Empowering the Next Generation of Women in Audio

Join Us

Positive Action for Women in Music

Give peeps a chance

I’m impressed with what 2019 has offered so far in the way of women achieving greatness and it being celebrated, both close to home and worldwide.  The 2019 Grammy awards were pioneering for women in the industry with 31 award winners, which is an increase of 82% from last year, sweeping the board across all areas including classical music and production.  While the work of women is recognised at the highest levels, the language surrounding them is still being improved. Oscar-winning sound editor Nina Hartstone was covered by the BBC in the run-up to the event with the headline “The sound editor mum up for an Oscar.”  After something of a public backlash, the BBC rephrased their reporting on the feature to “From tea girl to Oscars red carpet,” and it now appears in online searches under the headline “Bohemian Rhapsody: First Oscars night for sound editor.” Considering Hartstone is a woman with 25 years of experience in the industry and a string of A-list film credits in her portfolio, the backlash seems like fair criticism.  It is refreshing to have seen the conversations and the subsequent corrections that were made to this error of judgment.

 

I wonder if a shift is finally happening around us, as for the first time I’ve experienced, being a woman in music seems to be supported, encouraged, and has positively impacted me – on a much smaller scale of course!  While positive discrimination is illegal under UK law, positive action is when an employer takes steps to help or encourage certain groups of people with different needs, who are disadvantaged in some way, access work or training. I have been heartened to see big and small organisations alike encouraging the inclusion of women where there is a disparity. The Grammy Recording Academy Task Force on Inclusion and Diversity is announcing the launch of the Producer and Engineering Inclusion Initiative – an industry-wide initiative that asks that at least two women are identified and therefore considered as part of the selection process every time a music producer or engineer is hired.  In the UK, The Musician’s Union is currently launching a mentoring scheme for women in association with Shesaid.So, as well as consulting with ministers in Government to implement policies that will promote parity for women in music. The MU also hosted a conference for Women in Music this month, which was a hugely positive event I attended that was filled with inspirational speakers, workshops and chances to network, share connections and experiences as well as business talk with like-minded individuals.

Recently I’ve been pleasantly surprised to have found positive action in motion via new allies in my work; taking on a client who specifically encouraged women to reach out, and also starting some audio work for a lovely company looking to support equality with the work they’re doing in the industry.  These last few months have been quite unfamiliar to me, coming from a background where I’ve often felt like the ‘token woman’ at work, a subordinate, or at worst a ‘threat’ in a world where our major achievements are so often defined as secondary to our matriarchal or marital status.

While there’s still a lot of room for improvement across the board, and unsolicited explanations on the fundamentals of what I do from ‘helpful’ outsiders still regularly infest my space, they don’t hold the weight they once did.  I can see positive changes that are both aspirational and experiential for the first time in my life, and that’s brand new. Even my local BBC radio station has shown support for female-led happenings in the industry, inviting me to be part of a conversation this week on the subject of women in music, and it feels like people are banding together to address the disparity and actually do something to proactively change it.  It is a change that I hope will continue to flourish far and wide, and I also have hope that this is the start of better times ahead for all of us wherever we are, in our pursuit of making music and being heard.

Additional Resources:

How to Write about Women in Sound

The EQUAL Directory – Find and Hire Women

A More Inclusive Industry

AES Diversity and Inclusion Committee

 

Shadowing Opportunity – Brad Madix and Annette Guilfoyle

Shadowing Opportunity with Brad Madix and Annette Guilfoyle

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Brad Madix and Monitor Engineer Annette Guilfoyle on Florence and the Machine.

May 13, Santa Barbara Bowl
May 21, Red Rocks
May 23, Chicago
May 26 Toronto
May 28, Montreal
May 30, Boston
June 3, Columbia, MD
June 5, Raleigh, NC
June 8, Orlando

Please fill out this application. If you are selected to attend, information will be emailed to you.

