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Chelsea Body – Foley Mixer & Editor

 

Chelsea Body is a freelance Foley Mixer and Editor, working primarily with Footsteps Foley and Formosa Group (Toronto). Chelsea has been working in Foley for seven years and became a freelance engineer five years ago. Currently, she can be found working among the Foley teams on critically acclaimed productions such as ‘Dune (2021)’, ‘Women Talking (2022)’, and ‘The Handmaid’s Tale (2018)’.

Chelsea grew up taking classical piano lessons from age 10 and worked her way through the Royal Conservatory rudiments to a Grade 10 level. She now considers the bass as her main instrument, which she enjoys. She loved listening to music and going to concerts as a teenager and always admired the tech crew at live shows and thought that would be a really fun job. She attended Mohawk College and Fanshawe College, both in Ontario, Canada, and graduated with an Advanced Diploma in Applied Music from Mohawk College (2012), Diploma in Music Industry Arts from Fanshawe College (2014), and a Post-Graduate Certificate in Audio Post Production from Fanshawe (2015).

 

Career Start

How did you get your start?

At the end of college, I was offered a contract at Urban Post in Toronto doing Closed Captioning work. While it wasn’t specifically in my field, it was my first foot in the door and I took that opportunity to connect with the staff there and show my interest in audio. After a few months, they were looking for a new Foley recordist and they thought of me for the job. It was a night gig and a position I didn’t have much experience in but I jumped at it. I had such wonderful, supportive mentors there and I learned so much from everyone. After about two years, the time came for me to explore other studios and network with the broader Toronto community, and from there I went freelance as a Foley mixer and editor.

What did you learn interning, or on your early gigs?

I especially enjoyed my time working in a post house as I was able to jump between roles and projects. If Foley wasn’t busy, I would be editing a reality tv show or was able to take the time and sit in with a re-recording mixer, or an ADR session. Being in that environment, I was able to gain knowledge in many aspects of the post field which really helped me understand the wider process and how to better communicate with other colleagues along the pipeline of a project.

Career Now

What is a typical day like?

Footsteps is about an hour’s drive each way from home which isn’t ideal but I enjoy being in the city and having that escape to the countryside for work. We work a typical 8-hour day, though I often work longer to tidy things or finish up emails and scheduling. While my main role is Foley mixer and editor, I also manage the scheduling at Footsteps. We work as a team so I find time throughout the day when I can step aside to answer client emails and update our work schedule. We have a small, tight-knit crew there that’s extremely collaborative and I enjoy working in a team like that.

How do you stay organized and focused?

I guess I am somewhat organised even if it doesn’t feel that way sometimes! I do enjoy finding new tools to help me keep track of everything but it can be difficult to find software geared toward our field that does exactly what we need it to do. I still keep an old-school handwritten planner because I find it faster to jot things down than to open an app on my phone. Finding what works for you is important and planners that I can put stickers in make organising things more fun too!

What do you enjoy the most about your job?

Being able to work on a variety of projects is a real pleasure. One week we’ll have a drama, the next, a horror, and then a comedy. All of those genres require a different set of aesthetic and creative mindsets and I love the variability and challenge of jumping between them. Sound editors typically work on a job for weeks or months at a time while our timeline is much shorter in Foley, so we have the opportunity to create sounds for many different projects throughout the year.

What do you like least?

Sometimes the budgets we have to work with can be challenging. We always focus on the high quality of our work and that can be tough to manage when we’re on a tight timeline.

What is your favorite day off activity?

On my off days, I enjoy focusing on my hobbies which include yoga, sewing/crocheting, and playing bass in my band.

What are your long-term goals?

I still have a lot to learn and I’m looking forward to being able to do that. I would like to spend some time in different roles in the post field to have an even better, well-rounded knowledge of the work my colleagues do. I know that no matter what, so long as my work is in audio, I will be happy so I’m looking forward to a long career playing with sound.

What, if any obstacles or barriers have you faced?

I feel very fortunate and acknowledge the privileges I’ve had in my career so far. I think a big thing for me has been having the ability to say ‘yes’ to pretty well every opportunity that has come my way. I am so grateful for the mentors I’ve had who have helped guide me and I hope to extend that to the next generation of folks coming into the industry.

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

Say yes to those opportunities. Even if you doubt your ability, say yes and figure out how you’re going to manage it after. Apply for those jobs where you don’t think you quite qualify because you never know, you could be the best candidate. Don’t sell yourself short and be sure to ask for what you deserve. My golden rule is always “don’t be a dick”, that goes for everyone. If you’ve got a personality that people want to be around, that’s worth more than how much you know about compressors or the frequency response of every microphone.

Must have skills?

Unfortunately, you have to know ProTools for post-audio work. Every studio uses it – though some editors work with other DAWs, so long as you’re able to output what your supervisor or client needs from you.

For Foley recording, a good knowledge of different microphones is useful as well as recording techniques including compression and EQ.

Favorite gear?

Hardware:
TLM103
My ’92 Lake Placid Blue PBass

Software:
FabFilter Pro Q3 – I put that on EVERYTHING
Whatever the most current Izotope RX Suite is at the time (de-click gets the most use in my work)

*Huge thanks to my parents for sending me to piano lessons and listening to my sometimes painful practicing; for not getting upset when I said I wanted to go to music school; and for generally being super awesome and supportive.*

 

Benefits of a Full-Time Job in Audio

A common question from people starting in the audio industry is, “should I have a full-time job or freelance?” Even veteran professionals may ask themselves that question throughout their careers. It is perfectly normal to want different things during different stages of our lives!
I lived a freelance life for a long time, and I eventually started applying for full-time positions for economic stability and professional development. After many applications and a few interviews, I eventually got a job at NPR! I have been there for almost three years now, and have discovered a few surprising benefits of working full-time along the way.

