Empowering the Next Generation of Women in Audio

Join Us

Silence as Sound

The Power of Silence in Music Creation

In a world occupied by sound, it can often be challenging to find a moment of silence in everyday life. In the realm of sound design, however, silence can be a very powerful tool.

The use of silence in film isn’t a new technique, but it is indeed one that makes a bold statement. For example, films like Saving Private Ryan and 2001: A Space Odyssey make great use of silence as a compositional tool. More recently Star Wars: The Last Jedi used the technique to emphasize a colossal explosion of a dreadnaught ship.

So why is silence so powerful?

Well, I believe it comes from the premise that silence is supposed to be uncomfortable. The phrase ‘awkward silence’ for example is used frequently to describe situations when the conversation runs out, or you’ve just run out of phone battery and need to look up at other people in a crowded train – to name a few examples. We are almost programmed to believe that silence is something to feel uncomfortable about.

In the context of cinema, silence makes the audience hyper-aware of their surroundings. Especially if the entire film up until that point was beautifully orchestrated and every second was underscored by lush sound design and Foley work. To hear silence is almost unnatural.

To quote Mary Shelley “nothing is more painful to the human mind as a great and sudden change,” and silence is almost always used as a dramatic modification to the score. If done correctly, the use of silence can be an excellent way of eliciting an emotional response from an audience. Whether that be to shock, anger or to create a break in the sonic narrative, silence can be a straightforward yet powerful tool to add to any sound designers’ project.

If you’re interested in film scoring or just even want to jazz up the track that you’re working on, perhaps find inspiration in silence. I have tried it a few times when I have been struggling with ideas. On one particular occasion, I added a bit of silence to a track that was getting too repetitive, and I think it worked. The sudden silence definitely makes you re-engage with what you were listening to in the first place.

If silence is a bit too absurd to add to a track though, you could always try the less is more approach. By stripping away some of the unnecessary tracks in your session, you could be left with a sound that differs just enough so that it offers something new to the listener.

Overall I think adding silence to a project is often overlooked. It’s a great creative tool to use and is also extremely simple to incorporate into any project. Even if you don’t always like the outcome of adding in silence, the main benefit is that it makes you re-engage with what you’re listening to and often adds a different texture and layer to your project.

 

 

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

January Feature Profile

https://soundgirls.org/girls-cant-do-that-robin-kibble-live-sound-engineer/


The Blogs

Going Freelance

Where Can Student Radio Take You?

Sonic Tourism

Where Are You Going?


Internet Round Up


Why I Show Up & Reach Out: A Broadway Sound Mixer’s Story

 

10 Women Loudly Pushing the Boundaries of Electronic Music

 

 


SoundGirls News

SoundGirls and SoundGym

Music Expo – Miami – Representation on Panels –

https://soundgirls.org/event/qsc-soundgirls-tour/?instance_id=1394

NAMM Mentoring Session 2019

She Rocks at NAMM Ticket Orders

SoundGirls NAMM Dinner

https://soundgirls.org/event/soundgirls-namm-breakfast/?instance_id=1418

DiGiCo Training for Melbourne SoundGirls

SoundGirls Launches Initiative for Members Working in Production Sound


Shadowing/Mentoring/Internship Opportunities


Shadowing Opportunity – Greg Price – Ozzy

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

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


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

Going Freelance

Hello everyone and welcome to 2019! As a new contributor to the SoundGirls blog for 2019, allow me to briefly introduce myself.

I am a foley recordist/sound editor based in Toronto and have been working in the audio post industry for just over three years now. In late 2017, I left my salaried position at a studio to pursue a freelance career. 2018 was my first complete year as a full-time freelancer. As a recent newcomer to the freelance world, I would like to share what I’ve learned and what has helped me so far. Here are some tips I hope you find helpful if you are thinking about, or are in the process of going freelance.