About FOH Engineer Brad Madix: Award-winning, Grammy-nominated live, broadcast and recording engineer since 1984. Clients include: Florence + The Machine, Linkin Park, Rush, Jack White, Beck, Van Halen, Shakira, Alanis Morissette, Jane’s Addiction, Jessica Simpson, Rage Against the Machine, Shania Twain, Def Leppard, Bruce Hornsby, Queensryche, Lynyrd Skynyrd, Journey, Marilyn Manson, Mr. Big, Jerry Cantrell, Smashing Pumpkins, Veruca Salt, Suicidal Tendencies, Slayer, and Psychedelic Furs. FOH Interview with Brad Madix

Monitor Engineer Annette Guilfoyle:  Annette has been working in professional audio for over 20 years and is currently the monitor engineer for Florence and the Machine. Annette has worked as a FOH and Monitor Engineer, as well as system teching. She has mixed monitors for Paul Weller, Goldfrapp, Ocean Colour Scene, Editors, Elvis Live in Concert with Orchestra and more. SoundGirls Feature Profile on Annette

 

Career Paths in Film and TV Sound: Stories of Tenacity

This past fall, I took part in a panel put together by SoundGirls, and hosted by Sony Studios, called Career Paths in Film and TV Sound. SoundGirls, if you haven’t heard of them, is an amazing non-profit organization whose mission is to inspire and empower the next generation of women in audio. Furthermore, they strive to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. Despite their women-focused mission, SoundGirls is not only for women. In fact, their membership is open to anyone with a desire and drive to succeed in professional audio, and their membership is currently 65% women and 35% men. They put on a lot of really amazing events, so no matter who you are, you should check them out.

Before I tell you all of the awesomeness that happened during this panel, let me get something out of the way. I know that the internet is a dark place where unanswered questions sometimes fester. So, I’m going to tell you all of the things that this panel wasn’t—just so we’re all clear. It wasn’t a gripe-fest about all of the trials and tribulations that we faced while being part of the 5% of the audio workforce which is comprised of women. It wasn’t a “safe space” to get really girly and gab about our kids, boyfriends, or spouses. It absolutely WAS NOT a chance to prop up some ladies who are at the top of their lady game, but not quite cutting it out there in the real world of pro audio.

No, this was a kickass panel with audio professionals from all different backgrounds, with all different backstories and insights, who are at the top of their game. We talked about what drew us to the sound profession in the first place. We talked about working our way up with unerring drive and determination from the machine room, the tape vault, the intern desk. We talked about staying all night to observe mixers and read manuals. This was a panel about tenacity. And it just happened to be led by women.


The Panelists

Let me introduce you to the audio professionals involved.

Onnalee Blank

During the panel, Onnalee told her personal story of being a professional ballerina with the New York City Ballet. She was injured and had to turn to a new career. She brought the same tenacity of spirit that took her to the top of the ballet world to her career in sound. She began assisting Rick Ruben, moved on to work with Johnny Cash and Danny Elfman, and she is currently a re-recording mixer at Formosa. She has mixed Girls, Black Sails, and Game of Thrones. She has won five CAS Awards and four Emmys, not to mention her countless other nominations.

Karol Urban

Karol was legally blind as a child, until the age of five, when she underwent an operation to correct her vision. While her sight was impaired, sound was a huge part of how she identified the world around her. She spoke about being a young sound-focused student in the south, who got her start in front of house. She went on to undergraduate school for post-production sound. Karol is the re-recording mixer for Grey’s Anatomy, New Girl, Scandal, among numerous other television series and films. Shortly after this panel, she was elected as the President of the Cinema Audio Society.

April Tucker

April is truly a “Jill of all trades” as the moderator, Anne Marie Slack, pointed out. She currently works as a supervising sound editor, re-recording mixer, foley mixer, ADR mixer, and music editor. April thought that she wanted to be a classical violinist, but soon realized that she was more passionate when behind the console as a scoring mixer. After receiving her master’s degree, April moved to LA and posted Craig’s List ad to meet other audio professionals, and those connections have brought her contractor work in every facet of the industry of post-production sound. She has worked as the re-recording mixer on The Bachelor, music editor on Transparent, and ADR mixer on Conspiracy.

Kate Finan (me!)

My passions as a student were clarinet, math, and physics. When planning my future, I assumed I would have to choose between my interests. But, then I was inspired by a fellow student who went to college for sound recording technology. As soon as I found out that I could get a bachelor of science degree in sound from within a music conservatory, I was hooked. After college, I moved to LA and never looked back. As you all know, I now own Boom Box Post with Jeff and work as a supervising sound editor and re-recording mixer on several animated television series.


Watch the Panel


Listen to it in Podcast form from Tonebenders

Just in case you’re more of a podcast person, check out the panel on Tonebenders. This edited-down version starts with a special interview with April Tucker who gives context to the conversation by first discussing all of the amazing things that the SoundGirls organization has on its docket.

