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Empirical Labs Offer Wage-Gap Discount

Empirical Labs Inc. (ELI), designs and manufactures professional audio signal processing equipment used in recording studios, live sound, broadcast studios and other audio production facilities all over the world. They also produce plug-ins for digital audio workstations (DAWS) and software for digital signal processors.

Empirical Labs would like to address the intersectional wage-gap by offering a 33% discount on their Arousor plug-in to all SoundGirls members.

To take advantage of this offer, email soundgirls@soundgirls.org  and enter ELISoundGirl in the subject line.

SoundGirls Note:

About Those 79 Cents

The most frequently cited pay-gap statistic obscures the even wider gaps faced by people of color. Often, this argument is accompanied by the now-famous statistic that women earn about 79 cents for every dollar men make at work. This is an important data point, but focusing on that figure alone masks the role race can play in perpetuating these disparities.

For instance, it is important to ask: Which women? The 79-cents statistic is an average that includes all women, but it obscures the even wider gaps faced by women of color. For black women, the number is closer to 65 cents, while for Latinas it is even lower, at 54 cents. This data draws attention to the fact that while women as a group aren’t paid as much as men, women of color see even more pronounced earnings gaps. Read more

SoundGirls in The Atlantic

Great Article on SoundGirls and so many other awesome women in audio.

Why Aren’t There More Women Working in Audio?

Like with many STEM-oriented fields, music production and sound engineering are dominated by men—though that’s very slowly changing.

A Sound Education

Last week the GCSE results were published in England. These qualifications mark the end of key stage 4 and are increasingly feeling like a relic left behind from old-style O-levels which, in the past, marked the end of formal secondary education. In the future, England is looking to working towards a ‘Baccalaureate’ system that aims to draw together three features:

What should assessment look like in 2025’ AQA 2015?

By including ‘personal development’ it is recognised that this is a key element in the needs of future employment.

Why is this important to those of us working in the sound industry?

A hot topic on the SoundGirls Facebook page is the need (or not) for formal qualifications in our industry. Putting student debt aside, a large majority of those against formal qualifications would cite on-the-job training as a far more effective means of achievement. In fact, this is a well-researched area. Carr (1999) says,

‘It is possible for someone to have a mental grasp of procedural knowledge, but no ability to perform the given task’.

I’m sure many of us can recall a course or training programme we’ve attended whereby at the end of the day we have understood all of the procedures being demonstrated but have very little idea of how to apply it in a real-life situation.

The issue that we recognise here is that we are being assessed on one topic and being expected to perform another. Therefore the assessment needs to reflect the practical nature of our industry.

When looking for a course it goes without saying that you need to be as thorough as possible when checking out the credentials. Importantly, check that the assessment opportunities being offered are intrinsically linked to the teaching.

Choose a course where the outcomes fit with your future plans. Even if these plans change, a good course will allow you to develop the skills to continue lifelong learning.

Student Debt

Going back to the issue of student debt, if you speak to any teacher about their students they will without fail at some point speak of inclusion.

Affordability of undergraduate courses in the UK ( and elsewhere) has shot through the roof in recent years. This has naturally increased the doubt surrounding if a course in sound is actually needed or not.

There is no straightforward answer to this other than to say that you need to seriously consider the opportunities that you will be afforded. Would you have the same networking opportunities if you didn’t do the course? Will you receive a rich and rounded mentorship away from the structure of an institution? You are quite likely to find that there are as many professional sound engineers that followed an academic route as followed an amazing mentor or mentors within the industry. The decision of which route to take can only be decided by you.

Community Support

Living in a country that has seen an enormous leap in the availability of public education, highlights the importance of grassroots support and encouragement for young people joining the workplace. Music is one area where traditionally, Oman is rich in heritage.

Whichever path you decide to take, ensure that you have taken every opportunity around you. The number one piece of advice I’ve always given to students wanting to get into sound is… get into sound! Find your local amateur dramatic society/ a band/ music venue/ recording studio and get involved as much as possible. If a group doesn’t exist then create one.

In Muscat, there is a huge variety of musicians from different backgrounds and cultures. They are often brought together on my ‘open mic’ nights. This is a fantastic opportunity for young people to showcase their skills but also to learn new insights. Look hard enough and there will always be a way forward and it doesn’t have to involve spending any money.

Huddleston, Prue. “Http://Www.aqa.org.uk/about-Us/What-We-Do/Policy/the-Future-of-Assessment-2025-and-beyond/How-Should-We-Assess-Vocational-and-Practical-Learning.” Http://Www.aqa.org.uk/, filestore.aqa.org.uk/content/about-us/AQA-THE-FUTURE-OF-ASSESSMENT.PDF.

The Future of Assessment

But, Do I Really Need to Go to School?

