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Empowering the Next Generation of Women in Audio

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Kickstart Your Mentorship

Set Some Goals

Mentorship is a vital part of our industry in particular for the advancement of women. SoundGirls has a wonderful opportunity for mentorship relationships to develop and grow over time. A fulfilling mentorship can be challenging to get started:  Meeting someone new; trusting them with your problems and worries while seeking answers and support can be hard for anyone to do, it can be even more trying in the crazy, but fantastic industry of ours too!

An excellent way to start a mentorship relationship is to get to know each other a bit. Share where you’re at in life and career including what your hopes and dreams are for now and the future.  Don’t forget your mentor may be new at this as well. These conversations are opportunities for both of you to connect, share stories and opinions, to progress together. We will likely never know the full impact we have on people, so let’s live life together learning, sharing, and growing along the way!

Jumpstart this relationship by working together to create goals. As a mentor, I want to know what you want to achieve and help you get there. A great way to establish this is by setting goals together. Your goals help me understand where you are and where you’re headed. Back when I worked with student staff, I would always ask them to set 3-4 goals for their year — at least two work-oriented and one life-based goal. For me, life is part of work and work is part of life; it is essential to progress in both, and as a mentor, I want to see you achieve great things at work and home.

Setting these goals gives you something to strive for too. It doesn’t mean they can’t change or adapt, but it helps you move forward.  When setting your work-oriented goals consider setting a skills goal and a qualities goal. For example, a skills goal could be to master the new mixer your company just purchased.  A qualities goal could be learning to lead a team of 15 people confidently.

Each of these are large work-based goals that are achievable with time. They also can be broken down into smaller steps to help you achieve the larger overall goal. Your mentor can help you with this too! To break down the goal of learning a new mixer you can take steps such as reading the manual, shadowing someone who uses that mixer on a show, spending time practicing in the shop, and getting out on a show with the mixer yourself. Then before you know it you have conquered this goal, and it’s time to create a new one!

Your qualities goal can be broken down the same way. Have a conversation with your mentor and a leader you respect; ask questions about how they developed their style. Find resources to read and start putting it into practice with smaller groups, then work your way up to the larger group.  Breaking down your large goals into smaller steps can make any goal feel more achievable! It will help you see progress along the way as well.

Your life-based goal can be anything! This is the goal I like to have the most fun with. For example, I had a goal this year to take a trip to Ireland, and I did! It was a great trip. I broke down this goal by setting smaller goals like saving money each month to pay for the trip. I conserved vacation and comp time to be able to spend a good amount of time there, and I researched the places I wanted to go to make the best of the trip. It was a vacation of a lifetime for me, and I am so happy I achieved that goal! Other life-based goals can be things like trying every flavor of ice cream in the grocery store, developing your painting skills, crafting your own beer, or even starting a family.

Goals don’t always need to be serious; they just need to be things you want to achieve. Plus, in a mentorship relationship, you will have someone to discuss your ideas, trials, and triumphs with along the way! What are your work and life-based goals? Mine are to get better at rigging points and weight balances, to become more confident in my new position at work, and to purchase a townhouse

 

Vancouver Meyer System Design & Optimization Course

Join our SoundGirls Vancouver Chapter at the upcoming

Meyer System Design & Optimization Course

Description:

This two-day course explores the relationship between the predictive perspective of the MAPP XT System Design Tool and actual sound system performance as measured with the SIM 3 Audio Analyzer, in order to provide users a more informed approach to accurately designing and optimizing systems. This course is eligible for 13 AVIXA Renewal Units for CTS, CTS-D and CTS-I certification levels. You must be present for the entire course to receive certification.

SoundGirls Wikipedia Edit-A-Thon – May 26th

Wikipedia Edit-A-Thon Day to add Women in Audio into Wikipedia. Please join us online May 26th for information, instructions, and help to add Women in Audio to Wikipedia.

Nicole Kirch and April Tucker have been very active in this important project and will be online to assist and answer questions.

In the meantime – you can review the page Nicole has made Women in Audio and read her fantastic blogs with step by step instructions.

Why is editing a Wikipedia article so important?

First of all, Wikipedia is the modern equivalent of an encyclopedia; it is the first stop in finding an answer. With over 5.6 million articles in the English language, it is one of the most comprehensive collections of knowledge available. Currently, there are very few female Wikipedia editors and a very small percentage of female-related articles. SoundGirls is looking to change that by training new Wikipedia editors. Wikipedia was made to be edited by the public, and it can be another tool to grow the influence of women in audio and to break the glass fader.