FINANCES


This is going to be the most significant subject because it is the most important – in my opinion – if you are considering going freelance. Some of us don’t like thinking about the money part. It can be stressful, but it is one of the most important things you need to do to set yourself up for success and peace of mind. Freelancing can be unsteady. You may be swamped with work for a month and then not have a single job the next. This uncertainty requires advanced planning, financially. The first thing you should ask yourself is: “How long can I survive without work on the current savings I have?” It was recommended to me to have six months of expenses saved.
At the time I went freelance, I maybe had four. This is really up to you and what you’re comfortable with. For me, the timing was more imperative, and I felt the decision to leap into a fantastic opportunity outweighed my concerns of not having enough savings. What did help ease my peace of mind in those uncertain first few months was keeping a budget. Whether you use a simple spreadsheet (as I did) or go for software like the highly recommended YNAB, a financial tracker at the very least will help you see where your money needs to go vs. where it is going. One important thing you need to include in your budget: setting aside money for taxes.


TAXES


The word generally comes with a winced or exhausted expression from a freelancer. Being your own boss requires you to do the not-as-fun stuff that your employers would have done in the past. This means keeping track of and filing your taxes. Now since I am in Canada, my advice may not specifically relate to your region, but I will try to be broad.

Two pieces of advice here: 1. Keep all of your receipts for EVERYTHING and keep them organized. You will be doing yourself a huge favour if you can keep up the habit throughout the year. Buy one of those small accordion file folders and organize your receipts by category. Things like ‘work equipment,’ ‘travel fees’ are good business expense categories to file in. You should also keep a record of your invoices. (I have a digital record to save on printing.) You may also consider digitally tracking your receipts/invoices with software like Quickbooks or Wave (Free). Organizing this paperwork will make things easier to tally at tax time, and heaven forbid, keep things in order if you are ever audited. * knocks on wood *


HIRE AN ACCOUNTANT


believed I could file my taxes all on my own and I probably could have with relative success but having an experienced accountant or tax preparer handle this for you is well worth the money. (Plus you can write off their bill as a business expense.) An accountant who specializes in your industry will be extremely helpful as they will know all the ins and outs of what expenses you can write off. They will also be your best bet to save more of your money from going to taxes. I mentioned earlier that you should budget for taxes. Your accountant can help you to determine what percentage of your income you should be putting aside based on your estimated income. You should also set aside any sales tax earned (HST/GST/PST in Canada). Once again, your accountant will again be a useful resource in knowing how to file your sales tax return as well. Keep the money you set aside separate for organizational purposes and so that you don’t inadvertently spend it.As far as finances go, I’ve only just scratched the surface. I would highly recommend you research resources specifically pertaining to the region you live in – especially in regards to taxes.


Networking


It can be extremely daunting, exhausting, and anxiety-inducing for some, but networking in the audio industry is your best way to gain work and experience. This is a relatively small industry. Everyone typically knows each other – especially locally – so try and use that to your advantage. One connection can help introduce you to another.

My biggest piece of advice for networking is to try your best to be yourself and be genuine. Those who have been doing this for a while can sense when you are being fake or insincere. No one wants to work with someone with a bad attitude or an ego and those people will have a much tougher time finding work no matter how knowledgeable they are or how qualified they are for the job. Also, being a small industry, your reputation will go far. So just in general, be a good person. Also, never expect anything from someone else and appreciate whatever opportunities or experiences you may be given.


Stay Social


Freelance work can be very lonely, especially as a sound editor where you may spend your days working from home. I like to stay in touch with my other audio friends and make plans to meet up every so often. It’s helpful to have that community of like-minded people to bounce ideas off of. And they usually know some key commands you haven’t heard of yet that will change your life (I’m looking at you, OPT + CMD + V). That community can also be a great way to get more work. If we have work pop up that we are too busy to take, we often recommend or offer it to each other.

 

SoundGirls’ social media groups are a great way to connect to the industry.

 

As much as I dislike social media, it can also be a great way to stay connected to the industry, learn new things and even find work. There are tons of groups online for audio (including SoundGirls’ various social media sites) that you should definitely bookmark and keep in touch with.