Economic Stability

This one is perhaps the most obvious. Personally, I have been able to pay off debt, build savings, travel and have a wedding without going into debt. I have also been able to do basic things such as have health insurance and buy food and clothes without feeling guilty or worrying about whether any of it would set me back. All of this has been achieved through a combination of a steady paycheck and diligent budgeting.

This brings me to a bonus economic benefit. Through consistent work, I have had the time to learn about better financial practices. I have had the time to research different budgeting and saving methods, read stories about how others have paid off debt, developed budgets through spreadsheeting, read up about building better credit, and even began to understand investing. I should have made more time for such things when I freelanced, but I never got good at it because I was always flying by the seat of my pants and just focused on current expenses or saving for the next time I did not have a gig. A steady paycheck has enabled me to spend time learning about long-term financial well-being.

Self Care

I was definitely prone to self-martyrdom in my freelance career. I was always pushing aside things like dentist and doctor’s appointments. To the rest of society, these things are non-negotiable. And they should also be priorities for those of us who work in production! My mental health and thus, my ability to perform at work has increased drastically because I have had the time and guarantee for basic needs.
By “basic needs,” I mean routine exams, sick time, psychotherapy, and vacation time. If you are or desire to become a parent, maternity/paternity leave is a must. Yes, time off is a basic need. Even when you love what you do – rest is necessary. Time with loved ones is essential. Time to rest up when you are sick (for yourself, and so you don’t infect others) is essential. People outside of production view these needs as non-negotiables, and we should too. As I said, I have seen my work performance and ability to interact with others in a productive and positive way drastically increase by having my basic needs met.

Building Skills.

We get really good at things by working on them consistently. At my job, I have gotten really good at audio repair (de-noising, de-clicking, spectral editing, etc.), mixing the human voice, mixing to loudness standards, editing and mixing in ProTools, and routing connections for broadcast. I use my ears every day and have noticed improvements in my technical listening skills. When I freelanced, I was working on skills less consistently or using different skills day to day. Zeroing in on specific skills has allowed me to get really good at everything I mentioned above.

I also work with many other audio engineers! We swap tips and tricks all the time. Learning from other audio people is a huge benefit to a full-time job. It has also increased my self-esteem when I can share an effective audio strategy with someone else. As a freelancer, I was not always sure the way I did things was “right.” But now I am surrounded by people who validate my knowledge too. Being able to receive and exchange knowledge has been one of my favorite experiences.

Career Reflection.

This is the most surprising one, or at least it was for me! Having a full-time job in audio has allowed me to reflect on what my career has been and what I want it to be. In the past, I had positions where there were unreasonable expectations or they were unclear. And all of us have had to deal with the toxic, degrading boss or worked under other audio people who did not treat others with basic dignity and respect.
At NPR, I have seen how we can treat others with productive kindness. We can support one another and give constructive feedback while meeting deadlines, working under pressure, and producing high-end content. Now that such actions have been demonstrated to me, I know how I want to act throughout my career, and what I expect from the people I work with. I have boundaries now that I did not have in my previous work.

Besides general culture and attitudes, I have also reflected on the kind of work I want to do. I have been able to ask myself questions such as, what am I gaining from this job? What am I missing? What could I be doing differently? How can I do more work that aligns with my values? How can I do more creative work? What skills do I want to learn next? What is important to me outside of work? These questions are very necessary for career growth.

During these past three years, I have learned that a full-time job can provide economic stability; the importance of meeting primary health needs;  an environment to consistently develop and exchange skills; and the time for personal reflection. I would like to close out by mentioning that taking a full-time position does not have to be a forever choice. You can have a job for a while, then go freelance, then go back to another job, and so on. Our field demands agility, and that includes making choices that will keep you working towards your goals and personal happiness.

Interviews – Interviews – Interviews

 

This month has had many ups and downs….

I have had many interviews some good and some not so good. I will get into details about these interviews in a moment.

I have applied for 36 jobs in total. Some are strictly summer contracts some are further into the future. Until I specifically have a job I will not be naming the companies that I interview with but I will go into detail about my interview experiences.

I have had a total of 16 interviews. Don’t worry I am not going to summarize every single one. I am just going to talk about the standouts… whether it be because they stood out for a good reason or a bad reason…

To give a brief overview of the interviews, some didn’t go well because the job posting differed from what they actually wanted for the job, or they would imply it was paid and then tell me in the interview it wasn’t. Others our personalities didn’t mesh very well. I am a pretty bubbly person which doesn’t mesh with everyone! However, I am a person who enjoys what I do and I like to enjoy the place I work so this can be a deal breaker for me.

My first interview was with a small regional theatre company. I was interviewed by two men. One was the Technical Director of the theatre and the other was the sound designer and audio engineer. I was interviewing for an A1 or A2 position. I immediately knew within minutes of being on zoom with them, that this was a place I would want to work. They were so inviting and it just felt more personal than generic interview questions. We even had a mutual connection through a director which also allowed us to connect! Although this interview went extremely well, and I did in fact get the offer, I had already agreed to mix another show and the dates conflicted. I can genuinely say though, because of this interview I will keep this theatre on my radar for future possibilities.

What I learned from this interview process was that even if you can’t accept the offer currently, interviewing with a company allows you to know if you would EVER want to work with them not just in the present. They also have all my contact information now so if they ever need someone I have told them to reach out!

The next interview I would like to talk about is one that did not go very well. I interviewed with a larger more well-known repertory theatre. I interviewed with one man and he was the technical director. I was interviewing for a sound assistant position. Immediately when I got on the zoom call I could tell he wasn’t taking the interview seriously. He asked me extremely generic questions and little about my actual experience, and when he did ask about my experience the answer was on my resume. He then asked when I was graduating college and scoffed when I told him it was this May. Next, he asked me how much supervision I would need in this position after explaining the duties of the job. I replied saying that I didn’t think I would need any because everything he explained I had experience in. He again scoffed and told me “oh I’m sure you would need some supervision.”

