inside look at how I rank them, that clearly won’t be how everyone else puts them in order and no one can make that decision for you. Hopefully, this will give you some insight into how each aspect of life is affected by this industry.

Work Life

Starting with the obvious one: your work life. To get anywhere in this industry it is widely accepted that you have to put work first. There have been several things that I have missed out on due to putting my work first, and I accept that. There are also people that I don’t get to talk to nearly as often as I would like because I travel so often for work and don’t have the same time off as most others in my friends and family circle. To compensate for this, most of the people I work with become close friends while on the road, and for the most part we get along. The long extended hours that we all pull together help keep that bond, and the after-work drinks help as well. Keeping in touch with family and friends who aren’t part of the industry continues to be a challenge though, but most of them are understanding of the fact that I love what I do for a living and how long I have strived to be where I’m at in my career.

Family Life

On the road, the crew you work with practically becomes a second family. This by no means replaces your blood relatives and some people place more emphasis on needing this aspect. I still talk to my family as well, but in all reality, they don’t have a clue as to what goes on out here and it’s nice having a close bond with people who do understand. That’s why I would put family life as fairly important and higher ranking. Family can be chosen as well and I get family time with my work family. At the most recent festival I worked at, we were all so close that one of the technicians noticed all of us having a rough week of tech rehearsals and made waffles the next morning. That’s pretty akin to having breakfast on the porch of your parent’s house in this industry. Just like family, you also get dragged into family drama. We know each other’s ups and downs, what everyone is going through, and struggling with, why this person isn’t talking to this person at the minute, etc. It can be just as exhausting as any blood-related family.

Personal Life

I personally keep my personal life separate from family life and work life. My boss at work doesn’t need to know what I get up to while I’m not on the clock and my family doesn’t get to see certain sides of me (would you really want to run into your parents while heavily drunk on the road?). This is why I don’t consider family life part of my personal life. What you do in your downtime is entirely your business, except when you’re in this industry. Being on the road with a crew means you get pretty close. So close, that you practically know each other’s habits and time clocks by heart. I know my boss will always be ten minutes late to get in at a venue because he can’t function around people who aren’t part of the crew without coffee, and I know one of the dancers is consistently half an hour early to the venue so she can have the dressing room to herself to meditate. You learn each other, and pretty quickly. That means all your habits that you like to do to relax before/after work, they’re going to know about those too. It’s not because of other people learning it that I tend to put my personal life as one of the last priorities, but instead, I see it as I know how much alone time and social time I need and want. I regulate both sides of it at my own pace.

Romantic Life

Any person who has been working in this industry for any point in time, you know the struggle of attempting to date while working. Let’s be honest, your regular date nights are obliterated. The weekends are when you work and asking someone to go to dinner on a Tuesday is underwhelming. So I put my romantic life last once I got into this industry. I sacrificed dates for more work time and personal time, and that is a decision I can both live with and stand by. When I have gone on dates and I try to tell people about my job, I get some expected questions like So you’re a singer/dancer/performer (No)? Can you get me backstage (No)? Can you introduce me to the casting director (I’ve never even met them)? Do you get autographs all the time (No, only sometimes)? Who’s the most famous person you’ve ever met (Probably someone who isn’t famous to you because you like the actors/actresses, not the behind-the-scenes people)? And many more… Dating is hard. To begin with, now it’s expected that I either meet someone in some random town that I’m not going to visit again anytime soon while on the road or I meet someone at work and have rumours spread like wildfire about how I actually got my job. No thanks.

 

Everyone in this industry balances the aspects of their lives differently. Some families back home understand that the touring life takes them far away, and some have companies that will bring their families out on the road with them. They spend time splitting it between life on the road and time off at home. Some people tour with their romantic partners and do what is called a “couples contract”. Some people just go with the flow and make the best of their experiences and time on the road while getting lots of personal time. The balance that you currently have can change during the course of your career. Figuring out what is best for yourself is part of being in this industry, and your priorities can change during that time. All options are valid because we all need different things for ourselves.

Moving In

Moving anywhere usually signals a major life change. For many people who choose a career in theatre, moving to New York and working on Broadway is the starry-eyed dream and I was no exception. Even when I wanted to tour, the endgame was to save money, gain experience, and eventually get off the road to head to the city. The tour ended up being a larger part of my career than I originally expected, but when I was ready to leave, New York still felt like the next step.

Incidentally, shortly after graduating from college, I came to the city for the first time to work on a summer festival (NYMF, for anyone who remembers). I hoped I’d go on tour that fall but I was ready to move in and make a go of things in NYC if that didn’t pan out. Ten years later
I was ready to make that move for real.

