Empowering the Next Generation of Women in Audio

Join Us

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

November Feature Profile

Berenice Hardiman FOH Engineer/ Tour Manager


SoundGirls Panel – Career Paths in Film & TV at Sony Studios


The Blogs

Should I Stay or Should I Go?


SoundGirls News

Sexual Harassment Seminar

https://soundgirls.org/event/orlando-soundgirls-social-4/?instance_id=1388

Workshop in Sound Post-Production

https://soundgirls.org/event/vancouver-soundgirls-social-2/?instance_id=1393

SoundGirls Launches Initiative for Members Working in Production Sound

GIRLSCHOOL 2019

https://soundgirls.org/namm-2019-badges-for-soundgirls-members-2/

NAMM Mentoring Session 2019

She Rocks at NAMM Ticket Orders

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

Shadowing/Mentoring/Internship Opportunities

Los Angeles Monthly Shadowing Opportunity

https://soundgirls.org/shadowing-opportunity-brad-madix-and-annette-guilfoyle/

Shadow Beth O’Leary ME Tech on Kylie Minogue

Shadowing Opportunity w/ FOH Engineer Sean “Sully” Sullivan

Shadowing Opportunity w/ ME Aaron Foye

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


Round Up From the Internet

Diversity and Inclusion Guidelines for Convention and Conference Policy Committees.


SoundGirls Resources

 

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

SoundGirls NAMM Tour with QSC

QSC has invited to SoundGirls to tour their booth and live sound products

Thursday January 24, 2:30pm, QSC Booth #14908

You are cordially invited to visit the QSC booth at The NAMM Show for a special SoundGirls booth and product tour. You’ll meet with QSC product managers and QSC artist relations manager to learn about the new live sound products QSC is debuting at the show.  Hope to see you there!

Workshop in Sound Post-Production

SoundGirls is excited to offer this workshop in Post-Production Sound with Katy Wood a freelance sound supervisor and sound editor. Katy’s career spans over 20 years working in sound for film and television. She has worked on projects ranging from The Lord of the Rings trilogy, American Sniper, A Wrinkle in Time, and Ant-Man and the Wasp to compelling documentaries like Disarm, Girl Rising and No Dress Code Required.  Katy will be joined by Stephanie Brown an assistant sound editor, Brittany Ellis and Unsun Song who work as Mix techs, and Onnalee Blank who is a re-recording mixer.

Space is limited to 12 SoundGirls Members. Apply and Register here

(Times below are approximate)

Bios:

Katy Wood is a freelance sound supervisor and sound editor originally from New Zealand. Her career in sound for film and television has spanned the last 20 years and four countries. She has worked extensively in the United States, New Zealand, Australia, and the United Kingdom. Katy has covered all aspects of sound production and post-production on projects ranging from large feature films, such as The Lord of the Rings trilogy, American Sniper, A Wrinkle in Time, and Ant-Man and the Wasp to compelling documentaries like Disarm, Girl Rising and No Dress Code Required. She has a Masters Degree in Film and Television Specializing in Sound from the Australian Film Television and Radio School. In addition, Katy has taught courses on sound post production in Australia, Mexico, and Chile.

Stephanie Brown is a freelance sound editor who has 19 years of experience in the business. She started off as an intern and worked her way up to being a dialogue and ADR supervisor on projects such as ‘The Dirt’ (upcoming Netflix feature) and ‘The Disaster Artist.’ She is also a dialogue editor whose most recent work is ‘A Wrinkle in Time’ and ‘Antman and the Wasp.’ Her career has afforded her opportunities to also work on foreign language dubbing of big studio features such as ‘Aquaman,’ ‘Fantastic Beasts,’ and ‘Wonder Woman,’ to name a few. She has also sound supervised documentaries such as ‘Bigger, Stronger, Faster’ and ‘Crips and Bloods: Made in America.’ She currently serves on the Board of Director for the Motion Picture Editor’s Guild (Local 700) and has a Bachelor of Science in Recording Technology from Middle Tennessee State University.