Zoom Meeting Details

Topic: SoundGirls Wikipedia Hackathon
Time: May 26, 2019 1:00 PM Central Time (US and Canada)

Join Zoom Meeting
https://zoom.us/j/145418062

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Meeting ID: 145 418 062
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Editing Sound Girls into Wikipedia

 

Editing SoundGirls into Wikipedia

 

 

Excellence in Assistance

Learning how to be a great assistant is one of the best ways to put yourself on the path to mastery in commercial music production. As important as it is to know the technical and creative aspects of your craft, it’s equally important to understand how social and interpersonal dynamics function in the studio environment. Knowing how to operate equipment might get you in the room, but knowing how to deal with a multitude of needs, problems, and personalities will keep you there. No one cares whether or not you’ve got a degree in engineering if you don’t know basic, real-world studio etiquette.

Every studio and every recording session comes with its own culture. Make it a point to understand the culture of every session you’re involved. Being able to read the room is an invaluable skill. It imparts competency, attention to detail, pride in your work, and investment in your team.

Some sessions will be clear and to the point. There will likely be a professional team in place. Your job here is to help things run smoothly and make sure that everyone has what they need. In situations like this, you’ll defer directly to the lead engineer and probably won’t interact too much with the clients. This is the kind of session where you want to be “invisible”—wear basic clothing, try not to speak unless spoken to (with exception to polite greetings and the like), keep a low profile. Stay out of the way, but be hyper-present and ready to jump in when you’re needed to change out a mic or take a food order.  If you become aware of a technical issue that no one else seems to notice, find an expedient but non-disruptive way to make the issue known to your lead engineer. Be prepared to take action on a moment’s notice.

Whether you’re working in a large, commercial facility or a small project studio, hospitality should be a top priority. Keep coffee hot and fresh. Have a kettle ready to fire up when a singer needs tea. Make sure artists’ riders have been satisfied to the best of your ability. Keep beverages, pens, paper, and other basic items plentifully stocked. Personally, I try to bring extra items with me just in case. Candy, aux cables, guitar accessories, adapters, phone chargers, tampons, and other such items can be a great door opener. For example, I had the chance to get friendly with super producer Don Was during a session because I was the only one in the building who had dental floss. The better you can anticipate and facilitate the needs of others, the more of an asset you will be in any production.

Of course, there will be sessions that test the limits of your patience and professionalism. The producer may be inexperienced or unable to communicate effectively. They may get angry or throw you under the bus when they make a mistake or are not able to properly manage a session. They may have an ego issue and feel the need to assert dominance to feel like they’re in control. This may be a genuine personality trait, or it may be what they think they need to do to impress or intimidate their clients (yes, this is an actual production tactic and you’d be surprised at how often it works). They may be dealing with a difficult artist and funneling that frustration your way because they have to remain in service of their client. Perhaps the artists themselves are inexperienced, egotistical, or unprofessional, and the whole room is suffering for it. There may be substance abuse or behavior that isn’t necessarily conducive to productivity. It’s your job to be prepared to navigate these challenges with patience, composure, and effectiveness. Stay solutions-minded and try to keep your feelings and judgments in check. If things escalate to the point of being abusive or dangerous, extract yourself from the situation and speak to a supervisor.

Some sessions will be relaxed, and you’ll become friendly with the artists and/or producer. In my experience, most artists prefer the kind of environment where they feel a sense of ease and camaraderie with the crew. The level of friendliness will depend on your ability to read the room and to adjust your personal levels accordingly.

Making a record can be an intensely bonding process. If you’re being invited to be a part of the bonding, you should participate! You just might forge relationships that will last throughout—or even advance your career!  However, don’t lose sight of how important it is to stay professional while you’re on session. Studio etiquette should always be your default setting when you’re on the clock, and the artists/producers should be handled with a clear sense of priority and deference.

Additionally, understand that your friendly relationship with clients might not extend past the sessions themselves. Sometimes the spirited nature of relaxed, friendly sessions is just what the artist needs to get through their process. Don’t take it personally if a producer asks for your card but never calls, or if an artist talks about wanting to hear what you’ve worked on but doesn’t offer a clear opportunity for you to present it, or if you don’t get a follow back on Instagram, or whatever.  Keep a sense of confidence and equanimity around you and stay centered on what’s most important—providing excellent service and doing what it takes to make a production successful.

 

Mastering w/ Piper Payne – May 11 – Oakland

SoundGirls is thrilled to host Mastering with Piper Payne

Workshop will focus on what you need to know to prepare tracks for Mastering. Plus the critical listening skills you need to work as a Mastering Engineer.

Mastering involves preparing your song for distribution. Mastering requires a unique set of skills and equipment. The Mastering process is as crucial recording and mixing; Piper will share her knowledge on Mastering with us.

  • May 11
  • 1 pm to 3 pm
  • Neato Mastering – Oakland, CA
  • Seating is limited to 12 people so sign up today.

  • Register Here

 

 

Sounding Out – The Cultural Politics of Sound and Listening

Sounding Out! is a weekly online publication, a networked academic archive, and a dynamic group platform bringing together sound studies scholars, sound artists and professionals, and readers interested in the cultural politics of sound and listening. Every Monday, their writers offer well-researched, well-written, and accessible interventions in sound studies, directing the field’s energy toward the social, cultural, and political aspects of sound and listening, particularly their differential construction of and material impacts on variously positioned bodies.

Sounding Out seeks out scholarship, podcasts, art, and essays—and rhetorical re-mixes of all these elements—devoted to answering four interconnected and interlocking research questions:

As a scholarly publication, Sounding Out!  is peer-reviewed, but following an open, developmental model fostered by digital humanities, in which editors and advisors are known to their writers, and provide several rounds of feedback, commentary, and collaboration before publication.  The editorial collective invites contributions via themed calls-for-posts as well as on more general topics related to their research mission.  Sounding Out invites work that uses sound as more than an object of study, but also as a medium of argumentation, experience, provocation, and communication.

Note: All pieces for Sounding Out! are stringently peer reviewed by the Editor-in-Chief and the Editorial Collective.  They go through several draft stages before publication. For full details on our editorial process, click here.  For submission instructions click here.  To read more about the editorial mission of Sounding Out!’s podcast, click here.

Sounding Out

Town Planning to Florence and The Machine

Annette Guilfoyle is a freelance monitor engineer. She has been working in the industry for over 23 years and is currently on tour as the monitor engineer for Florence and The Machine. She has worked for several sound companies, including Canegreen which became part of  SSE Audio.

Annette had initially been a town planner and as many engineers have, came to live sound in a roundabout way. In her spare time, she was always going to gigs and wrote for fanzines. She would often wonder about the varying sound quality at concerts and signed up for a part-time live sound course. The stars would align as Annette explains “ It was around this time that the current contract of work I was on was due to finish.  I had been applying for other positions but decided to give Live Sound a go. I took over from a friend who did publicity for a Melbourne venue, and this, combined with my course introduced me to a whole new world!”

It was during this time, that she would meet a great mentor, “ Whilst out mixing a band that I was also booking gigs for, I met a guy mixing a band on the same bill, and  he saw that I was struggling and he asked if I really wanted to learn how to do this?” She would say yes, and he took over the role of teaching her everything he knew. Annette would work gigs with him, and started to really learn the basics; how to roll cables, set up a stage, etc.  He also owned a mid-size PA and would do a lot of shows around town so she asked if I could assist on these. “This was all voluntary on my part, but it got to the point where he was paying me and I could set up and run his system and would often mix monitors. He was a fabulous mentor and now one of my closest friends.”

Annette would move onto the limited touring within Australia by working for local bands and travel the interstate with them for the one to two shows they had. Occasionally flying to Perth. Her first real touring gig was with an Australian Gypsy/Blue Grass band called the Blue Grassy Knoll.  They wrote and performed soundtracks to various Buster Keaton silent films. She mixed FOH and Monitors (monitors being mixed off the house board) and toured the world. Annette learned a lot while having fun “it was such fun, such great musicians and a fantastic show. It taught me a lot, especially about mixing non-traditional instruments and having “space” in a mix.”

Annette would eventually relocate to the U.K. in 2000 and toured mainly as a monitor tech, and occasionally as PA/Systems Tech for various sound companies. It was from this work that she was offered the monitor position for Paul Weller. Her work with Paul Weller led to working with other artists such as Ocean Colour Scene, Editors, Goldfrapp, Spiritualized and Marina and the Diamonds to name a few.  She also mixes FOH at the Southbank Centre in London where she works for the PA supplier; this is a good source of work for her between tours. Annette occasionally picks up FOH Gigs from her Australian contacts and has led to tours with the Go-Betweens and Mick Harvey (ex-Bad Seeds) when they’ve come to the UK/Europe.

Annette feels it is essential to give back and help the next generation of women in audio. She recently volunteered with Girls Rock Camp Brisbane teaching a workshop on sound, and she graciously allowed SoundGirls Members to shadow her Florence and The Machine European Dates.