I would not have been able to survive the leap to freelance if it weren’t for the amazing support I had in my professional and personal life. I was very fortunate to have great mentors share their own advice with me and I hope this information helps someone else. Freelancing certainly isn’t for everyone and that is OK! In the end, you’ll know what works for you.

If you have any other advice from your own experience or have any questions, please leave a comment or feel free to contact me.

I’m looking forward to sharing more of my experiences and what I’m learning in 2019.


 

DiGiCo Training for Melbourne SoundGirls

 

There are only 8 spots available. You must register here

SD Fundamentals

The DiGiCo SD Fundamentals course is aimed at people who are familiar with mixing on digital consoles but may not be familiar with the DiGiCo interface. In this course we cover the basic operations of getting sound in and out of the console, routing auxilery buses for foldback and FX, setting up I/O and the matrix mixer.

Topics covered in this course are:

The course allows you to get a feel for both the physical console and the offline software that is available for all SD consoles.

Prerequisites:

This course assumes you have solid knowledge of audio mixing (analog and/or digital) e.g. gain, eq, compression, gating, busses and signal routing.

 

Where Can Student Radio Take You?

I discovered student radio on the first day of Freshers week at the University of Exeter in September 2014. I had never heard of the concept, nor had any idea what it involved. However, I was drawn to the bright red XpressionFM logo, loud music and bustling crowd around the stall. Everyone looked like they were having a great time, all in their matching t-shirts and because I knew there was no chance of me joining a sports society, I decided radio would be for me.

For the first few months, I was only involved behind the scenes. I didn’t want to be on air at all. I was a producer for the News Hour (a weekly news show) and a creative producer for a daytime music show. I recorded the 9 am news bulletin once a week and trained other members how to write, record, edit and upload the news. I was quick to learn the technical side of the Alice board and simple editing on Adobe Audition, despite never having had a huge interest in technology before.

I was soon convinced to go on air by two students presenting a daytime talk show. They made me do a “Geography quiz” (in which I got 2/10, despite being a Geography student). After that, I was hooked. I did my production and presenting training imminently and applied for my own show. As I had a passion for languages and international music, it was very niche. I called it ‘Parlez-vous espagnol?’ and it was a one-hour evening show presented in a mix of English, French, Spanish. I experimented with many different features, formats, and music on the show, making it into something I was so proud of and loved to work on.

After my year abroad in Bordeaux, France, I returned to Exeter as ‘Head of Station Sound’ with a name change for the show: Sobremesa. It is a metaphor/untranslatable Spanish word that means ‘having a great conversation around a table with good people.’ It also means ‘dessert’ in Portuguese. In October 2018, my show won the BBC Radio 4 Today Programme award for ‘Student Programme of the Year.’ It was a great way to end my career at student radio.

Throughout the university, student radio lead to many exciting opportunities. I worked as an Artist Liaison at Radio 1’s Big Weekend 2016. I volunteered at PhonicFM (Exeter’s local radio station). I had career mentors at BBC Cornwall and BBC Broadcasting House that gave me industry insights and advised me about how to make myself more employable. I also worked with the XpressionFM team at Hijacked Festival and Poltimore Festival. Radio gave me unbelievable amounts of confidence and inspiration to find interesting jobs and experiences. I completed the formal BBC work experience in Newcastle on a CBBC TV Drama and attended TV networking events where possible.

I also carried out a marketing internship in the summer of my second year. My employer was impressed with the social media and event management skills student radio had given me. I could work both independently as well as efficiently in a team and could be responsible for content creation, production and promotion.

Student radio also leads to a great network. I have many friends and fellow committee members who have achieved “the dream” of working in commercial or BBC radio. There are also those who work in journalism, PR and everything in between! We have a great community and always congratulate each other when anyone gets an exciting job opportunity.