 

The Simple Home Studio Kit

Creating and recording music can be a daunting task if you don’t have any prior knowledge of production. From aspiring music producers to seasoned musicians, the art of recording your music can become quite a difficult undertaking very quickly.

So, to combat this, I thought I would compile a range of equipment that I believe to be great for beginners and anyone wishing to record on a budget.

The Right DAW

A DAW is short for Digital Audio Workstation. To put it simply, it is the software you use to record and mix your music. There is a wide variety of different DAW’s out there, and each producer has their preference for a multitude of various reasons and depending on what they require.

My advice is to start simple. If you’re new to music production, software like Pro Tools, Logic and Ableton can seem extremely daunting.

If you’re a Mac user start with GarageBand. It’s free and is very much a simplified version of Logic. If you have a Windows computer, try Audacity. They are both mapped out in a way that it is straightforward to begin recording some tracks you can then transfer this knowledge to more complex DAW’s.

The Interface

I have used many interfaces, and the one I find recommending most to beginners is the Scarlett 2i2.

It is a USB audio interface and has everything you need to start recording: two line/mic ports, 48v phantom power (some microphones require this power to operate), can record 192kHz /24-bit sample rate.

Overall it’s the perfect compact recording device and comes in at around $160/ £100.

A Microphone

Microphones, for me, are the hardest to recommend. It depends so much on a person’s preference and what they want to record. More specifically what sound they want to achieve. But, if you need a place to start, I recommend the MXL 770.

It comes in at around $72 / £90, and I believe it to be well worth the money. It’s impressive, to say the least. It’s not perfect, but it certainly can give microphones worth triple the price a run for their money.

I hope you find this information helpful and just remember there is no perfect set up. I am always updating my kit and trying out new things. It’s what keeps you creative as a producer.

 

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

April Feature Profile

https://soundgirls.org/town-planning-to-florence-and-the-machine/


The Blogs

An Interview With Rising Sound Technicians

Creating a Podcast

Live Sound – Do Not Be Afraid

Let’s Talk About Mental Health

Zines are a Riot

The Importance of Mentorships

Internet Round-Up

https://www.prosoundweb.com/channels/live-sound/whats-most-important-the-career-influences-of-monitor-engineer-whitney-olpin/?fbclid=IwAR1oArxREeAXBo-wHocHrC7TUPMwsVS-4x-BG-6PJ0kbF77PHgBs36THugY

Communication skills: mastering engineer vs. automated mastering services


Rhiannon Mair: Well Engineered

 


SoundGirls News


Leslie Gaston-Bird is raising funds for her 50th birthday. Happy Birthday! She is raising funds for the “SoundGirls – Gaston-Bird Travel fund” which has been established to increase the presence of women and those that identify as women at audio trade conferences. Women who have been invited to speak, or sit on panels at audio related trade conferences are welcome to apply. More info at https://soundgirls.org/soundgirls-gaston-bird-travel-fund/


SoundGirls Co-Founder Michelle Sabolchick Pettinato has created a Free eBook called 7 Things Every Live Sound Engineer Should Know

“The most common thing I hear from new engineers and those just getting started in live sound and mixing is how overwhelmed they are with how much there is to know. They focus on trying to learn all of the gear and keeping up with every new piece of equipment or plugin out there, instead of learning the underlying principles and techniques. This is why I created the eBook. There were so many other things I could have listed, but I tried to keep it to what I felt would help solve some of the biggest problems sound engineers face: Understanding how the system works together, being able to mix on any console, dealing with feedback, getting better quality sounds and mixes, and having more confidence in what they are doing.
The book covers these important concepts- Signal Flow, Proper Gain Structure. The eBook explains the importance of these, as well as proper EQ techniques, how to use a gate and compressor, choosing the right microphone, basic troubleshooting, and getting good sounds from the source.”

The link for the free ebook is:
https://www.mixingmusiclive.com/ebook-page


Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019

Congratulations to all our bloggers. The SoundGirls Blog is number 12 of the Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019.