One of the best decisions I made was choosing to sublet with a roommate when I first arrived. In 2012 I had a two-month sublet for the duration of my contract. I figured I’d find something more permanent after if I was really going to live there. In 2023 I knew I was here for the long haul, so I agreed to a 6-month sublet to figure out work and scope out where I’d like to live when I was looking for my own apartment.

Subletting slowed down the pace of moving to the city because it meant I could spread out my major milestones over the first year in the city. I wasn’t throwing my things into storage as I ran all over the city apartment hunting while simultaneously trying to find work and attempting to acclimate to a huge life shift all at the same time. Instead, I got to move a couple of suitcases into a furnished, 2-bedroom apartment with a roommate (who was an actor friend from tour). She had moved to the city a couple of years earlier so, in addition to a significantly lower rent payment, I had a gracious support system where I talked her down from murdering her ring light while she was taping auditions and she became my in-house therapist as I figured out my life. Then, I could comfortably look for work for a few months and pick my friends and colleagues’ brains about brokers (expensive but worth it for someone who has no rental history), neighborhoods, and all the paperwork like paystubs (save or scan all of them!) and letters of employment (ask your company manager for one if you have steady work, ask your designer or associate if you don’t) before I had to start apartment hunting.

I was lucky to have a friend I got along with as a roommate, and if you’re able to find someone like that, I highly recommend sharing a living space, at least when you’re first moving in. They can be an incredible social support and financially speaking, it halves your biggest
expense (rent). That gives you a cushion since your first few months will be spent establishing contacts and actual work may be sporadic.

To build your network: start letting people know you’re around and available. When I came here in 2012 I knew a couple of people from college, but that was pretty much it. Once NYMF started up I got to meet the other audio people on the crew as we worked in the shop and
then other departments as we loaded into the theatres. Many of your colleagues become friends and all of them can be potential help for finding work, so each job you work expands both your social and professional circle one bit at a time.

In 2023, I have a fairly wide network: people I’ve toured with who’ve since moved to the city, designers I’ve worked with, and friends from NYC that I’ve kept in touch with and are still here (several from those early years on NYMF). However, as small as our industry is, I still
know only a fraction of the people here. So whether you’re starting out fresh or wanting to learn who’s around, the best option is to hustle. Over the past few months, I’ve taken whatever work has come my way and each job has a non-financial benefit: subbing contributes to my healthcare eligibility, shop work lets me work around new or different gear and see how different designers and production people set up shows, and load ins and outs get me around to new theatres and rehearsal spaces I haven’t worked in before. On top of that, every job I’ve worked has introduced me to new people or reconnected me with old friends (usually both).

As a side note: I would recommend having a set of business cards. It doesn’t have to be anything fancy, mine simply has my name, mixer/audio engineer, my contact info, and a QR code to this blog as a fun add. They’re easy (and in some cases preferred) to hand to the head carpenter or head electrician of a Broadway house (these are the union crew that always work at that theatre and will head their department). That way, when it comes time to hire people for load-ins or outs, they have your info tucked away.

The next step after meeting people is to be a good worker. That means showing up on time, following directions, coming back to ask what’s next if you reach a stopping point, and asking questions if you need help. Notice I didn’t say you have to know everything. Honestly, if touring taught me nothing else, it’s that I would much rather work with someone who’s never done sound before but can follow directions over someone who’s seen it all, done it all, and wants to tell me how we should be doing things.

Everyone comes with a different level of training and skill and most good crew chiefs recognize that. I’d only built tours up until moving here, so when we were building Broadway sit-downs in the shop, I ended up doing things like adding adaptors to the wrong ends of extensions or wanting to put patch panels in a rack that didn’t actually need it. Once I realized there were enough small differences, I’d check with the production audio and laugh that my tour brain hadn’t shut off before they guided me to what they were actually looking for. Don’t be afraid to say that you don’t know what a piece of gear is or need some help with the signal flow of a rack. All production people have their own way of doing things and they know that. They’re there to answer questions and help you do your job building the show as efficiently as possible. For me, MIDI is something I always like to check on with the production audio to make sure I understand what they want. We’d all rather take 10 minutes to walk through something than backtrack later and spend half a day troubleshooting and fixing a bad signal path or incorrectly programmed piece of gear.

Honestly, I wish I’d been better about asking for help both when I was here in 2012 and now in 2023. That’s always been my weakest skill and it’s a vital part of living in this city and working in this industry. Whether it’s help getting work, advice on finding or setting up an apartment, or just bothering people to come and hang out for a bit, we all need our support systems. For the millions of people crammed onto this island, it can often feel lonely and isolating, especially when it’s all completely new. The people around you can provide guidance and direction when you need it most. All of them have been through similar times when they first got here and I’ve yet to meet anyone who isn’t willing to help.