Since graduating in July 2018, I worked at the Edinburgh Fringe Festival in a ‘Front of House’ role and made sure to learn as much as possible from stage managers, technicians, PRs and management. I then worked as a Runner for Thames TV. I am soon heading to Sevilla, Spain to work at a TV/film company as an assistant producer/proofreader. An ideal job that combines both media and languages! I truly believe that student radio added something noticeable and different to my CV as it was always brought up in interviews. I have friends who are featured as guests and part-time producers who are also asked about their student radio experience much more than academic achievements.

So to anyone considering student radio – go for it! And anyone who has done it, you’ll understand exactly what I mean.

WHERE ELSE TO FIND ME:

 

Sonic Tourism

Have you ever planned a vacation around your ears?  As in a location with something unique to offer in aural pleasure instead of gastronomic or visual?  If you have not, it is time to become an epicurean for your ears. Many places host ear-pleasing experiences, but some are local secrets.  Here are a variety of options to kickstart your listening adventure.

If you are tight on vacation time, Soundwalking is a simple way to reward your ears. According to Dr. Andra McCartney, Associate Professor of Communication Studies at Concordia University, “Soundwalking is a creative and research practice that involves listening and sometimes recording while moving through a place at a walking pace.”  It is to observe, rather than participate in the surrounding environmental ambience.

Soundwalking can happen anywhere. Urban centers are full of industrial symphonies for people watchers. Cars and machines can lay a rhythmic background for melodies from sirens and conversations.  City parks are a quieter option, full of birds and trees. During certain seasons birds migrate and bring with them a variety of songs. When I visited the Sandhill Crane Festival in Othello, Washington, I was fine with not using binoculars, because I heard the calls of cranes, hawks, harriers, and my favorite redwing and yellowwing blackbirds (metalheads of the bird world).  Next time I will bring an audio recorder in addition to a camera.

More remote parks and wildlife refuges reward listeners with isolation from mechanical sounds. In the Hoh Rainforest on the Olympic Peninsula of Washington state, there exists one square inch of silence. Other old growth forests might be hiding similar pockets of stillness as well.

Hoh Rainforest

Big Trees at Hoh Rainforest

When planning a metropolitan vacation, add a multipurpose experience.  Architecture is not just designed around the eyes, and older buildings are full of creative pockets of reverberation.  Cincinnati’s Union Terminal, a train station turned museum is not alone in its whisper arch, as an arched channel will do.  Whisper arches are perfect for private conversations between two opposite ends of a crowded room. In Europe, there is a garden that you can have a discussion with your echo.  The delay time of the reflecting sounds allows them to respond to your initial spoken message. Complex words can become full discourse as the word’s beginning decays with each successive reflection.

The Mormon Tabernacle in Salt Lake City has gorgeous acoustics purpose-built for the choir and a massive pipe organ. While the modern trend is to create multi-purpose performance halls, venues from the early 20th century (or even earlier) are awe-inspiring locations for the bold and beautiful verb.

Mormon Tabernacle

 

An ambitious sonic tourist should start with The Sound Book by Trevor Cox to create their travel plans.  Cox chronicles the weird and the unique in the sonic realm. Abandoned cisterns in the UK boast insane sustain times, sand dunes in Death Valley sing and boom, and Australia has a little bird that can copy whatever sound it hears.  Also explored in the book is a silent retreat, where Cox does not speak at the monastery and instead learns to meditate and listen. After reading about his experiences, I started paying attention to other sonic peculiarities in the news.  Detroit has a fascinating little island with a mysterious hum of possible sinister origin, and Siberia has an old mining pit that emits an eerie noise. Otherwise otherworldly intermittent sounds, like ultra-low frequencies, occur in ways similar to UFO sightings and inspired The X-files.

No matter your vacation goals and budget, there is an audio experience for you.  Treat your ears to sounds that vary from peaceful, luxurious, strange, to intriguing.  There are places to participate or spectate in the sonic wonders, and there are places to be introspective.  Enjoy the world with a new perspective and add a new dimension to your memories. Go forth and explore with your ears.

Where Are You Going?

 

Around January, you can’t help but take stock of things. Even if you aren’t a “new year, new you” kind of person, over the holidays your family and friends quiz you on what you’ve been up to all year, and what you’ve got coming up. You might not want to say that you’ve had a tough time, or feel undervalued or ignored at work. Maybe your boss seems like the biggest a-hole ever, not giving you any support, or even somehow purposely sabotaging your career. Even if you’ve had a great twelve months, the unpredictable nature of the entertainment industry can make you feel like you just got lucky, or you’re floating from one job to the next without any direction or purpose.

I am not here to tell you that all you need is to believe in yourself and everything will work out. I’ve seen musician friends get nowhere because they thought believing in yourself and waiting to be discovered was how you got famous. The music business is a business. You have to put yourself out there, be your own promoter, find out who the decision-makers at record labels and festivals are, and hassle them until they give you a meeting. Throwing your demo at the stage when you watch your favourite artist will not magically give you your break (seriously. The artist never listens to them. We just have to throw them away afterward).

It’s the same on the audio side. Even if you’re in a full-time position, these days our (literal and metaphorical) gig economy means very few people have a job for life. Your boss is only your boss at the moment. If you’re a freelancer, they’re not even your boss. A friend of mine helped me to change my perspective on this: these people who give you work, or give other people work instead of you, are not your bosses, definitely not your friends, they’re your clients. They don’t owe you fairness, or help, or career progression. You wouldn’t hire a builder who didn’t know how to construct a wall, but was “eager to learn.” You wouldn’t take kindly to them complaining that you chose a better-qualified tradesman instead, or that you’re not sharing the workaround. At the same time, you don’t owe your clients loyalty or unpaid hours unless they deserve it. When you stop thinking of yourself as an employee and start framing yourself as an independent contractor, you realise that you are free to do what you want. There’s no point in complaining about your boss keeping you in a bad work situation because your boss is you. There are always other options, even if they seem scary at first. If you do work for good people who are willing to help you grow and flourish, I hope you see how lucky you are, and appreciate them for the superheroes that they are.

So, once you take ownership of your career, what are you going to do with it? You don’t need to come up with a detailed ten-year plan of how you’re going to take over the world just yet (although companies love that kind of drive and independence). Take a while to think about what you truly want from life, independent of the job role. Instead of thinking “I want to be a touring front of house engineer,” think “I want to travel,” “I want to help people,” or even “I want to be happy.” Once you have a shortlist of what you want out of life, think about the jobs that will help you get there. If you’re going to settle down, with a family, pets and a reliable income, or if quiet and personal space is integral to your functioning, touring is not for you, but you might do brilliantly in education. If all you want is to go to Coachella, it’s much easier and more profitable to get a steady job and buy tickets to it than to throw yourself into freelancing and hope someday you’ll get to work on it. If doing the same thing in the same place day in, day out would drive you mad, working in-house on a long-running theatre show will not suit you but the chaos of festivals might. If you love being artistic and creative, being a corporate AV tech will leave you frustrated, but you could be an exceptional sound designer. The audio world is much more varied than we first realise, and there are all sorts of niches that don’t often get discussed (that I will explore in a future post).

Of course, you’re very unlikely to work in one role for your entire career. Perhaps swapping between positions day to day, or spending a few years at each, will work for you. Your priorities will change at different ages as well, so be prepared to adjust your goals as you go along. Both life and this industry are so unpredictable, remaining flexible will help you make the most of what you’re presented with and will stop you feeling like a failure if you get thrown off track. Realising your lifelong dreams can feel like an impossible task, but the key is to break your goals down into achievable steps, as small as possible. If you celebrate the first time you troubleshoot a crunchy mic input as a step towards someday system teching for a festival, you will feel much more satisfied in your work. That sense of purpose will also increase your resilience: not every job will be awesome, but if you can put it into the context of how it’s helping you get to where you want to be (and paying the rent is a valid part of that!), you can take lessons away from it. At the very least, you can smile and invoice, and learn that it is not a job worth repeating. When you find the gigs that make you feel great and help you progress, you can recognise them for what they are, and it will motivate you to pursue more of them. I know it sounds unbelievably cheesy, but although it might not be where you planned at first, hopefully, you will end up in the right place, and enjoy the journey along the way.

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

January Feature Profile

https://soundgirls.org/girls-cant-do-that-robin-kibble-live-sound-engineer/


The Blogs

The Double Glazed Glass Ceiling

Being the Intimidating Woman

Sexism in the Alternative Music Scene

Hello, I’m Susan. Educator. Microbudget Film Producer. Ginger.

5 Easy Steps To Becoming Rich and Famous While Working in the Sound Industry


Internet Round Up


WAVEcast: Women of Color & Diversity

You can build your own medieval soundscapes in this interactive website. Based on extensive research on Mystery Plays, it allows you to explore how the plays could have been affected by acoustic changes and sounds.

 

 

 


SoundGirls News

Music Expo – Miami – Representation on Panels –

https://soundgirls.org/event/meet-soundgirls-co-founder-michelle-sabolchick-pettinato/?instance_id=1416

https://soundgirls.org/event/el-departamento-de-mezcla/?instance_id=1414

https://soundgirls.org/event/qsc-soundgirls-tour/?instance_id=1394

NAMM Mentoring Session 2019

She Rocks at NAMM Ticket Orders

SoundGirls NAMM Dinner

https://soundgirls.org/event/soundgirls-namm-breakfast/?instance_id=1418

SoundGirls Launches Initiative for Members Working in Production Sound


Shadowing/Mentoring/Internship Opportunities


Shadowing Opportunity – Greg Price – Ozzy

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


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

Hello, I’m Susan. Educator. Microbudget Film Producer. Ginger.

As with most of us working in entertainment, I’ve had (and still have) many different jobs in my career. At this moment, I teach video & audio production at the university level, and I freelance at the Orlando Repertory Theatre as a sound technician for events. In the past, I have worked in film, television, theatre, corporate events, theme parks, and science centers. The plan for this blog is to share my experiences and research with a broad audience as we advance through 2019 with new technology, media, and ideas.

“As with anything in life, you get out what you put in.”

Many of my jobs in theatre included working with YA kids doing theatre, showing them how to run sound cues and basic mic settings. I helped run workshops in college for fellow film students to help get better audio. My teaching career officially began five years ago when I was fed up with the freelance struggle. The university where I work is year-round, which brings its own set of challenges for both the faculty and students. As an accelerated program, we teach one class each month and then rinse & repeat.

I’ve lived in central Florida for over a decade, so I’ve already heard it all about students who graduate from the program. Personally, I genuinely believe in my program and the content we teach. As with anything in life, you get out what you put into your experiences. Where you went to school doesn’t matter, what counts is what you were able to absorb and put into practice. A couple of times a year I will have a student question my background, how could I possibly know audio production/recording without having attended this school? My patience is tested, and I remind myself that many people do not research a damn thing before making a decision. There are many, many places that teach audio and most of us learn things on the job anyway.

SoundGirls EXPO 2018

My colleagues are a mix of FS and traditional college grads from all over the country. However, I am one of two women in our faculty of over 30 teachers. Both of us have backgrounds in theatre, and we are both named Susan. The female perspective is severely lacking in the department, so I do my best to represent and volunteer for as much as possible. At graduation, I am the only woman standing up on stage, and I make a point to be there. The university does attract some women, but most months are predominately male. There’s nothing wrong with this; it’s just an observation.

SoundGirls has allowed me to participate in more community events, the best one this year was with Girls Rock, an organization in St. Petersburg, FL that promotes teaching music to young girls. The Orlando SoundGirls went down to represent female involvement on the tech side, as many young people do not even know this career exists.

My hope for the future of women is more representation in general, not just in this industry but in life in general. We are your mothers and sisters, teachers, doctors, engineers, wives, and fellow humans. I joined SoundGirls to support women in my community and to be a mentor to those who need one. Here’s to the new year, SoundGirls.

 

 

X