There are many avenues you can pursue to become a sound engineer. You will go through at least three stages to mastering the craft of sound engineering. The first stage will be mastering the basic terminology, vocabulary, and basic skills. The second stage will be applying this information to real-world work experience. The third stage will be continuing education, learning advanced practices and new technologies.

Several colleges and universities offer two and four year degrees in music production and sound engineering. There are several trade schools who offer BA’s in various music concentrations. There are online courses that range in both the scope of study and price. There are many very informative online tutorials that are free, and manufacturers continue to offer free training seminars.

It may be a good idea to start exploring what you want to do by taking short courses and seminars. Some community colleges offer extensive production courses geared to working in live concert production, but most offer an introduction to stagecraft or pro tools. These are inexpensive options and allow you to get your feet wet.

One to Two-Year School Programs:

Collections of courses into complementary diploma or certificate areas.

Four-Year College/University Programs:

But Do I Really Need to Go to School?

You Don’t Need A Degree To Do This For A Living

You do not need a degree to become a sound engineer. You do not need a degree to work in concert production. Many of the people working in the music industry do not have degrees in audio or music production; some did not attend college at all.

Being a sound engineer is a craft. No amount of study can make you a sound engineer, only practice. The usual pattern of training is obtaining an apprenticeship; this is harder in live sound. Just as much as having a solid technical background is experience and connections.

You can beg your way into being an unpaid intern at a studio, and begin the slow and process. You will pour coffee, sweep floors, edit in pro-tools, assist with sessions and then finally mix a session.  The same is true for live sound, obtaining an internship with a sound company or at a club will help you get your foot in the door. Remember to stay on top of the ever-changing technology. Having a basic understanding of electronics and electricity is important and would recommend a basic course in business management as chances are you will be working as a freelancer.

If You Can Pay For School, Then Go

Going to college for audio engineering is an invaluable experience. But consider student loans before shelling out $80,000 or more for a degree. It is hard to justify being in debt because the truth is you are still going to have to pay your dues working as an intern somewhere.

Getting an education is great. Going to college is great. You will learn and be exposed different ideas and theories. Each person’s situation is unique, whether it’s through school, interning or freelancing; you just have to start.

How to Get Started in Live Sound

There are many colleges and technical schools that offer degrees and education in audio engineering and music production. If you’ve already got a basic background in audio try and find a Mentor.

Visit SoundGirls.Org and our Profiles page you’ll find a constantly growing collection of stories about the successful women engineers/producers/ and technicians in the industry. They’ve got excellent advice and information to share about what it takes to make it in this business and how they did it.

Start by learning as much and getting as much experience wherever you are at the moment- if you’re in school, does your school have an active A/V department or music production program? Does your school have a sound system that it uses for events such as band concerts, theatrical performances?  Get involved and learn how to use the equipment.

Already have some experience?  Approach local sound companies, venues, or local bands for a job. Explain to them your interest in live sound and ask if they will give you the opportunity to work and learn from them.  Be prepared to work as an unpaid intern until you have enough experience. Gaining knowledge and experience whether it is shop work, loading trucks, or working a show are all valuable assets. Be available and open to working every opportunity that is offered to you. Proving that you are reliable is as valuable as your mixing abilities.

No experience- Are you a fast learner?  Can you learn on the job?  Are there any opportunities where you live? Inquire with sound companies, bands, and venues for internships.  If you have no experience you will need to find an opportunity to learn on the job. Inquire with local sound companies or sound engineers if they will take you under their wing. Often bands cannot afford a sound engineer but desire to work with someone capable, that they can trust and knows their material, approach local bands and see if they are open to this. Expect to start out working for free, consider the experience you acquire as payment.

Is there a local club or live music venue with an in house sound system. Explain to them your interest in live sound and ask if they will give you the opportunity to work and learn from their house engineer.  Be prepared to work as an unpaid intern until you have enough knowledge.

Join the local stagehand labor company or union (IATSE) and work as many shows as you can, request that they put you on the sound call.If you live in a major city such as LA, NYC, Atlanta, Chicago, Nashville, you have many options available to you:  sound companies, stagehand labor companies, IATSE, equipment rental companies and rehearsal spaces (such as SIR).

If you’re not good at learning on the job and/or have no idea where to get started, get an education at a trade school or college.  Your best bet is one that offers real world hands on training. Understanding signal flow and theory such as proper gain structure, troubleshooting are as valuable as getting your hands on the console and mixing. Work as hard as you can. Learn as much as you can. Show initiative, have a positive attitude and be prepared to jump at opportunities as they arise!