Annette’s long-term goals are to keep getting better at her work and to keep learning. “And to be open to any opportunity. I certainly did not envisage I’d be doing what I’m doing today.  I don’t know where this will take me, but I am looking forward to finding out. I feel I’ve been lucky as I’ve mostly worked with hugely supportive people, be they my bosses, fellow crew, or band members.  Everyone has been/is willing to help the other out. The common goal of putting on a good show/event is fundamental to this over egos, and who’s right or wrong. Working towards that common goal, with a team as a whole, I find it very satisfying.”

What do you like best about touring?

Financially, the stability of steady income!  Socially, meeting new people, be it on the crew you are touring with, or at the venues, you are going to or the places you are visiting in general – and reconnecting with those people at later points.

From a mixing point of view, it also gives you the ability to really hone your craft/mixes. And learning to deal with the challenges of different rooms and venues, and the problems that they can create.  Oh, and of course getting to see so many places around the world I may never get to see working 9 to 5! Okay, so that’s quite a few things I like about touring.

What do you like least?

The repetition and the hours.  And living out of a suitcase.

What is your favorite day off activity?

Cycling.  I find that keeping very physically active when on tour helps me find an even keel.  I used to tour with a folding bike, or else I find a bike to hire – find a destination (preferably with cake) and set out.  It’s a great way to sightsee and burn energy. It makes me feel like I’ve had a real day off, and I’m all set to go back to work the next day.

What if any obstacles or barriers have you faced?

The biggest obstacles I’ve faced, to be honest, have all been self-imposed.  Lack of self-confidence, fear of failure. I’m my own worst enemy at times. But you learn to get over this and keep on going.

How have you dealt with them?

I put my head down and work hard.  Keep going. If I was not busy work-wise, I would get in contact with anyone/companies, looking for work.  I would do whatever training was available. Read up on equipment, techniques, etc. Anything to keep going – and stop dwelling on what is not happening, but what could happen.

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

Be prepared to work hard and always ask questions.  If you are not sure about something, ask!! And listen and learn from those around you.  Even as you gain experience, there is ALWAYS more to learn. Be open to new ways of doing things.  And of course, keep believing in yourself.

Must have skills?

Being able to get along/work with other people – and this also means being able to compromise and to respect all those around you.

Favorite gear?

A DiGiCo console.  I love their desks, so flexible and they sound great. But the pieces of equipment I never leave home without Whirlwind Q box, Rat sniffer/sender (both essential for troubleshooting), sharpies, leatherman, my IEM’s and/or headphones.

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

March Feature Profile

https://soundgirls.org/lillian-mcmurry-record-producer-owner-of-trumpet-record/

Mary Shipman Howard

Helen Oakley Dance

The Blogs

El SONIDO MÁS QUE MI PROFESIÓN, MI EXPERIENCIA DE VIDA

Sound More Than My Profession

The Importance of Saying Yes

Head of Sound for the First Time

 

Internet Round-Up

Women In The Recording Studio: Overdubbing History From Her Perspective

 

 

Mastering for Vinyl: Tips for Digital Mastering Engineers – Jett Galindo

 

 

SoundGirls Events

 

https://soundgirls.org/event/los-angeles-soundgirls-march-social/?instance_id=1474

Portland SoundGirls Chapter Social

https://soundgirls.org/event/producing-in-the-studio/?instance_id=1498

https://soundgirls.org/event/bay-area-chapter-1st-mondays-meetings/?instance_id=1452

https://soundgirls.org/event/detroit-soundgirls-spring-meet-greet/?instance_id=1477

https://soundgirls.org/event/glasgow-aes-soundgirls-theatre-sound-assembly/?instance_id=1472

JBL VTX A8 Workshop – May 9 @ Harman Northridge

 

SoundGirls News

Mix With the Masters Scholarships Available

Scholarships Available for Smaart Training

 

Travel Grant Awarded to Kaitie Sly

Volunteer for Sound Check Xpo 2019

SoundGirls and SoundGym

Shadowing/Mentoring/Internship Opportunities

Shadowing Opportunity w/ ME Aaron Foye

Shadow Gil Eva Craig – NZ & Australia

Monitor System Prep Internship

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

El SONIDO MÁS QUE MI PROFESIÓN, MI EXPERIENCIA DE VIDA

Cuando comencé mi carrera no sabía con certeza en que área especializarme, los primeros años tuve la oportunidad de dedicarme al sonido en vivo y un poco al estudio de grabación, fue entonces cuando un día se me presentó la oportunidad de coordinar el departamento de sonido para la filmación de un cortometraje de ficción, y  es ahí donde descubrí que definitivamente para esto es para lo que estoy hecha. Sentí una conexión total con el sonido desde ese día que ha logrado transformarme por completo.