Overall, after this interview, I was completely uninterested. Even if he didn’t mean his comments in a malicious way I am unwilling to work under a supervisor who speaks the way he did. In the end, I did get the offer and I declined it. I chose to not work in a place where I felt I wouldn’t be valued. Saying no was extremely difficult especially with it being a more well-known theatre. However, I know I made the right decision and I don’t regret it at all.

The last interview I will debrief was one of the best interviews that I have had. When I applied to this company it wasn’t high up on my list of places to work. This immediately changed as soon as I got on the interview. I was interviewed by one woman for this position and she was the production manager for the company. As soon as we started we clicked. It didn’t feel like an interview it just felt like two colleagues talking about their experiences in theatre. We talked about this very blog and she told me how she loves that I am sharing my experiences and advocating for women in sound. We shared a passion for this art and empowering women within the technical aspects of theatre.

After this interview, a company I barely considered working for became one of my top choices. And even better I got the offer. I am currently in the process of making sure the dates work with my other commitments and if they do I will undergo a background check and hopefully sign a contract!

So, let’s talk about the point of this month’s blog… The point of this blog post is that I believe the right job will come. There were other interviews in between these and none of them were the right fit, but when the right and more importantly unexpected right job came along I knew it was the right fit. So, don’t settle on a job you don’t feel is right no matter how new you are in the industry, the right fit will come along!

This next month I have more interviews set up including one that I am flying to a different state for! I can’t wait to share this next month’s journey with you! Talk to you in March!

Eight Tips for Getting Started Mixing in any DAW.

If you’ve spent any time recording in your DAW, you are certainly aware by now how hard it can be to get things to actually sound good. As soon as you do a little Youtube search to get some help, you’ll find hours and hours of tutorials ranging from the very basic steps to master-level mixing. Where does one even start figuring it out?

I decided to write up my own basic mixing tips for anyone who knows how to record but just can’t seem to get things to sound good yet. These are easy, baby steps that work in any DAW. I hope it’s helpful!

Bring the level of every track down to at least -10db to -15db. Your Master Bus should remain at 0 dB. This is part of what is called “gain-staging” and it basically means that you need to always be conscious of not crowding the ceiling of your mix. If every track is at zero (the loudest) then you will only hear a crowded, jumbled, even distorted mess once all the tracks are there. What often happens is the first track that is recorded stays at zero. Let’s say that the first track is an acoustic guitar track. Now you’ve recorded a vocal. You want the vocal a little louder than the acoustic so you turn up the vocal 2db. Before you know it, you are running out of headroom fast. So, if you start out by bringing everything down at least -10 to -15 db, you’ll give yourself the headroom you need to turn things up or down as you build out the production.

Organize your tracks into folders. Categorize them into groups, such as; lead vocals, backing vocals, drums and percussion, electric guitars, pads, keys, etc. Staying organized will allow you to focus on the more technical aspects of mixing.

Create sub-mixes or buses. These should be grouped according to how you want them to be mixed. I usually have a submix for all lead vocals, and a few different categories of backing vocals (stacks, gang, texture, etc.) Drums and Percussion, Electric Guitars, Acoustic Guitars, Bass, etc. The sub-mixes should be instruments that belong together and you want to mix them as a group. I will mix electric guitars and acoustic guitars differently, for example. So even though they are both guitars, I will create a submix for each. I approach backing vocals the same way.

Try some basic panning. Panning is the “left to right” spacing of sounds in the stereo field (my own definition, probably not textbook!) Generally speaking, your lead vocal, snare drum and kick drum, and bass are all straight up the middle, in the center. Everything else is fair game! Play around with spacing individual tracks throughout the stereo spectrum. You’ll be amazed at the difference in sound you’ll get by doubling (not cloning or duplicating the track but recording a second pass) certain instruments and panning one hard left and the other hard right. Try this with electric and acoustic guitars as well as with backing vocals.

Don’t be afraid to use presets. In the mixing world, presets are frowned upon. Apparently, it’s only for noobs. If you are a noob, then use them! When you are learning how to mix, presets can be incredibly helpful as a starting point. They can also help your ears hear the difference between different settings. I still use presets as my starting point on a few things. I tweak from there until I dial it in. Eventually, your ear will be trained enough to dial in your own settings from scratch, if you want. But if the preset provides you with a great starting point, why not use it? You can also save your own presets, so once you do get comfortable dialing in your own EQ settings on a lead vocal, for example, you can save your settings as your own preset!

Use EQ instead of the volume knob/fader. If something is too loud or too soft, the volume knob may not be the solution. Try using eq and find a specific preset and see if it helps an instrument to pop out more or not stick out as much.

Use inserts for a reverb (make sure the plugin itself is completely wet) then dial up or down the insert level. You can do this on your buses as well which helps add cohesiveness to a group of instruments. It helps all of your instruments sound like they are living in the same space.

Focus on learning one mixing tool at a time. There is a lot to learn and it all takes time and practice. The fundamentals are EQ, compression, reverbs, saturation, and chorus. Each of these fundamentals has a string of other tools and techniques. De-Lessing vocals, parallel compression, side-chaining, and so on. It’s easy to get overwhelmed once you dive down even one of these fundamentals. Pick one at a time, take some courses, or find tutorials for that specific tool and move on once you feel confident.

Learning to mix is much like learning a new instrument. If you approach it like learning an instrument, then you understand and respect the amount of dedication it takes to improve. Start with these basics and I promise, you’ll start to gain confidence and your mixes will start to sound legit.

 

Readings and Workshops and Labs, oh my!

 

In a previous blog which you can read here, I detailed some of the key differences between mixing an existing work (or revival) and mixing a new musical. New musicals, as many of us know, are their own special beast, always evolving and keeping you on your toes as you process changes in real-time. But getting to the premiere production is already a long way down the road, and before that, a show will go through various iterations and phases. Often those phases won’t have a full production design with sets, costumes, etc. Perhaps they won’t be more than some actors with binders and one musician at a keyboard. There will, however, almost certainly be a sound designer and a mixer. In this blog, we will be diving into the specific challenges of mixing presentations of shows that are in development: what they are, why we do them, and how to set yourself up for success as the mixer.