There are a lot of days I miss being on the road and working with my tour families, but there’s also something special about coming Home every day. (On tour there’s a difference between going “home” at night to your hotel or Airbnb and going “Home” to your own house, apartment, or family.) It’s the first time I’ve had a place that’s my own and sure, I miss having housekeeping to vacuum my rugs and wash my towels, but I’m slowly making it mine and each little touch makes me so happy. Growing pains and new stages of life aren’t supposed
to be painless, but they’re worth the adjustment.

 

Collaborating With Another Producer

 

For my most recent musical project, I had my first opportunity to work with another producer other than myself. As the perfectionist and control freak that I am when it comes to my own projects, this was a risky move for me. For the most part, I create all my songs by myself: writing, recording, producing, and mixing. This is mostly due to an ego I’m still tending to, as I rarely ask for help and often try to prove to myself I can do it all. The result is usually the same: exhaustion and disappointment. I can barely sort out all the nuanced tasks needing my brain power, and ultimately the outcome is rarely up to the standards of the song I put together in my mind. The idea of a partnership scared me because I knew that I would be surrendering some amount of creative direction to another brain, body, and soul. Part of me thought, if I couldn’t convert this vision in my mind into the tangible universe, how could anyone else? Although I was cautious at first, I’m happy to say that after completing my first collaboration, I couldn’t be more elated by the results. Taking the leap out of musical isolation paid off, and now I want to share with you my experiences of collaborating with someone I had not worked with before.

 

For this song, I worked with a friend from my hometown, Austin Atlas (Andrew DeFerrari). We connected over the summer and realized we had similar, complementing music and production styles and wanted to work on a song together. I had already written a song called “In My Dreams” which I knew had a more electronic-pop feel to it that would be great for both of us to work on. I had a sense too that I didn’t have the skills to translate the ideas I had in my head for this song into a finished product, and I knew that he did. To kickstart this project, I sent Andrew a simple voice memo of me playing guitar and singing the song. Along with the voice memo, I included a message to him describing the dynamics, rhythm, and energetic levels of the song. This song is high energy from the start to the second chorus, then significantly calms down in the bridge to the outro. In the voice memo, I convey this with the power in my voice, and I am using the guitar to map out the rhythm of the hook as best as I can. Below is a clip of the voice memo.

 

 

A simple step I took to ensure that Andrew and I were on the same page was making a “reference” playlist. This is just a collection of songs from artists we are both inspired by and songs with production and sound design elements we like to incorporate or use as an influence for our project. To do this I made a public playlist in Spotify and selected the option to make it a collaborative playlist, then I invited Andrew as a collaborator in the app. The playlist reflects some of the artists we admire in discussions over messaging, such as Sylvan Esso, Flume, and Radiohead to name a few. This is a quick and achievable step to take so that both partners are included in the artistic vision, and if Andrew and I work together in the future, we can use this playlist as references again.

The next step of this process was recording clean vocals for Andrew to produce and mix with, as well as making some basic synth guide tracks to give him some ideas of what’s going on in my brain. In my home studio, I set up an AT-4050 condenser microphone and recorded into a UAD Apollo Twin Duo audio interface into Ableton. I normally record vocals in ProTools, but this was an easy adjustment to make so that Andrew could continue working on the track in the same DAW. To make the guide tracks, I just used some preset synths in the Ableton library and focused primarily on the rhythmic and harmonic aspects of the song that he could follow. I mainly used a kick drum and a basic sine wave pad to map out the points of impact in the song and the chord progression. I have a lot of practice recording, editing, and tuning my vocals, and I have a strong sense of how I want them to layer and harmonize, so this was my main contribution to the actual production of the song. It was a huge relief to have someone else designing the instrumental parts around the vocals since this isn’t my best skill. Below is the clip of the vocals and guide tracks.

 

 

After I sent my session off to Andrew, it was time to put the trust in his hands. I knew that the extra steps I took would help Andrew support this song and steer us clear from any miscommunication. From that point forward, Andrew sent me demos of his work, and I sent feedback. It was easy and natural to communicate my needs using my own knowledge of electronic music production and sound design. On top of that, I really enjoyed overseeing the project instead of worrying about the smaller details, like properly filtering the arpeggiator for instance. Each time I received a demo, I listened for a balance between Andrew and myself, knowing that it wouldn’t sound like anything I’ve ever made on my own before. I’m happy to say that we both shine through in the final product, and we collaborated really efficiently together. This whole process has made me eager to find more producers to partner with in the future and has strengthened my trust muscle. In a sense, I am more proud of my ability to share a creative vision with someone else than I was when I was trying to make it come to life on my own. Below is a clip of the final product, which releases on Friday, September 22nd!

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