Ser sonidista es para mí algo más que solo una profesión, es toda una experiencia de vida que me ha llevado a enfrentar situaciones dentro de lo profesional que me impulsan a superarme, mueve todas mis emociones, me entusiasma, me intriga, me reta a ser mejor cada día, me ha llevado a conocer lugares insospechados e inaccesibles a los que solo hubiese podido llegar gracias a la filmación de cine documental.

El sonido para cine documental me ha regalado grandes retos, nunca sé exactamente a qué condiciones climáticas, espaciales, etc. me voy a enfrentar y es eso precisamente lo que me hace tener que estar muy bien preparada (no solo en la parte técnica) para poder capturar el mejor sonido posible.

Romper las barreras del miedo profesional y escuchar cada día con atención cada lugar al que voy, saber cómo suena mi casa, un espacio abierto o cerrado, etc., me ayuda a tomar mejores decisiones en los momentos de la filmación. El sonido no es algo aislado de nuestra experiencia diaria, a cada momento tenemos experiencias audiovisuales que nos conectan con el mundo exterior, todo el tiempo somos capaces de reconocer personas o lugares con solo escuchar unas cuantas notas y es nuestra tarea como sonidistas  poder capturarlo lo más claro, limpio y tranparente que se pueda para recrear esas experiencias de forma realista.

El sonido en un proyecto audiovisual es tan importante como la imagen, ya que  a través de el podemos comunicar una serie de mensajes que no sería posible transmitir de otra manera y es nuestra responsabilidad como sonidistas luchar por que esto se dignifique. ¿Cómo? Dando importancia a cada sonido que capturemos en locación, hacerlo siempre con la conciencia de cómo podemos beneficiar o perjudicar a las cadenas subsecuentes, distinguiendo desde la fuente si es un sonido que nos ayuda o no y siempre luchar por tener las mejores condiciones para grabar.

Una de mis más recientes experiencias fue la grabación para un documental sobre el Centro Penitenciario Santa Martha en la CDMX. Aquí tuvimos que trabajar con un equipo básico de sonido ya que no se puede ingresar con demasiado, asi que debe escogerse el equipo idóneo para lograr un buen registro; tuve la oportunidad de grabar varios testimonios los cuáles me han llevado a reflexionar muchas cosas, a romper tabúes y darme cuenta que a través del sonido puedo también hacer labor social y beneficiar a personas que es muy difícil tengan oportunidades. Fue una experiencia muy grata que me hizo crecer a nivel personal y profesional y confirma mi amor por lo que hago.

Así que yo te digo que si el sonido te apasiona, te compenetres con él, no te rindas, estúdialo, conócelo y sobre todo escucha y disfruta tener experiencias más allá de lo visible que te harán darte cuenta cuan valioso y único es este hermoso fenómeno físico.

El sonido nos acompaña día con día, así que ya no puedes sentirlo como algo aislado de tu experiencia de vida o como algo en lo que solo debes ocuparte únicamente cuando estas grabando, el sonido está contigo todo el tiempo, te conecta con personas y con situaciones sorprendentes y es a través del cine que yo (al menos) puedo desarrollarme y crecer no solo profesionalmente si no como ser humano y te invitó a que tú también hagas del sonido tú experiencia de vida, descúbrete a través de él, compenétrate para que puedas así dar un mejor resultado, porque no se puede transmitir un mensaje que no se conoce o no se comprende.

Recuerda. El sonido va más allá de la palabra, el sonido todo el tiempo te transmite un mensaje y somos nosotros los sonidistas quienes debemos saber como interpretarlo o plasmarlo.

Y como bien decía el Ing., Joselito Rodríguez en su libro la Imagen del sonido.

“Expresarse sin palabras, entrega su mensaje, cumple su función, aun cuando su significado escape a la conciencia… ¿Qué trascendencia adquiere entonces la palabra dicha…?

Así que aún queda mucho por transmitir.

I love sound.  Nina Guadarrama

Irina Guadarrama Olhovich

Sonidista y diseñadora sonora de diversas películas, documentales y cortometrajes
como “Todo por Amor” Kristof Rascinsky, “Penal Santa Martha” , “La Réplica” entre
otros. Trabaja como especialista de producto para la marca Tascam México, dando talleres de formación sobre sonido directo y realizando la grabación de diversos proyectos asignados por la marca. Conferencista en diversos festivales de cine como Shorts México y Oaxaca Film Fest. Integrante de soundgirls México.

Read SoundGirls en México’s Blog

 

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