 

A still from a staged reading of the musical “Theory of Relativity” produced as part of Goodspeed Musicals’ annual Festival of New Musicals.

 

What are the different ways to present a work in progress?

The three most common terms for a public presentation of a show in development are readings, workshops, and labs. First, some quick definitions are in order.

Reading: A presentation of a musical where the show is read and sung aloud for an audience by a group of actors. As its name would suggest, reading is almost always done with scripts in hand, i.e. the actors are not “off book.” Sometimes readings are more of the “concert” variety, with actors at music stands delivering their lines; sometimes they include more staging and choreography (hence the term “staged reading”). Since most readings are not considered to be fully staged, someone will often be tasked with reading some of the stage directions aloud to give the audience a sense of what’s going on in the play. The actors will not usually be in wireless mics and the sound support will consist of some handheld mics set up near music stands, or at other strategic locations around the stage. Other times the actors will be in wireless mics for ease of mixing and moving around. The orchestration will typically be minimal (e.g., a keyboard and possibly a rhythm section).

Workshop/Lab: A workshop is a fully-staged presentation of a show where the actors have memorized their lines and are performing the show “full out,” complete with choreography. Technically, as of 2019, a workshop of a show is a “lab,” but we’ll get to that in a moment. There might be a few minimal props, or a large-scale approximation of the set, much like you might see in a rehearsal room for a full production of a show. There aren’t usually costumes and there is not a lighting design other than “lights up, lights down.” The actors will be in wireless mics, and the expectation is that the presentation will be mixed line-by-line, like a standard musical. There is almost always a band, and likely a larger audio support package including either foldback wedges or a personal monitor mixing system like Avioms.

Fun fact: The history of the workshop dates to the 1970s, when a director/choreographer named Michael Bennett gathered a bunch of Broadway dancers in a room for a few weeks to try out writing songs and scenes based on some cassette tape interviews he had done with them about their lives working as what we in the biz call “ensemblists.” The result was the musical “A Chorus Line” which went on to run for over 6000 performances on Broadway.

Today, the words “lab” and “workshop” are often used interchangeably to describe a developmental process where a show is “put on its feet” and “presented” to either the public or an invite-only audience.

Side note about the word “lab”: Remember a few paragraphs ago when I said that all workshops are technically labs? “Lab” is now the technical word used to describe all developmental presentations or work sessions governed by the Actors Equity Association, the labor union representing theatre performers and stage managers in the US. The new lab contract has multiple tiers that delineate how much staging or props can be used, how many weeks of work can be done, and how much the actors and stage managers are paid per week. Additionally, as was the case in the former workshop contract, actors and stage managers who participate in a lab of a show that goes on to turn a profit on Broadway are now entitled to a small cut of the box office gross (https://broadwaynews.com/2019/02/08/actors-equity-reaches-agreement-on-lab-contract-ends-strike/). This is to account for the fact that even though they may not have been the directors, writers, or choreographers themselves (and might not even be working on the show if/when it gets to Broadway), the work and contributions they made back in those labs are an integral creative component of the eventual full production and should be recognized and compensated. The lab is meant to be overall more flexible as to how the producers and directors are allowed to use the time that they have their actors on payroll.

Why do shows do these developmental steps?

Two big reasons: to experiment and make changes to a piece before investing lots of time and money into a full production, and to “pitch” your show to potential producers and investors who might be willing to get behind a full production of the work if they think it has potential. It’s basically a place to work out your show’s kinks before putting on a “backers audition.” The team is here to “sell” folks on their idea for this musical. As the mixer, you are there to help them make their case by delivering the dialogue and music as clearly as you can so that they can decide if the songs are catchy, the jokes are funny, the story is meaningful, etc. This means that your goal behind the faders will be a little different than just “making it sound good.”

So without further ado, let’s get into some tips and tricks for how to do this!

DON’T. GET. FANCY.

This is probably the single biggest and most overarching piece of advice I can give when mixing developmental work. This process is going to feel like mixing a new musical on OVERDRIVE. The changes will be flying at you even more quickly, and you want to be able to adapt and react quickly and efficiently.

So, what are some ways you can do that?

DON’T GET FANCY with your programming.

Write as few snapshots/scenes as you possibly can. Do the least amount of programming you and your designer can get away with. Unless there is a compelling reason to do more (e.g., it’s what your designer wants), your programming really shouldn’t be anything more than some VCA changes, a little bit of band mixing/fader wiggling, and maybe a little bit of reverb safing/unsafing.

My personal favorite way to program a workshop is using what I call the “All-Skate” scene. Basically, I analyze the script, figure out which characters have the most dialogue, and design one console scene with VCA assignments that will work for most of the show. For a standard musical, every principal will be assigned to their own VCA, with the ensemble in two groups. That way if the writers suddenly throw in a new scene/song, you’ll be ready to mix along with minimal adjustments. Here’s what that looked like in a workshop I mixed last fall:

This is my programming scheme for Norma Rae with everyone assigned to their “home faders.”

Once you’ve got your all-skate scene written, build every subsequent scene out of that template and only change what you need. On a standard musical you might eliminate characters who don’t speak from your VCAs; don’t bother with that here. The likelihood of things changing and people getting added is so high that you might as well be prepared. So, to return to our example from above, here is what my programming for the whole show of Norma Rae wound up looking like.

You will notice from the color coding that I have changed as few VCAs as I need to in each scene to make the programming work. So, even if REUBEN isn’t in a scene/song, I didn’t bother clearing him out unless I needed VCA 4 for something else

DON’T GET FANCY with your book.

I am a stickler for a clean book, but there’s not going to be time. Use all your shorthand. Be ready to erase, rewrite, rip out pages, glue in new lines, etc. For the last reading, I mixed I simply crossed out all the stage directions by hand with a thick pen and did most of the write-ins with white-out and pencil.

On a reading in particular, you’ll most likely not be changing your VCA assignments as much, since you’re just mixing on wired mics that are in fixed positions, and the people speaking at them are the thing that is changing. Make yourself good notes so that you are always on top of who is singing where. If a whole page is just 2 or 3 people having a conversation, I’ll simply write a huge “2+3+4” in the top right corner of the page and then park the mics up. That way I’m not having to follow the dialogue as precisely and I’m not risking missed pickups attempting to be fancy and do a proper “line-by-line” when I don’t really have to.

If you read music notation, working off the piano-vocal score is going to be very useful here. I found myself constantly scribbling on the PV for the 2 workshops I mixed last year, because even with a great script PA, sometimes the score is just more accurate, and gives you a better idea of what’s going on in a song. I mixed only a few songs on the score for the actual presentations, but even so, I was constantly referencing my PV notes.

I know some folks are moving towards digital scripts, but until you are a true workshop expert, I would highly recommend sticking to a good old-fashioned paper script. It will allow you to make changes more easily and get your thoughts down more quickly. You’ll also be able to process subtle and small changes in the room that might not make it into the PDF of new pages that will eventually be emailed out. This is especially true if your show isn’t going to “freeze,” meaning even once you’re into presentations the creative team might continue to make changes.

USE YOUR ALLIES AND GET INFORMATION

Much like on any new musical, the script PA and the music assistant are going to be your new best friends. They are the folks who will be the most aware of what’s changing, who sings when, and what email threads you need to be on. Make sure you are not left out of the conversations that are relevant to you, especially if folks on the team aren’t as experienced or used to working with a mixer. Sometimes they don’t realize how much work you’re doing, and why you need all this information. But hopefully, once they do, they’ll be on your side and will do everything they can to help you out.

BRING YOUR ARSENAL

The workshop mindset requires you to work quickly. There is so little time. You’re basically doing an entire rehearsal, tech, preview, and run of a new musical in two weeks. Be ready with your A-game and all your tricks, hacks, and cheat sheets. Be ready to program quickly, either by keeping things simple, using the “all-skate” method, or some combination of the two. In a reading, consider not using scenes at all if you don’t need them. And above all else, breathe, smile, and have fun. You’ve got this!

If you have any further questions about mixing developmental works, feel free to send them my way and I’ll try to answer them in a future post. I’m always eager to hear from my readers about what topics they would like to learn more about, so all suggestions are welcome!

What You Want To Say In Your Resignation

 

Everyone has worked with a venue, or a crew, or even just one person where it would be so satisfying to colorfully tell them to shove it and then walk out the door for the last time. As satisfactory as that would be, realistically the majority of us in this industry will put up with a lot before we make that move. Everything from insane overtime hours to being overwhelmingly underpaid. Here’s the thing that no one is going to say, or at least not out loud:

It’s perfectly okay to want to tell someone to shove it.

Plenty of people, though everyone puts up with a lot, want to tell someone at some point to stick it where the sun doesn’t shine. But how do we avoid screaming that in their face during a load out at three in the morning when there are still two more trucks to be loaded and five more cities on the tour lineup? That is just one of the difficult parts of this job and too uncommonly not talked about. Many people outside of this industry wonder why so many of us inside of it doesn’t even mention quitting around our coworkers. This is mainly because, like so many other workplaces, the moment you mention something of that nature you become a target. You are the new target of rumors, and tour managers become curious if they’ll have to find a replacement, festivals wonder if you’re going to walk out in the middle of a show, and production coordinators examine every little thing you do from that point onward. Some places go as far as to fire you before you have the chance to quit so they can control the narrative of what happened. These are just a few of the many reasons why this subject is so rarely talked about. So we’re going to talk about it now.

Though there are some out there who might read these next assorted paragraphs and think, “No way that actually happened.” I can assure you all of these scenarios actually happened to me.

“I QUIT!”

 

We all have our breaking points, every last one of us. For some, it takes a long time after mastering the art of a fake smile and a courteous nod while sleep deprived. While others, take only one long weekend and a few inconveniences. Wherever on the scale you are, just try to remember that you made it this far.

The majority of the time when working live events if you are freelancing, or touring on contract, you don’t always need to turn in a resignation. It is commonly presumed that you are leaving at the end of the show/festival/contract/etc. These are some of the best times, mostly because immediately after the contract/festival/show is completed the crew party follows directly after. Your troubles fall away as each new drink is ordered and PM turns to AM.

 

 

But when you are in need of telling someone who pushes paperwork more often than you push road cases, how do you professionally explain to them that you are sick of seeing everyone every hour of every day of the week for ten months out of the year?

If you work somewhere regularly and at least get along with most of the people there, you don’t want to potentially strain that professional relationship. So sticking both middle fingers in the air as you are walking out for the day probably isn’t the best idea no matter how tempting it sometimes is. Or if you’re the regular venue staff and want to tell your boss that you’d rather be living from a truck on the road than deal with them for another day.

Everyone has three resignations: the one they know they aren’t going to send, the one they think they might send, and the one they actually end up sending. The one I ended up sending to one of my previous employers may surprise you…

You Aren’t Going To Send That

It’s another very late night, everyone is in need of some sleep, the guys have been giving you a hard time all day, and there were a few screw-ups in the show… We have all had that day and we’ve all wanted to tell everyone after that day that when we left we were not coming back. So instead of listening to the voice of reason in the back of your head, you start thinking of your ultimate way to rage quit.

Maybe you just leave in the middle of the show with a wicked grin across your face and force the rest of the crew to figure it out on their own. Maybe on the travel day, you switch flights to go to Greece instead of the next city in the lineup and call your boss from the plane while planning in your head which scene from “Mamma Mia!” you’ll reenact first. Maybe you get the god mic out and give everyone that piece of your mind that you have locked away just for special occasions like this one and rip everyone a new one.

 

Whatever your ultimate rage quit scenario is, it’s good to type it out. This first resignation letter/fantasy you sort of want to play out is one that you know you aren’t going to end up sending. That is the one that is just for you. It is such a good feeling knowing no one besides yourself will ever see it. You can be as creative and harsh as you want. You can call everyone out for every little thing that has gotten on your nerves, even if at the time it wasn’t a big deal. You can make it an even bigger deal in this rage-quit daydream. So go ahead and use every part of your imagination. You can use every curse word in the book, and even come up with some new ones while you’re at it.

When I was typing out my fantasy resignation letter, it literally started with “Please consider this my most informal notice of resignation from this shithole of a venue called _____ and everything to do with it henceforth. This includes but is certainly not limited to:” and then I proceeded to type out everything that I despised about the place. I misspelled things, I vented about the faulty equipment that everyone had been begging the higher-ups to replace for years, and I raged on for 2 pages about the constant sexism in the workplace. I got it all out of my system and laid it bare on a once-blank page.

This first resignation letter isn’t supposed to be sent to anyone. Not even your coworkers who you think might find it funny because let’s face it, they might find it funnier to send it to your boss for you. This first resignation letter is to get all of your frustration about the work, and all the bullshit that comes with it, out of your system so you can have a clear head about what you actually want to say when it comes time to press the big SEND button. You don’t want to make you quitting about one thing, like your boss having the expectation to constantly reach you at all hours of the day and night with no assistance to your phone bill, when it’s really something entirely different, like getting a better job opportunity. This is more therapeutic than anything, but our keyboards and laptops have heard worse coming from us when ProTools crashes.

Professional tip: remember to delete that one.

You Might Actually Go Through With It

Your phone rings, it’s your boss. You just left a shift and have been in your car not even ten minutes on your way to a nice hot shower. He tells you to be on standby because one of the guys on the crew wanted to go home early so you might have to come in and finish the loadout that’s scheduled to go until six the next morning after just getting off a 13-hour day and you’re already scheduled to work another 15 hour day tomorrow starting at eight in the morning. Now you might have to work it on no sleep. He calls you again almost two hours later with the good news that you don’t have to finish the loadout. So you celebrate by popping open your email and a half-empty bottle of something. After your first swig straight from the bottle, because who needs to bother with a cup at this point, the anger boils in your stomach and starts coming through your fingertips as you type faster with each sip. After finishing off the bottle that voice in your head gets louder, “You can send that one, it’s good enough.”

As women, we are held to an often unspoken standard in this industry. We don’t get away with throwing documents around because we forgot to save the show file or making lewd comments at our male coworkers because they dressed sharply for the company dinner instead of work blacks. This unspoken standard is carried through even to our resignations. It’s looked down upon us if we send a quick half-bottle-of-something-in-us text late at night saying we’re not coming in tomorrow or finishing several weeks of 18+ hour days and being mentally and physically drained so we type a one-sentence email. There is always going to be a better way to phrase something, or a nicer way, or whatever and you’re going to be expected to always do them. But there are times that you’re just done. Unfortunately, most of the time, you can’t show that through your written words.

 

This letter that you typed with two hands on your keyboard while somehow managing to have a hand on your chosen bottle-of-something, the one you think you might send, that one is more complicated than it initially lets on. More often than not, when you are leaving a place, there are reasons and issues that need to come to light as to why you are leaving. Sometimes it’s several smaller issues that add up over time, like not having a fan while working an outdoor gig when it’s over 100 degrees F outside. While other times it’s big issues that could have been avoided from the beginning, like never receiving a schedule more than twenty-four hours in advance. But do you put these in your letter, or do you let them slide and be more courteous?

This notice requires sleep and seeing how you still feel about it at a later time. When I was typing out my “maybe” notice, I brought up real issues that needed to be addressed. I tried not to place the blame directly on anyone but I did name a few people who had the power to change things and who were outright choosing not to.

Unfortunately, it’s not uncommon for some companies to withhold a last paycheck if you “complain” in your notice to leave. Should a company choose this action, you always have options. If you’re part of a union, you have someone in your corner 100% until you are paid. You can also get a lawyer involved if you feel this might be dragged out, and include that the company will have to pay for the fees.

You Did It!

This is it. This is the final one that conveys your breaking point loud and clear yet also portrays that you’ve kept your head squarely on your shoulders through the thick and thin of everything. At least most of the time.

 

When I typed my “final” resignation it wasn’t nearly as long as the first. In all truthfulness, it was only about a paragraph. I started it with kind words explaining that I had decided to take a better opportunity elsewhere that was going to further my career in ways I didn’t believe possible in the position I was in at the time at the company. I made it clear that I enjoyed my time there and I thanked them for everything they had taught me up to that point. As I prefer to do, I listed a few reasons why I was leaving that I thought needed to be addressed whether I was there to witness it or not as well as gave a small list of things I would have stayed for. I always do this in case the employer wants to give me a better offer than what I am leaving for so they know exactly the standard I’m set towards to keep me around. Some places give you these things, and some don’t. Try to see either option as good because you can either leave for something more desirable than what you had, or you can stay for a preferred proposal from somewhere you are already familiar with.

If they decide to agree to what you are asking for to keep you, then you need to remember something:

You actively sought out a better opportunity for a reason, and just because they are willing to offer you what you ask for doesn’t mean you are obliged to take it.

This resignation, the one you are finally set on and the one you decide to hit the SEND button on, should be the most professionally worded of them all. Typically you would want to keep it short, and to the point. Maybe your final letter doesn’t have to be a full paragraph. Maybe yours needs to be longer though. Perhaps you have found a better venue/company/crew/pay/etc. or just cannot pass up a once-in-a-lifetime opportunity. Whatever the reason is that you are leaving, where you currently are should be made aware of it.

On your last day, wherever it ends up being, be sure to flip them off once you are in the safety of your car where there are no cameras.

Which Did I SEND

Alright, as promised this may surprise some of you while others are not as much. While justifiably I had good reasons to send my rage quit letter, I didn’t think it got the clear point across. Yes, there was obvious sexism in that work environment but ranting on about it for two pages was a bit much for a resignation letter. I gave it a long thought to send my “maybe” letter and eventually put some of it in the final email as there were things I believed needed to be addressed and known. In the end, I actually sent two resignation letters.

Here they are for you.

One of the letters that I sent was of course to my at-the-time boss and the HR department. At the time of sending that letter, I was working in a venue that had an HR department that everyone was supposed to be able to contact directly. I have copied it for you (in case you need an outline for yours) and have taken obvious names out.

Here’s the first:

Unfortunately, I believe this company may not be the best fit for me. The company in itself has many opportunities for a person to grow in their skills and career. However, those opportunities have not been given to me in the appropriate circumstances and are now risking my personal safety. After six months of being employed, I still do not have access to vital information such as my work email, laptop, advancement paperwork, etc. This is not due to my lack of trying to obtain these things. When I have asked for necessary information about shows, it is often not given until the time of load in or even after. A schedule is too often not sent to anyone until late the night before, too commonly after working 12+ hour days, then criticised when we do not immediately answer these late-night texts. Due to all of these reasons listed above, and more, I truly regret to tender my resignation and notice. I have enjoyed working here and with everyone on my team, but I do not foresee these issues being resolved as there has been little to no change in them during my time here already. My last official day with the company will be the end of this week so I may continue to work elsewhere for a better opportunity. I wish the best for every one and thank you for this opportunity that I’ve had while here.

The Second

The other letter that I sent was actually addressed to everyone on the production team as I felt they deserved a more in-depth understanding as to why I was leaving so quickly. These were people that I had worked alongside every day, and though some of the work conditions we were put through were horrible, these were people that went through it all with me together as a team. I thanked them for trying to make me feel part of the team from the start, as not everyone from the venue and in valuable positions made such efforts. I explained the reasons why I was leaving so soon and said that I hoped they understood. Some of the team were aware of the constant sexism and things I had been put through as the only female on the team. Others were either unaware or turned a blind eye, which didn’t help matters in the long run. Most of the production team came to find me on my last day and congratulated me on the new opportunity.

Leaving a team you are familiar with and have grown accustomed to can be difficult. This is a group that you have put effort into and trust and countless long hours. It is not uncommon to eventually see people you know later in your career in one aspect or another. Sometimes you return to a venue you once worked at while on tour, or sometimes you’re in a brand new city to find someone you once worked with who has recently moved there. The industry is ever-changing, including which people are in what positions.

Shadowing Opportunity – Cult of Luna – Europe

SoundGirls that are interested in learning more about live sound production are invited to shadow FOH engineer Christoph Noth for Cult of Luna.  They will be touring Europe in March 2023.

The details.

You must be over 18 and have liability insurance and agree to follow local venue/artist covid protocols. You will be able to stay for the show. Three SoundGirls per show. You will attend soundcheck and then be able to return for the show. If you are interested please apply here.

Urbain Flori (Monitor Engineer)
Balkan Beat Box (IS)
Disiz La Peste (FR)
Heavy Trash (Jon Spencer) (US)
Orelsan (FR)
Pussy Riot (RU)
Puts Marie (CH)
The Shoes (FR)
The Young Gods (CH)
Wire (UK)
Woodkid (FR)
Var. work as FOH, Mon, TM, etc.
Short clip from the last tour: https://www.instagram.com/reel/Cj3MFMzo82T/
Christoph Noth (FOH / TM)
Aborted (BE)
Cult of Luna (SE)
Eluveitie (CH)
GGGolDDD (NL)
Gojira (FR)
Kadebostany (CH)
Sepultura (BR)
The Ocean (DE)
Vildhjarta (SE)
Var. work as FOH, Mon, TM, Stage manager, etc.
Short clip from the last tour: https://www.instagram.com/reel/CjfgrEajA8K/

 

Let the Music Take Care of You

Today I would like to share an inspiring experience I had in Canada a few years ago during a Jazz Master Class event promoted by Concordia University in Montreal. The master class was given by well-known Dezron Douglas: bassist (double bass), a New York-based Composer, bandleader, sideman, educator, and a major force in contemporary creative music.

The event took place on a Friday afternoon at the John Molson Building, a Concordia campus in downtown Montreal.

Here’s the short version of the story:

Excuse me, do you know where the jazz master class is? — I asked when I reached the information desk in the lobby of the building.

Yes, this is floor 8, door 135 — she told me with a smile and pointed to the elevator.

Thank you very much! —I replied.

When I got to the floor where it was, a guy asked me too.

Hi, do you know if the jazz master class is here?

Yes, I think it’s there on the left, let’s go and see. —I answered and we walked together to the place. 

Yes, it’s here. — I told him when I peeked in the door. 

Where are you from? — he asked.

From Spain, and you?

From Mexico! —We started laughing when we saw that we were both Spanish speakers.

Do you play an instrument? — he asked me.

Yes, the transverse flute, now I always carry it with me, because you never know when an opportunity might arise. And you?

I play the drums. I also brought my drumsticks, just in case.

When we went inside, we saw that there were a lot of young people, most of them seemed to be musicians, but it was an event that could be attended by anyone who wanted to. At the beginning of the master class, Dezron began to talk about how he started his career in music, he comes from a family of musicians, and he told us about his experiences, since his childhood he has always been involved in music.

Inspiring moments from the talk 

I really enjoyed the talk; it was very inspiring and that’s why I want to share a few highlights with you.

He pointed out: “You have to fail to get the music right, we are all afraid to fail, but that is part of the way”. 

In music, the important thing is not to keep the rhythm, but to feel it and follow it, to get into the heart of the story.

“Take care of the music and it will take care of you,” he told us all.

Another topic he talked about that I really liked was the “team beat”, the heartbeat of the team. That is, a team that communicates through eye contact has a good rhythm, tells a story with their instruments, with a lot of synergy, where everything flows as a whole and manages to touch the listener’s heart. That is the best thing about a band, to be a team.

In the talk, he invited anyone who wanted to play a jazz-related theme.

First, a music band decided to play, they were not random people, it was a band that practiced together outside of this master class, they did very well, the teacher gave them some tips, and they repeated the piece once again.

Then he asked again if anyone wanted to play, at that moment my heart rate went up to 100 BPM and I got tense just thinking that I could play and have the opportunity to have him listen to me. I didn’t say anything. However, the Mexican guy sitting next to me pulled out his drumsticks, stood up, and walked over to the drums. He was joined by a pianist and a double bass player.

Oh! Maybe I’m missing the chance to play in front of Dezron? — I wondered.

They started to play, and the teacher stopped them right away, he told them nicely that everyone was going in opposite directions, and the double bass was playing in a different pitch, it was like he was arguing with the piano. The teacher also reminded them that the rhythm they were taking on this “walk through the music” was not going very well. It seemed like they were going off on their own. It’s fair to say they were nervous because the room was full of people who didn’t know each other and had never played together before, but the teacher guided them very nicely. There’s nothing wrong with something not going well at first and not trying is the biggest failure.

 

My jam session with CB59 band in Spain

 

Nervousness, fear of taking the plunge and trying?

After the second round, the teacher invited again if anyone else wanted to play. A few people stood up and went to the instruments. I thought to myself: “Either you step up or you lose this opportunity now”. During this very moment, he asked, “Does anyone else have any questions?” So, I raised my hand, and he came toward me and I said in a low voice: “I’d like to participate, but I don’t play like a jazz professional”. He promptly replied with humor: “Neither do I and I play!” We both smiled and I felt encouraged to jump in.

I got up with my flute and joined the musicians: a guitarist, a drummer, and a bass player who were already ready to play. Coincidentally, this arrangement of instruments was the same one I used to play in jam sessions with a blues and jazz band in my small town in Spain called CB59. For a moment it looked like I was going to play with them instead.

What can we play? — everyone asked.

“Blue Bossa“, do you know it? — I suggested.

Yes, of course! — they all answered in unison.

I was so glad to hear that because I loved playing that piece in Spain.

Oh, very good choice! —the teacher congratulated.

Then I looked at everyone in the group and I noticed how the drummer was setting the rhythm and we all jumped right in.

We had a bad start and then we all stopped. In Spain, I used to have a verbal agreement with the band. Before starting a jam session, we talk to each other about how to start the piece and who is going to do the solo, and how many times. So even though it is a jam session, we have an idea of how we are going to play and we keep this structure while playing.

I’m sorry, how do we start? — I asked them.

First, we play a little introduction and then you come in. — they all told me, including the teacher.

So, we started again, when I came in with the melody my mind went blank because I was a little nervous, we didn’t stop playing, so I concentrated again and the second time the melody came out perfectly. Then I looked at the guitarist and he started his solo and after he finished his solo, we all played together and I played the melody again to end the song.

The teacher started clapping loudly and enthusiastically.

That is a “team beat”! — he told us excited. That is, a team that communicates through the eyes, keeps a good rhythm, and follows the story.

How long have you been playing together? — the teacher asked us in amazement. I was surprised by the question because I had made a mistake during the presentation, but when I played, it was true that I felt this connection with the team, and with the music as a whole.

It was the first time we played together. — And we laughed.

He congratulated me and said:

On the second melody, you came in strong, very good, now we all have the melody in our heads. He then complimented the guitarist on his improvisation and the drummer as well and encouraged the bassist to keep going. Don’t be afraid to step out of line and do some soloing. he said. Congratulations to everyone, really, a round of applause! — he said proudly. And the whole audience applauded us.

Then Dezron performed his show playing double bass with a pianist and the master class ended.

I went to thank him. Thank you for everything you showed us today, it was very interesting and inspiring. — we hugged each other. Can I take a picture with you? — I asked him because I wanted to have a souvenir picture.

Yes, of course!

But everyone started coming over to talk to him when I was getting my camera ready. I just stood there with my cell phone, looking around, in the middle of the people, waiting hopefully for my turn to come back. In the meantime, a girl came up to me and congratulated me and told me that she was a singer and a flute player too, so I started talking to her. There were a lot of people talking to Dezron and after a while of waiting I saw that the souvenir picture would no longer be feasible as I had to leave, I seized a fraction of time to say goodbye to him and I left.

From all this, we see that many people are afraid to play in public, and the more we face it, the more we gain confidence. It is difficult, but you must take the step, even if you fail, you will be proud that you tried. And a sense of humor can make things more bearable.

That day I was very happy because of what Dezron had told me and because I had the chance to play with wonderful people. I ended up without my souvenir picture but with the certainty in my heart that if you take care of the music, the music will always take care of you.

With love,

Lydia Guía

 

Emily Pearce – From the Marines to Live Sound Engineer

 

Emily Pearce is the Monitor Engineer and RF Tech for independent artist Blue October. Emily is a longtime musician, learning to play piano at age seven, and would play throughout high school. She also learned to play clarinet and taught herself the oboe in middle school, while playing with percussion ensembles and the drumline during high school and college. Emily learned to play the bass guitar while attending The Los Angeles Recording School.

Emily would enroll at Grand Valley State University in the music education program, yet after two semesters Emily joined the Marines and auditioned for the Marine Corps band. Emily didn’t make the cut which Emily believes was a blessing in disguise after learning about her friend’s poor experience with the Marine Corps Band.  Emily would serve a four-year term working in Marine Corps aviation with Marine Aviation Logistics Squadron-13 and VMX-1 both out of Yuma Arizona. She received an honorable discharge as a Sergeant.

After being discharged Emily became interested in the technical side of music production and reached out to a few engineers to get a feel for what that might be like.  Emily loved the idea of touring and working live events and used her military benefits to enroll in The Los Angeles Recording School, graduating with an Associate Degree of Science in Recording Arts.

Emily believes the seeds to work in the music industry were planted long before she realized these jobs existed, growing up Emily says she has vivid memories “of Michael Jacksons Thriller, