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Being a “Modern-Day” Music Producer

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

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

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

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

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

 

Review of Beneath the Boom Pole

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

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

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

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

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

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

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

The Importance Of Celebrating Ourselves And Others

 

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

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

 

Reflecting On Positive Outcomes

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

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

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

Who You Surround Yourself With

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

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

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

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

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

Work Life + Personal Life = Balanced Life?

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

Work Life

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

Family Life

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

Personal Life

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

Romantic Life

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

 

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

Moving In

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

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

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

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

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

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

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

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

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

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

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

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

 

Collaborating With Another Producer

 

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

 

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

 

 

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

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

 

 

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

Tina Morris – Studio Manager for The Village

 

Tina Morris has been working at The Village for the last 17 years, as the studio manager for the last 15 years, and has been working in audio for over 27 years. Tina shares with us her love of audio, her start in audio, and her career now.

Early Life

When did you discover audio as a career path? 

Fell in love with an SSL 4000G (This is before I knew about Neve so don’t judge!) in Studio A at Berklee College of Music in 1993.

How did you get interested in audio? 

My father always was interested in Hi-Fi audio and taught me how to solder and fix his stereo gear and turn tables.  That with me taking music lessons was a perfect mix for me to discover I loved audio recording and tech once I got into college.

Did music and audio interest you while you were growing up?  

I started playing piano at two and added Violin to the mix in elementary school.  The moment Guns n Roses came out with Appetite for Destruction I traded my violin for a guitar.  Once that happened I got into playing in bands and dabbled with recording demos on a Tascam 4-track.

Educational Background

Did you attend a University/College/Trade School? 

Yes, I attended Berklee College of Music and studied Music Production and Engineering. Graduating with a Bachelor of Science

Career Start

How did you get your start? 

Started interning the summer between my sophomore and junior years of college.

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

School gave me the starting point.  Interning, and learning how professional studios did things, really helped.  Even the importance of making coffee right was a huge lesson!

What did you learn interning or on your early gigs?  

Witnessing and experiencing interpersonal relationships was I think, the most valuable thing.  You can’t get that in a situation with your peers.  Seeing how engineers and producers handled difficult situations and people was the most important thing to get an example of.

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

I had some really great mentors.  Through college, I had Robin Coxe-Yeldham which was huge for me because she was a kick-ass engineer who already worked on some of my favorite artists in NYC before teaching, Jim Anderson who was the owner of the first studio I worked in named Sound Techniques, and Rob Jaczko who was another Berklee professor who really gave me the guts to come out to LA.

Career Now

What is a typical day like?  

No day is typical.  Every day presents original situations.  I usually come into the studio around 10 AM and it’s a myriad of answering emails, phone calls for bookings, scheduling appropriate staff for different levels of sessions on top of possibly helping out setting up, breaking down, moving, and fixing gear.

How do you stay organized and focused? 

I rely heavily on my to-do list on my Mac account and my emails.  I get pulled in different directions so trying to remember without those is impossible.  Luckily when I am in my office it’s a bit out of the way from the studios so I can usually put on some music or the news and focus.

What do you enjoy the most about your job?  

I love being involved with all the different projects that come in and getting to know all the people that make everything go.  When I was engineering it was one project at a time.  I might enjoy chaos…

What do you like least? 

This doesn’t happen very often but when people on my team forget that we all need to work together.  I have such a great team working with me but every once in a while someone doesn’t understand that it’s not about them but us making our client’s experiences the best it can be and can throw a wrench in the whole operation.

What is your favorite day off activity?  

Paddle Boarding!  Especially with Friends or Family.

What are your long-term goals?

Just enjoy life.  It’s too short.  And maybe start engineering more again since my kiddo doesn’t need all of my attention.  I love my job and my industry so my goals now are more directed at having fun.

What if any obstacles or barriers have you faced?  

Definitely a lot of being discouraged to do things “that boys only do”.  I wanted to be a fighter pilot and then an astronaut but unfortunately, I listened to people and did not go that route.  When I started playing guitar I got the same comments but fortunately did not listen!  Same with Engineering!

How have you dealt with them?  

I have just ignored anyone who has said I can’t do the things I want.  If people doubt me I have proved them wrong just by doing what I do.  I just make sure I know what I am doing (easier now that there is the internet) and do it to the best of my ability.

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

Make sure you have your mind and your ears open.  Learn everything you can.  Learn all the skills you can because it will only help you in the long run.  When I was getting started I didn’t say no to anything professionally.  Post-production?  Sure.  Installing a sound system in a hotel bar? Yes.  Recapping a Neve?  Absolutely.  Nannying? I learned how to deal with clients’ temper tantrums and great negotiation skills!  And turns out my collection of skills makes me the professional I am today even if some things did not seem to align with my career goals at the time.

Must have skills?  

Patience and the ability to be flexible and think outside of the box so you can be creative in your problem-solving.  When things are high stakes like recording or live sound nothing is going to be traditional or cut and dry.  Things go wrong always.

Favorite gear?  

Anything vintage and analog!  If I had to choose a good ole LA-2A and Pultec EQP-1A!

SoundGirls L-Acoustics Grants Awarded

SoundGirls L-Acoustics Grants

Congratulations to the 2023 SoundGirls that have been awarded L-Acoucstic Grants. We wish you all the best and thank L-Acoustics for providing these grants.

System Technician Grant

Sage Tichenor

System Engineer Grant

Katlyn Manktelow

L-ISA Grant

Victoria Hofflin

System Expert Grant

Sonia Andrea del Carmen Gutiérrez TREJO

Awesome Audio Education Resources

 

Working in audio presents a marvelous opportunity to continuously learn, keeping up-to-date with new technologies, and expanding your knowledge on the multitude of topics that the field encompasses. Audio education can sometimes be expensive or difficult to access depending on where you live and your current life situation and circumstances. Happily, there are many amazing educational resources and opportunities available for free or at a lower cost than “traditional” studies. Here’s a selection of just some of the great resources available on the internet and beyond, that I have found to be invaluable:

Events

Conventions, workshops, and audio industry events, whether in-person or online, are terrific opportunities to learn about the latest audio developments and to meet and network with others in the industry. Some regular larger events worth mentioning are the Audio Engineering Society’s twice-yearly international conventions, specialized conferences, student events, Omni Sound Project’s Signal Gain, and Soundgirls’ Virtual Conference.

Online audio organizations and communities

Over the past years, a number of excellent online organizations focused on education, community, and peer support, have been founded. Many of these organize workshops, weekly or monthly challenges to encourage productivity, feedback sessions, job boards community forums, and much more. Some of my favourites include SoundGirls, Music Production for Women, Beat Collective, Omni Sound Project, and Soundlister / A Sound Effect. Check out this useful blog post by Meredith Hobbs Coons that goes into more detail about several women-led organizations.

Ear training

Training your ears to easily identify different frequencies or subtle changes in sound can be a lifelong pursuit! Websites and apps such as Quiztones, Train Your Ears and SoundGym make ear-training exercises and drills fun and gameified.

Shadowing opportunities

One very effective way to learn is to have a hands-on experience by shadowing someone working in the industry who would be willing to share their knowledge and act as a mentor for a few hours or days. SoundGirls lists shadowing opportunities on the website, or sometimes simply reaching out to someone you admire and asking if you could assist or observe them can result in a great learning opportunity!

Online courses

There are a myriad of online courses in all facets of audio engineering. Platforms such as Udemy and Coursera allow you to search for courses on all topics, while online courses by The Production Academy and Berklee are geared towards audio production and music. Immersive and Inclusive offers both in-person and online study options. Many courses are made by independent people working in the industry who are keen to share their knowledge. It can be wise to read the details of a course carefully and look at reviews of former students, to be sure which are worth your investment.

Videos, podcasts, magazines and websites

There is so much knowledge to be gained from the massive amount of online content that exists – most of it for free! Some of my favourite video resources include the YouTube channels LNA Does Audio Stuff, Pro Audio Files, Mastering the Mix, and Pensado’s Place. Some great podcasts include Tape Notes, Girls Twiddling Knobs, Six Figure Creative (formerly Six Figure Home Studio) and the Soundgirls Podcast. My regularly-visited magazines and websites include Sound on Sound, DPA’s Mic University, and iZotope’s articles and tutorials. Additionally, the Soundgirls website has an incredible list of content under the “Resources” menu.

Social Media Groups

Knowledge sharing, job posting, networking, collective problem solving, encouragement, and sound advice are just some of the helpful things that are shared in social media communities for sound professionals. Some of the most supportive groups that I have greatly appreciated being a member of are the Facebook groups Hey Audio Student, Soundgirls Private, Classical Music Location Recording, WWAS Social (Women Who Are Sound), and Podcast Editors Club. And there are many more supportive and inclusive groups out there, focusing on various niches of the audio field.

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