Brittany Ellis is an Indie feature re-recording mixer and feature and television Mix Technician who works primarily at Warner Bros. Burbank in California. She grew up in Northern NJ and went to school at SCAD (Savannah College of Art and Design). She obtained her sound design BFA and moved to Los Angeles to pursue her passion to become a re-recording mixer for artistic works.

Unsun Song has been a film sound industry professional for 20+ years. She studied Music and Audio Engineering at USC, and through connections there got her first gig at Soundelux sound editing company.  From there Unsun had moved onto mixing stages, having working on almost all major studio feature stages in Los Angeles, mainly Universal Studios and now Warner Bros Studio Dub Stage 9. This premiere stage mixes films for Christopher Nolan, Clint Eastwood, Bradley Cooper, Todd Phillips and Ben Affleck, to name a few. 

Onnalee Blank is known for her work on Game of Thrones (2011), Apollo 18 (2011) and Never Back Down (2008)

Diversity and Inclusion Guidelines for Convention and Conference Policy Committees.

The Audio Engineering Society’s Diversity and Inclusion Committee has completed its work on a document titled “Diversity and Inclusion Guidelines for Convention and Conference Policy Committees.”

This document is the result of a year-long effort by the over 40 members of the D&I Committee and its distribution was given the green light by the Membership Committee at the 145th AES Convention in New York. It shall be posted alongside the resources for Conventions and Conferences (found by navigating to the respective document sites in the AES Virtual Office) and should also be shared by Vice Presidents in each region with their local AES Sections.

 

DIVERSITY AND INCLUSION GUIDELINES FOR CONVENTION AND CONFERENCE POLICY COMMITTEES Rev. 3

 

  1. Introduction

The goal of this document is to provide guidance for AES Conference and Convention Policy Committees.

The Diversity and Inclusion Committee’s mission is as follows:

The AES Diversity and Inclusion Committee strives to ensure diversity in the AES worldwide and the audio industry as a whole by improving accessibility, welcoming diverse genres, embracing emergent audio fields and research, and radiating inclusiveness to all races, gender and gender identities, physical abilities, ages, and nationalities.

In order to do that, it is important for our members to see this in action. Conventions and conferences are one arena where our attitude towards diversity and inclusion manifests, and we would like to insure our pledge is not seen as an empty one.

By adopting these guidelines, not only do we exemplify our attitude of diversity and inclusion, but by doing so we increase interest in our events, draw in more people, increase membership (note the delineation) and become a stronger Society.

It also should be emphasized that this policy will only be as successful as the degree to which it is embraced, embodied and upheld by AES leadership, therefore the Executive Committee of the AES and the AES Board of Governors shall also endorse and deploy the document to insure its effectiveness and longevity.

II. Common Pitfalls / Examples of non-inclusive mindsets

Common pitfalls can be expressed in very avoidable statements that exemplify the attitudes we are hoping to change. These statements drive members away – in many cases, members who are trying to break new ground and change ingrained habits.

Here are some examples of statements made that do not represent an inclusive mindset:

The D&I Committee can recommend a diverse group of women and people of all races in every area of expertise represented by the Society. Please contact us. We are building a roster for this purpose.

Panels comprised solely of men have been the norm for decades.

Look at the benefits of increasing the appeal of your event and widening your audience. Find areas of overlap that can work.

This statement makes a sweeping statement about a particular group. The solution (in the case of youth) could be to have chaperones. Try to think of solutions instead of barriers. Young people are the future of our organization. Consider the benefit of ensuring the Society’s longevity.

III. Reporting Structure

Where possible, there should be metrics built into EasyChair. When presenters and authors sign up, we can gather demographic data so that organizers can have real-time feedback about diversity.

Conference and Convention planning committees shall have a representative from the D&I Committee.

A. Conference and Convention Policy Committee chairs should interface with either the Chair of the Diversity and Inclusion Committee (currently Leslie Gaston-Bird) or appointed representative.

B. The designated person from Diversity and Inclusion may choose to bring any concerns to the D&I Committee for discussion and communicate back to the relevant chair.

C. In case of dispute, the Executive Director, Chair of the Membership Committee, and President shall be involved in the conversation and help come to a resolution.

Areas of desired increased participation:

Panels:

Proposed panels dealing with topics of diversity and inclusion should be well thought-out and receive input from this committee. Our goal is not to censor: We want to help the panel succeed by giving cautionary advice and perhaps avoiding real problems afterward.

Panels about diversity and inclusion should be moderated by someone who belongs to the demographic being discussed.

Panelists:

Conference/Convention organizers are encouraged to have panels with experts who are diverse with respect to genre, discipline, gender identity, race, age, sexual orientation and ethnicity.

Organizers who find themselves challenged when identifying a qualified person shall seek the input from the D&I Committee to recommend panelists. The D&I will publish a roster of individuals who are willing to serve as panelists.

Travel funding should not be a hindrance if desired experts are not able to support their own travel. The AES D&I Committee can make recommendations about resources for funding.

Papers:

The authors submitting a paper may choose the option of a double-blind review process. This approach helps to avoid implicit bias with respect to ethnicity and gender. :

Workshops:

Areas of discipline: Workshops should also embrace all areas of discipline across audio engineering. There are many fields that have been established as new industries in recent decades, including the following examples (not restricted to the suggestions below):

a) Video Games

b) Interactive Audio

c) Virtual/Augmented/Mixed Reality Technologies*

These areas should be considered regardless of whether they have had dedicated conferences or conventions

Audio Genres: Workshops should embrace all genres of music. It would be desirable to see newer forms of music production featured, especially ones that have not gotten a lot of attention. These are a few examples, and genres are not limited to hip-hop and electronica:

a) Hip Hop. Many, many young producers are producing hip hop. The dearth of workshops featuring this music is noticeable and these producers should be welcomed into our AES family.

b) EDM and other forms of electronic music. Again, this is a popular genre among young people. The technology used to create this music (as well as hip hop and others) is currently helping to drive the audio industry economy.

c) Representation: Conference and Convention organizers shouldmake an effort to find individuals – even celebrities – from underrepresented groups to host workshops.

Recording Competition:

Appropriately experienced judges should be used for relevant categories. These judges should be literate in new genres. F. Accessibility**

Conference Spaces:

Buildings used for conferences must be wheelchair accessible and booklet materials provided by the AES should have clearly-labeled maps showing where elevators and ramp-access doors are located. Event organizers must also be prepared to make reasonable accommodations for other issues of accessibility such as seating areas, allergen-free menu items and/or eating areas, quiet/dark rooms, and all-gender restrooms.

Off-Location Recommendations: the AES recommends that meetings held outside of a conference should also have wheelchair access and other reasonable accomodations. When a facility does not have proper wheelchair access, event coordinators are expected to work with persons with limited mobility as to not bar them from the event. Event programs should indicate on the program which off-site venues are accessible.

Readers of this document are encouraged to keep these points in mind for web communication, discussion lists, social media, and other areas where AES activities happen.

*The conference in Redmond, Washington (2018) and York, England (2019) are noted **ADA rules are US-Based, please check with the hosting country to determine the proper guidelines.

Should I Stay or Should I Go?

I think we all reach a point in our lives where we might feel a little lost on our path. All of us who are in the entertainment industry, know how lucky we are to have the opportunity to work in a creative field. The few of us who actually followed our dreams or perhaps just happened to stumble upon them.

However, like anyone else we can also feel a bit lost and unmotivated, feeling like there is no purpose in what we do. I recently felt like this, craving something new and learning new things.  I felt like I wanted to move on from where I am currently at.

Writing this I felt a struggle, as I felt like I’ve been on autopilot the last two months, and therefore have nothing to say or write about, feeling generally unmotivated. Not because I had little to do, but because the festive season is approaching and having learned from last year, I wanted to get a head start on all the craziness that is waiting around the corner.

Looking back at these past two months, contrary to my feeling of lack of motivation, I have been very productive and done plenty! Is that perhaps why I felt like I wanted to move on as I know what to expect and the excitement (and stress) is not what it used to be? The adrenaline you get from the excitement of not knowing what is ahead of you? Maybe.

I guess that though we might feel stuck, unmotivated or lost, it does not mean that we actually are. Perhaps there are small changes we can do to change our circumstances, make things more exciting or possibly it is time to go, to move on in life and seek a new adventure?

Step back and evaluate

Look at where you are, what is going on around you? Are there things that could run better, smoother & more efficient? Is your workplace in order, do you have everything you need to do your job properly?

Sometimes you need to take a step back to take two steps forward. Identify what is causing you to feel unmotivated. Will moving on solve your problems or will it actually just make you feel more lost? Are you prepared to move on?

Can you change your situation?   

Are you able to change things at work to make things more/less challenging? It is important to feel challenged and to learn new things, but if it is too challenging it can result in stress.

Challenge yourself, set goals in your work- and personal life. There is always room for improvement even if you are already doing a great job.

If things are too challenging and stressful, ask for help and maybe take a step back. Troubleshoot and take one thing at the time.

What is your purpose?

We all need a purpose to feel fulfilled in life. What are you working towards, do you have a plan?

Sometimes you need to walk away from situations that are not fulfilling. Sometimes it is about saying no and establishing boundaries. Sometimes it is not your job that is unfulfilling, but your personal life and that affects your work life. Sometimes you need to stay to grow.

What do you need to reach your goal? Are you in the right place, right scene, right city or even in the right country?

Deal with it

It took me a good couple of months to shake away the lack of motivation and decided to make a few changes in my personal life rather than in my work life.  I felt like I wanted to leave and to move on just because I did not want to deal with things in my personal life. I took a step back, evaluated and changed my situation, and this is something we need to do regularly in life.

So the not so simple question is; will you stay or will you go?

 

 

Berenice Hardiman FOH Engineer/ Tour Manager

Berenice Hardiman is a veteran of the industry having first been inspired after seeing Pink Floyd at the Liverpool Empire, which was her very first concert.  “I immediately knew that I wanted to be part of whatever that “thing” was that I had just witnessed, but of course I had no idea how to even start. I ended up doing computing at University in the late 70s, which of course, ironically, has actually ended up being very useful. I’d always gone to loads of gigs all over the world, and as I reached my late 20’s, I decided that if I was ever going to make the leap into the music industry, time was ticking away.”  So taking a huge risk, Berenice decided to sell her house and buy a PA system with her partner Dave Claxton. From there they proceeded to mostly teach themselves. “We got books from the library and talked to anyone who would spare us 10 minutes. I’d been hanging around the periphery of the music industry for years so I had some useful contacts to press into service. Luckily, it transpired that I was able to achieve a good FOH sound and Dave took to doing monitors. We worked out very quickly that buying a monitor desk would give us the edge over other local PA companies.”

“We built up the company over the next ten years or so covering tens of thousands of miles, first in a Ford Transit and then building up to a 7.5 tonner (truck), doing the sort of gigs where you learn your trade and people generally seemed to like what we did. By the early 2000’s it had become obvious that in order to continue expanding would involve massive capital commitment, and by that point work with our main client, Midge Ure, had reached the point where really we didn’t have time for any other shows, so we took the decision to sell off most of the gear while it was still worth something, and put on our white gloves.”

Currently, along with being FOH Engineer and Tour Manager for Midge Ure, Berenice also handles most of Midge’s bookings, does contracts, invoices, designs his merchandise, runs Midge Ure’s webshop and website and whatever else needs to be done.  “We started off providing the system; then he asked me to do FOH and TM as he liked what he’d heard me do for the support act on the previous tour. We carried on like that for a while until 1998 when I told him that he really should have his own website and online store as I felt that was the way to go. Somehow it ended up falling on my desk! Merch design followed on from that in an obvious sort of way. Then he left his manager of 25 years, and I decided it was time to stop being a hire company as it would have needed massive financial investment to continue, so it made sense for me to take over booking the shows. After all, we had been doing his shows for over ten years by that point so knew all the venues

The Show Must Go On!