SoundGirls Events

https://soundgirls.org/event/los-angeles-soundgirls-april-social/?instance_id=1523

https://soundgirls.org/event/bay-area-chapter-1st-mondays-meetings/?instance_id=1496

JBL VTX A8 Workshop – May 9 @ Harman Northridge

https://soundgirls.org/event/mastering-w-piper-payne-oakland-2/?instance_id=1522

https://soundgirls.org/event/vancouver-meyer/?instance_id=1524

https://soundgirls.org/event/vancouver-soundgirls-social-3/?instance_id=1526

VUE System Training – April 19th

SoundGirls Wikipedia Edit-A-Thon – May 26th

Register For Career Paths in Recording Arts


SoundGirls Opportunities


Scholarships Available for Smaart Training

 

SoundGirls and SoundGym


Shadowing/Mentoring/Internship Opportunities


Shadowing Opportunity w/ ME Aaron Foye

Shadow Gil Eva Craig – NZ & Australia

Viva La Muxer – SoundGirls Volunteers


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

Career Paths in Recording Arts

Panel Discussion on Career Paths in Recording Arts.

Join us for a panel discussion and Q&A featuring some talented women working and succeeding in the world of recording arts. The evening will end with a casual mentoring and networking session.

Register Here

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

Panelists

Lenise Bent – Producer/Engineer

Producer/engineer LENISE BENT is one of the first women recording engineers and has worked on many iconic records including “Aja” by Steely Dan, “Breakfast in America” by Supertramp and “Tusk” by Fleetwood Mac. She was also the first woman to receive a platinum album for engineering on Blondie’s AutoAmerican.

Jett Galindo – Mastering Engineer at The Bakery

Jett Galindo began her engineering career in the world-renowned Avatar Studios in New York as the recording engineer for producer Jerry Barnes. As Barnes’ engineer, Jett engineered for veteran artists such as legendary singer-songwriter Roberta Flack, Nile Rodgers and Latin Grammy-winning Brazilian rock band Jota Quest.

In 2013, Jett joined The Mastering Lab family as the sole right-hand man to pioneer mastering engineer and Grammy Technical Achievement awardee Doug Sax. Under the steady mentorship of the late Sax, Jett burgeoned to become the newest mastering engineer in The Mastering Lab roster. In 2014, Jett’s work with Brazilian rock band Jota Quest garnered the group a Latin GRAMMY nomination for Best Brazilian Contemporary Pop Album.

With engineering credits spanning different genres and legendary artists (Bette Midler, Randy Travis, Nile Rodgers, Roberta Flack, and Gustavo Santaolalla, to name a few), Jett Galindo carries on the legacy left behind by her late mentor, mastering legend Doug Sax (The Mastering Lab). She now works as a mastering engineer alongside Eric Boulanger at The Bakery, located at the Sony Pictures Lot in Culver City, Los Angeles.

Catharine WoodProducer, Engineer and Owner of Planetwood Productions

Catharine Wood is an established Los Angeles-based composer/producer & studio owner. She launched her versatile career engineering on high profile commercials – including the first Apple iPhone spot. As a mix/mastering engineer, she has delivered over 500 (both original & client) commercially released songs airing on many major networks. Catharine is a Grammy®️ Voting Member, P&E Wing Member and holds positions on the LA Recording School’s Professional Advisory Committee and the California Copyright Conference Board of Directors. Her facility, Planetwood Studios, LLC specializes in production & composition services for the Film & TV Industries.

Ali McGuire – Recording/Mixing Engineer, Producer, Owner Amaculent Ent.

Ali ” A MAC” McGuire is a Los Angeles based Mixing/ Recording Engineer and Music Producer with a background in live sound. Ali moved to LA in March 2017 and has been working with artists and studios around the LA area since. Ali has worked with artists such as Kelly Rowland, Fetty Wap, Post Malone, Kira Kosarin, Skinnyfromthe9, Joji, PNB Rock, Shining Rae, Lizzo, Daxz, Matt Paris, A.M.O., Whitney Peyton, Big Daddy Kane, Schoolly D, Hed PE, The Misfits, etc. As well as record labels, Atlantic, G.O.O.D. Music, HitCo, 88 Rising and more.

 

 

An Interview With Rising Sound Technicians

I’ve been a part of the sound industry since 2000, and I have been working professionally since 2005.  The industry was different back then, at least for me. I didn’t have any women as role models. I didn’t even have many women as contemporaries, so my experience at the beginning was pretty daunting.  That’s not true. At first, I had no worries. I was confident in my chosen degree program in Commercial Music. I was learning how to combine my first true love, music, with my newly found interest, sound.

I remember my very first moment of recognition that being a woman in the sound industry was not the norm. I was working in the recital halls at my university as a sound technician and live recording technician.  It was my regular practice to discuss the logistics of the concert with the artist before we began so that I would know what to expect for the day. A particularly high profile artist was invited to give a concert at my college one year, and I was the lead technician on that show.  I approached his manager to ask my regular questions, and he just stared at me like I had nine heads. I thought to myself, ”I’m only 19 years old, he must be freaked out because I’m so young.” To break the awkward silence, I asked one more question, and his response was, “Who’s in charge here?”  As the lead technician, I was in charge, so I told him I would be leading this event. Again, we stood in silence, staring at each other, until he finally decided to respond. I will never forget his words. “Just go get your boss, sweetheart, and I’ll tell him everything he needs to know.” That’s when I knew that it wasn’t just my age that would make things difficult; it was my gender.  I was mortified. I honestly did not know how to respond. Everything after that is mostly a fury-fueled blur, but I think, in my agitation, I just quietly walked away and did my job the best way I knew how.

Women in this industry still struggle with situations like mine every single day.  The thing that is different now is the steadily growing show of support and representation.  I wanted to know how young women breaking into the sound industry were feeling about it all, so I went straight to the source.  For this month’s blog, I decided to interview my current 9-month intern, Kate Russell, and one of my two-year conservatory students, Lilly Martinez.  Here’s what they had to say:

What is your name, age, and employment/education status?

KR: Kate Russell, 20, Assistant Sound Design Intern at PCPA-Pacific Conservatory Theatre

LM: I am Lilly Martinez. I am an 18-year-old full-time student.

When did you first become interested in sound?

KR: We were doing a production of Annie at my middle school when I was in the 7th grade, and I wanted to be the one to play the music and work with the mics.

LM: That’s a tricky question… I suppose my first interest in sound sparked in high school theatre. My interest deepened toward the end of high school when I began dating a musician who was an involved member of my hometown’s local music community, however, my first serious interest in sound was more recent in my academic endeavors when I actually was able to get my hands on some of the tech used in sound.

What are your career goals?

KR: I want to be a post-production sound engineer for film and television.

LM: I think my career goals focus more on involvement.  I want to work in dynamic areas that challenge skill and set-up. In my career, I want most to help promote culture and diversity. As a Hispanic woman raised in Southern California, I grew up in a heavily diverse community that fostered much of my own culture. I also had the privilege of studying ASL and interacting with the Deaf community. They inspired me to look into Deaf theatre and performances.  I hope that I can help amplify the voices and experiences of those lesser heard or known, regardless of company or title.

What does it mean to you to be a woman in sound?

KR:  To me being a woman in sound means that I am helping to bring about a change in the demographic of an entire industry. Just as theatre is for everyone, the realms of production behind the scenes should not, and cannot be exclusive.

LM:  To be a woman in sound is to be an artist that perseveres in expression regardless of surrounding social stagnancy.

Who are your role models?

KR:  My teachers and mentors:  Elisabeth Weidner (PCPA Sound Director), Abby Hogan (PCPA Scenic Charge), Zoia Wiseman (PCPA Staff Stage Manager), as well as Marisha Ray (Creative Director of Critical Role).

LM:  My role models are the dedicated and passionate artists who constantly show me the limitations others and myself create, are false. This includes Sound Designer Elisabeth Weidner for all her inspiring work, and Sound Designer and Engineer Talitha G. Blackwell.

Do you feel the weight of being underrepresented as a woman in sound?  

KR:  I have been fortunate early in my career to have teachers and mentors who are women, so it hasn’t really hit me yet, but I’m sure the more I travel and gain experience, that weight will become heavier.

LM:  In my experience, the majority of people I have had conversations about sound with have been white men. In high school, a male drama teacher and arts coordinator were the only people I had to rely on and ask questions regarding sound. Past students in my position were boys as well. It wasn’t until I began my studies at PCPA-Pacific Conservatory Theatre that I met women and people of color in sound. I never felt like I could connect or relate to the people around me who would get excited about sound until I met another woman in this field. This is probably the reason it took me so long to take a serious interest in it. There is a silent added pressure to be outstanding and firm as a woman in sound. Sound already tends to be swept aside in conversations about technical theatre. Voices of women have an added fight to be both heard and accepted.

How would you like to see the industry change?

KR:  I would like to see more women in leadership roles in sound, such as department director or producer.