U.K. Intern at Loud Women Fest – Sept. 2

LOUD WOMEN FEST 2017

SoundGirls that need work experience this is a great opportunity to work at the Loud Women Fest 2017. This is an unpaid internship, but you will gain valuable hands on experience and be fed. We have spots for three interns to assist across two stages. Please send your CV and Cover Letter to soundgirls@soundgirls.org. Please indicate which stage you wish to work.

You must apply by Thursday 6PM GMT time.  We will notify you Thursday evening or Friday morning.

Bar Stage 12:00 to 9:00 pm

Main Stage two shifts 12 pm to 6 pm and 6 pm to 2 am

“LOUD WOMEN will undoubtedly be the beacon for all the best new female talent” – The Morning Star

 

“championing women in music through putting on great gigs with great people” – Parallel Magazine

 

“Fans of women-centric punk, rock and riot grrrl will heart this UK-based promoter.” – DIVA magazine

 

VUE Array Design & Audio Tools Workshop

SoundGirls are invited to attend two days of VUE Design Training at Center Staging, in Burbank, CA. The two days of training will provide in-depth product information and tools enabling the attendee to design and use VUE Systems in real world live sound applications. Topics covered will be intro to EASE Focus, how to aim and get a rig up fast, interpreting manufacturing data, and directional sub arrays. Attendees will gain the methodology and computer based tools to successfully to design, deploy and operate VUE systems

Tuesday, September 12, 2017

 

Wednesday, September 13, 2017

Attendees are encouraged to bring their laptop computer and VUE will provide the following software: AFMG EASE FOCUS 3 Array Modeling, VUE GLL data, SystemVUE Network System Control, Smaart Measurement (demo version). Note: Focus software requires Windows or Virtual Windows Environment on Mac OS.

 

 

 

Some Great Gear

Over the last year, with a brand-new facility, I’ve been able to purchase a lot. Here are some of what I would consider being the best small to medium-sized purchases of the year.

First, the most lifesaving (ok, more time and ease saving) items would be road cases! Going from a building where everything was within 30ft to a building where everything is two floors away is a change. I purchased road cases and created packs to go to each area. This made everything much simpler, and likely shaves off more setup time then when everything was stored closer. There are hundreds of case companies out there. My recommendation is to check out the case companies closest to you. This can save you time and money in shipping, plus you are also supporting a local or regional business. Just make sure the cases will hold up to abuse and fit your need for size and height.

Second, functional clothing, which is needed all the time but worth highlighting here. For me, there are two key items for functional clothing: pants with pockets and well-supporting shoes. Another SoundGirl posted some leggings with pockets a while back. Now, I’m not a legging person myself but it shows that someone is finally getting it: Pockets are needed! I usually get jeans that are a little cheaper and have well-built pockets. This way I can carry essential tools and then, if something happens to the jeans, they aren’t expensive to replace. For shoes, I prefer closed-toed with good support. Generally, I pick a hiking shoe for long days and keep some steel-toed shoes around for load-ins/outs. I find that hiking shoes provide support for longer than a general tennis shoe.

Third, a fun piece of equipment to get to know: a Shure ULXD wireless mic setup. (Just in time for the bandwidth chaos too!) We went the digital route and I couldn’t be happier with them for our meeting rooms. They work great with a lot of the other wireless mic setups throughout the campus and building. Batteries seem to last long enough and the pickup is awesome, even for those who don’t hold the mic properly. I’m hoping to add more of these to the inventory soon.

Finally, fourth, a hand-held little tool that is easy to take everywhere: The Gerber Shard keychain. This tool has been great to keep attached to my keys as I have encountered different power panels and boxes that needed opening. It’s lightweight and sturdy making it much nicer to carry all the time than a full multi-tool. It will never replace a good multi-tool, but it’s great to always have around.

What are some of the best purchases you’ve made this year?

 

The “Game” of Finding Work in Los Angeles

When I moved to Los Angeles, I knew three people including a friend from home named Dustin. On my first night in town, I went for dinner with him and a few of his friends. One asked the waiter about something on the menu. The waiter replied, “Well, as long as I’ve been here – which is five years now – this has been the most popular item on the menu. But the only reason I’ve been here five years is because I’m still trying to get my screenplay published.”  The waiter then took our order as nothing had happened.

After he left, I asked if the waiter’s comment struck anyone as odd. “Nah,” Dustin said, “you get used to it after a while. Everyone wants to be doing something else in this town.” His friend shared a story about a colleague who recently landed a job. The colleague was at Starbucks venting about how she couldn’t find work. The guy at the next table overheard her and said he needed to hire someone to do exactly what she was talking about. They exchanged information and she was hired a few days later.

Since I didn’t move to LA with a job, my first couple months were spent taking “meetings” (aka lunch, coffee, or a drink) with “connections” (aka friends of friends or people I met through an ad on Craigslist). I tried the regular job channels like applying to job listings or sending my resume to studios but got no response. It was so bizarre that all of this was the reality of starting a career. It felt more like a game making friends using code words versus job seeking.