As anyone who has been on tour knows, things are not always what they should be, and some gigs and productions leave a lot to be desired.  The lack of attention to detail by some service providers/promoters is one of the things Berenice hates about touring. “We had a fairly prestigious festival show recently that descended into a total nightmare for me. The in-ears hadn’t been set up prior to our arrival, one of the keyboards didn’t have a power supply, the drum riser was the wrong size, half the rider was missing, and if that wasn’t enough I discovered the mix position was on a gantry in the roof of a round metal building. I literally couldn’t hear a THING I was doing. I also couldn’t get down to hear what it sounded like where the audience was.”

Clearly, Berenice has a history of doing whatever it takes and keeping a positive attitude, which are key to being successful. “Obviously we have done loads of gigs where it’s gone horribly wrong for whatever reason, but we’ve always managed to scrape by somehow! That’s what it’s all about though, making the best of things and getting the show done. Once, there was the time when the truck windshield wiper motor went on our way to a show in mid-Wales, some 4-hour drive away, and the only solution was to rig up some bits of wire and pliers so we could move them manually every now and again… we made the gig though!”

“Once, I nearly got stabbed when somebody pulled a knife on me at a show a long time ago when the only way to avoid our desk being stolen by a rioting crowd was to lie across it! We were doing a Soca band in a drinking club in Southall called the Tudor Rose. What we didn’t know was that there was a big boxing match being shown in the venue after the band and I suddenly became aware we were somewhat outnumbered! Not only outnumbered, but by people who REALLY wanted a load of audio gear!! They didn’t get it though.”

When asked what Berenice likes most about her job,  “Nothing beats standing behind the desk with a great PA and making it sound fantastic!”

Michelle Sabolchick Pettinato and Berenice Hardiman at Rock Of Ages Festival in Rottenburg, Germany

What advice would you give young women wanting to enter the field of live sound or professional audio?

“Be very sure it’s what you want! Home life is bound to suffer. I’m lucky that I work with my other half because otherwise, we would never see each other. We worked every New Year’s Eve for about 15 years! The downside is that we never really switch off from “work” which is ok for us because we love what we do.”

As it is with most veteran live sound engineers, when Berenice started her mixing career, consoles were of the analogue format.   If you understood signal flow, you could walk up to any analog desk and familiarize yourself with it rather quickly- a luxury that no longer exists in the current digital age. Coming from a computer background, Berenice made the transition from analogue to digital consoles fairly easily.  “ My only issue still is that at the back of my mind I know that if an analogue board goes down, you can generally row to shore somehow, but the same is simply just not the case when you go digital. Having said that, there are so few old boards out there that work flawlessly now that it’s a small price to pay for being able to just simply load your show, and off you go with a few tweaks!”

The vast array of digital platforms and the complete lack of uniformity among them can be intimidating if not overwhelming to a less experienced engineer.  Berenice’s suggestion for learning different consoles- “RTFM!!! and then install the offline editor and play with it… YouTube is a very useful resource.”

What is your favorite gear?

“I’m a big L’Acoustics fan! And I don’t like to go anywhere without a trusty TC Electronics D2 with a footswitch. I’m not really into carrying racks of valve compressors etc.”

What’s in your tool bag?

“Now? A bag full of XLR/jack converters, my headphones, a footswitch, and some lucky Chinese money a fan gave me in 2009!”

What do you feel is the biggest mistake you made throughout your career? What did it teach you?

“I once tried to fix a power amp during soundcheck and forgot to unplug it first! It taught me not to panic because things get forgotten!”

What would you say are some ‘must have’ skills?

“Calm, methodical thinking in a crisis, and keep your eyes and ears open all the time.”

“Being able to cope with very little sleep and crap food also helps!”

“As far as audio engineering goes, a very wise man once described a very well respected engineer to me… he’s a really great engineer, there’s nothing between his ears and his fingertips, and I think that’s still a very sage opinion. In my opinion, there are far too many engineers out there who overanalyze stuff rather than just feeling the sound.”