LM:  I would like to see outreach to diverse groups in younger ages. I was swept into sound much like Dorothy and Toto once I left home. If I’d had that same exposure, if I’d had the conversations about sound in my youth that I have in my adult life, It would have been life-changing.

Describe your proudest sound moment.

KR:  My proudest theatrical sound moment was getting to run sound for a show at the Edinburgh Fringe Festival.

LM:  Surprisingly, my proudest sound moment happened outside of theatre. I had struck up a conversation with a more distant friend of mine who is a musician, and as we talked, I realized just how much my knowledge had grown. I felt well-armed for this conversation.

What is the best piece of advice you’ve ever been given?

KR: “You miss 100% of the shots you don’t take.”  I grew up playing various sports, as well as involving myself in theatre, so this quote became very prevalent in my life at an early age.  It applies to almost every aspect of life and is a great motivator for me to just sit down and do the thing.

LM:  A smart person takes critique. A wise person knows when to listen to it.

What advice do you have for young women starting out in the sound industry?

KR:  Don’t be afraid to fail.  Failure is how we learn and grow, both as artists and people. Failure can be intimidating, especially if you are the minority entering into a field, but don’t let that stop you from pursuing your goals.  Let it fuel you to surpass those who would try to keep you down.

LM:  Believe in your capability to grow, and live for the moments when your work gives you goosebumps.

 

The Importance of Mentorships

I had the fantastic opportunity to shadow Chez Stock who is the Tour Manager and Front of House sound engineer for singer-songwriter Amanda Palmer. SoundGirls had promoted this opportunity, and I applied to shadow Chez when she came through Toronto on tour. I wanted to share my experience of my day with her to shed some light on the value of these opportunities.

Load-In

Chez invited me to the 2 pm load-in time, so I found my way down to the Queen Elizabeth Theatre. I arrived with my thirst for knowledge, trusty multi-tool and overwhelming garlic breath (should not have had that hummus for lunch…). I quickly found Chez and introduced myself, hoping my breath didn’t offend her. Chez introduced me to other members of the crew (touring and local) before she had to run off to handle something merch-related. This was my first glimpse at just how much work it is being a Tour Manager (TM) and Front of House (FOH) at the same time.

Stage Management and Sound Check

When Chez and I re-connected, she showed me how she mics the grand piano, outlining the mics she uses and why and the importance of placement in achieving the best sound. This tour had a fairly simple setup of a grand piano, vocal mics, and a ukulele mic/DI.

When Amanda arrived, the crew had to make some minor adjustments to the positioning of the piano. Chez then had a chance to go up to FOH and take a listen to the PA. She played some of her reference tracks and showed me how she tunes the system. Chez was able to get what she needed through a quick sound check as Amanda had to leave for a pre-show event. Not before heading back to her Tour Management duties, Chez had to deal with a rattle in one of the keys in the piano. With 2 hours to go before showtime, Chez arranged for the piano tuner to come back and fix the issue. Handling these sometimes intense, last-minute problems is just another one of her many amazing skills!

Tour Management

After the soundcheck was complete, the crew took a dinner break. Except for Chez – she still had incoming merch to deal with among other things before doors opened in 2 hours. During this time, I was able to observe the lighting designer, Lauren as she also worked through the break putting the final touches on her lighting setup. As I watched Lauren, I caught glimpses of Chez running around like a superhuman, dealing with all the pre-show loose ends.

Showtime

I was fortunate enough to be able to stay through the whole show and sit behind Chez at the mix console. Watching her perform an artful blend of technical skill and musical ability was an incredible testament to her dedication to her craft. During the show, she had to be FOH and TM – mixing and dealing with issues that came to her. Again, she calls on her multitasking versatility when Amanda asks about the heating on stage as it was quite cold. Without interruption to the performance or her duties as an engineer, she succeeds in contacting the venue staff to get the heat going onstage. Chez’s ability to keep the show sounding great while dealing with these hiccups all without the audience being aware of them was remarkable.

Load Out

After the show ended, I was tasked with dismounting the mics from the piano and packing them away. After that, I tried to help out the crew as much as possible as Chez continued her Tour Manager duties. At the end of a long day, an exhausted Chez took the time to answer more questions I had and offer advice. We then said our goodbyes, and she continued to pack up before heading to the hotel where she would hope to get a couple of hours of rest before moving on to the next city.

Having the opportunity for some hands-on experience makes a huge difference. It’s one thing to read about the technology and techniques involved but having hands-on learning really solidifies the knowledge in a way that classroom learning can’t. Shadowing opportunities like this are so worthwhile, and I thank Chez for offering her time and knowledge to those of us looking to learn.

What can you do to get the most out of an experience like this?

Be quiet and observe. These professionals have a lot to deal with already so give them their space and don’t disrupt them. You are a shadow, so be in the background and learn from observation as much as you can.

Ask questions at appropriate times. Again, try not to derail their workflow. Write down your questions somewhere and ask them when your mentor has the time or when they offer to answer questions.

Offer assistance and always ask before doing. Don’t start touching gear or moving cables. You don’t know what is needed and you will get yelled at. Rather than jumping in, ask if/how you can help your mentor.

Stay in touch. Your mentor may be willing to offer advice and information post-mentorship. If you’ve been able to make a good connection with them, ask if they would be willing to stay in touch.


 

Creating a Podcast

I started listening to podcasts properly at the beginning of 2018 in my final year at the University of Exeter, to inform and/or entertain myself when walking to campus. I listened to some business podcasts such as ‘Ctrl Alt Delete,’ by author Emma Gannon and ‘The Diary Of A CEO’ by Steven Bartlett. I also enjoyed ‘Keeping it Candid,’ by Sophie Milner and Millie Cotton, who discuss the behind-the-scenes of the blogging and influencer industry. In terms of comedy podcasts, I was inspired by Jamie Laing and Francis Boulle’s ‘Private Parts’ where they read their diaries, and of course, the world-famous ‘My Dad Wrote A Porno,’ fabulously executed by Alice Levine, Jamie Morton, and James Cooper.

Podcasting is a very oversaturated market at the moment, providing copious amounts of content. The amount of listening you could do is endless, similar to YouTube videos. I found that podcasts offer inspiration, ideas and help to make business and life decisions. Perhaps the power of audio can be even more influential than video? You feel connected to a person through headphones, carrying out active listening such as nodding your head or verbally agreeing, to someone that is not even there. It is more productive than mindlessly watching TV whilst scrolling on your phone, as you are listening to a story.

As a member of student radio with an interest in all thing’s media, I knew I wanted to start a podcast for myself, to learn new skills and to document some of my own life. But, what on earth could I do a podcast about? What will make it different from my radio show? I was hugely inspired by the ‘My Dad Wrote A Porno’ podcast, as my own Dad has a literary creative streak. He writes comedic poetry. I thought I was the only one with a slightly odd, yet creative father, but it turns out there is a whole community of us. In his spare time, since at least 1996, my Dad has written poems, both hilarious and emotional about life, news events, and special occasions. Luckily my dad is not writing graphic novels, just poems. So, there I had it, ‘My Dad Wrote A Poem.’ (I did bump into Alice Levine at Edinburgh Festival last summer and told her I had ripped off their brand/title!)

I am always an advocate of creating something that will leave a more positive effect on people’s lives. I truly believe audio podcasting brings people closer than TV, film or YouTube ever has. It is an exciting time to be involved with a new wave of creative entrepreneurs that are using a simple medium to build global connections around the world. My Dad’s poetry covers a vast range of subjects from politics, to the weather, to house-moving drama. I believe that comedy brings people together. People can relate if they have a slightly odd family. Full of typos and grammatical errors, further comedic value is added to the poems. The quick and easy listening style leaves people wanting more. This content is personal to me because I am reading out loud the creative work of my Dad. I am reminded of family and life situations. For example, my brother losing his phone in the Alps and my Mum breaking her ACL. A few example titles include:

Seasons to be cheerful

The Homecoming

Pollution and Inclusion

Scandinavia

I created the short ident using my voice and the musician Dodie’s instrumental intro to her song ‘In The Middle.’ It is short, sharp and catches the attention of an audience. Everyone is looking for relatability and humour in a world full of negative news. My Dad sees the funny side and irony in everything, from Brexit to Trump. The poetic content also includes sentimental poems and readings from funerals. The poems capture emotional thoughts and make them palatable, sincere and easier to digest, to remember the good times. The editing I do is simple; I only edit out long pauses or background noise. I want the content to sound authentic and like a real conversation. I recorded multiple in a row and have since had to take a break as it is difficult to continue now I am no longer at university with all the audio equipment. I definitely wish to pick it up again at some point, as my Dad certainly hasn’t stopped writing poems!

WHERE ELSE TO FIND ME:

X