Instead of seeking work, I started seeking information. I wanted to know how others got their start or what their career paths were like. How did they get interviews or job offers? What could I do to find more opportunities? What path should I be taking? It was those questions that lead to more meetings and more connections and eventually to work and more opportunities. The more I got to know people the more they offered to help.

I also met up with a college friend (one of the three I knew when I moved out). She worked at a post-production studio. She said the studio received at least 30 resumes a week and if they have an opening (even for receptionist) the owner would give an interview to someone an employee knew over a no-name resume from the pile. She showed me the cabinet full of resumes – all people who never got an interview.

I got a great piece of advice during one of those first meetings: “It’ll take six months just to make the connections to start looking for work in Los Angeles.” Once you start seeing the web of connections and how it works you realize opportunity could be anywhere – even from a stranger at Starbucks or a friend from college. The hard part is getting used to selling yourself in unexpected situations. There’s a balance, though, in knowing when it’s appropriate to talk about your skills or work. The waiter, for example, may have been too forward bringing up his screenplay while he was working another job. It takes some practice but if you’re comfortable sharing about yourself (and knowing how much or when to share) a stranger can turn into a connection or even lead to a great job.

 

Time for a Change

Recently I decided to make a significant change to my business. From the end of this year, I have decided to limit my voice-over demo production services to character voice demo production only. I’ve worked hard to grow the voice demo side of my business for the past six years, so it wasn’t an easy decision.

When I decided to start offering voice demo services, it seemed perfect for a freelance sound designer/voice actor. Actors, broadcasters, and anyone else who wants to work professionally as a voice-over artist or voice actor need professional voice-over demos to showcase their voice-over work. I wrote scripts, directed and recorded the actors in my studio, and mixed their demos. As my voice-over career grew, I also offered advice about the industry.

For a few years, producing voice demos felt like a way I could creatively combine voice-over, sound engineering, and sound design skills. And because I managed all my bookings through my personal studio, it was also flexible enough to allow me to do other sound design and voice-over work. After a few years it made up 60% of my income and bookings were steady enough for me to fill all the available slots I had every month, without almost any marketing.

As I write this, I am booked up for voice demos until the end of October, with people on the waiting list for when I open bookings again for November/December. This is the closest I have come to a guaranteed income since I went freelance for the second time. Once I stop producing commercial and narrative demos, I don’t have work readily lined up to replace this. Until I do, I’ll be losing around 50% of my monthly income. So, yeah – not an easy decision.

So why do it? Over the past year, I’ve felt it was time for a change for a number of reasons. Here are a few signs that you might recognise if you’re considering a similar change:

It stopped being challenging

Producing voice-over demos has taught me a lot. I learned how to write effective commercial, narrative and animation and gaming character scripts. My voice-over editing skills improved, and I discovered how to mix demo radio and TV commercials to sound like the real thing. I developed directing skills and eventually, an individual style and technique. But about 18 months ago, I realised I wasn’t learning anything new. I’d reached a point where I had all the skills and experience I needed to keep producing quality commercial and narrative voice demos, and I had no real drive to add to these. Which was compounded by….

I achieved all my goals

Once I was satisfied that producing voice demos would be commercially viable, I set goals for myself. Earlier this year, I ticked off the last of those goals. While there are other directions I could take this side of my business – expanding into commercial premises, hiring staff, offering different packages – none of these are appealing. I still want to produce character voice demos (for performers who want to showcase their voice acting skills for animation and gaming), but  I’ve reached my upper limit of what I want to do with commercial and narrative reels.

I wasn’t doing the work I really wanted to do

I am drowning in admin. Responding to emails, writing scripts, creating downloadable resources for clients, is overwhelming, and it’s taking time away from the sound design projects I want to do. One solution I considered was hiring an assistant or virtual assistant, but I’m uncomfortable with the idea of hiring staff. It’s time to do less of the work I currently do, to make time for the work I want to do.

I lost motivation

For almost my entire freelance career, earning money has been a pretty big motivator – if I don’t work, I don’t get paid. So I knew it was a big sign that I needed to make a change when even the thought of maybe not getting paid wasn’t enough to keep me on consistently on track and focused on my work.

I stopped looking forward to the work

You don’t have to love your job every single day. You do have to want to be there most days – otherwise, you’re doing the wrong job.

I’ll still be producing character voice demos for people who want to showcase their voice acting skills for cartoons and video games, so I haven’t cut the cord completely. And I admit I’m a tad nervous about what comes next when I don’t have a solid calendar of bookings on which to rely. Equally, I’m looking forward to what comes next – hopefully, more of the work I want to do and even, some time off! Here’s to new challenges.

 

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