Find More Profiles on The Five Percent

Profiles of Women in Audio


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

October Feature Profile

First to Record Elvis – Marion Keisker


SoundGirls Panel – Career Paths in Film & TV at Sony Studios


The Blogs

SoundGirls at Mix Sound for Film

Live Digital Audio Part 3


SoundGirls News

Sexual Harassment Seminar

https://soundgirls.org/event/orlando-soundgirls-social-4/?instance_id=1388

SoundGirls Launches Initiative for Members Working in Production Sound

GIRLSCHOOL 2019

https://soundgirls.org/namm-2019-badges-for-soundgirls-members-2/

NAMM Mentoring Session 2019

She Rocks at NAMM Ticket Orders

Shadowing/Mentoring/Internship Opportunities

Los Angeles Monthly Shadowing Opportunity

https://soundgirls.org/shadowing-opportunity-brad-madix-and-annette-guilfoyle/

Shadow Beth O’Leary ME Tech on Kylie Minogue

Shadowing Opportunity w/ FOH Engineer Sean “Sully” Sullivan

Shadowing Opportunity w/ ME Aaron Foye

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


Round Up From the Internet

The producer’s handbook to mixing audio stories

Red Bull Studios’ #NormalNotNovelty to receive Campaign Award at 2018 Pro Sound Awards

 


SoundGirls Resources

Directory of Women in Professional Audio and Production

This directory provides a listing of women in disciplines industry-wide for networking and hiring. It’s free – add your name, upload your resume, and share with your colleagues across the industry.

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

GIRLSCHOOL 2019

 GIRLSCHOOL is a Celebration of Females Challenging the Status Quo.

 

With a production crew of all-women sound engineers, production designers, and lighting designers GIRLSCHOOL 2018 Festival featured; Shirley Manson + The Girlschool Choir, Jay Som, Kristin Kontrol + Special Guests, Moon Honey, Amber Coffman, Boyfriend, FAARROW, Lauren Ruth Ward, Marian Mereba, Soccer Mommy, Low Leaf, Akua, Pinky Pinky, A.W., Mary Lattimore, Nick + Navi, Drum & Lace, Desi Mo, Chelsea Jade, and Polartropica. DJ sets by Zuri Adia, Rituals of Mine, and Kim + The Created.

GIRLSCHOOL 2019 will take place on Feb. 1 – 2 in Los Angeles (venue tba). The festival will showcase over 20 bands, across two stages. Proceeds will benefit a girl-positive 501(c)3.

GIRLSCHOOL and SoundGirls mission is to create opportunities for women in the music industry.  We invite SoundGirls to be involved – all positions are volunteer only.

If you would like to be involved – please apply here  –

We look forward to working with Anna and GIRLSCHOOL to make this Festival a success. You can view photos from GIRLSCHOOL 2017 here GIRLSCHOOL – Three days of music and workshops in Los Angeles

 

GIRLSCHOOL is a music festival that celebrates women-identified-fronted bands and women artists.

Los Angeles Monthly Shadowing Opportunity

Sofar Sounds is a global organization that puts on shows in secret locations all around the world, offering musicians and audience members alike to experience live music in its most intimate form.

This is an opportunity to shadow the LA branch’s head of audio Evelyn Cools and learn what it takes to run audio at a show like this – load in, setup, sound/line checks, artist interaction, live mixing, time management, break down, etc. Evelyn will be offering this shadowing opportunity once a month for the next few months, starting off with a mid-November gig.

This month’s show will be on the 16th of November in the Arts District downtown and is in collaboration with NextVR (who will be streaming the whole show in virtual reality). Load in is at 6:30 pm and the night is expected to end around 10:45 pm. Sofar Sounds is currently not hiring new engineers; however, this shadowing opportunity offers definite potential for engineers to move forward with us in the future.

If you are interested, please send cover letter and resume to soundgirls@soundgirls.org

 

X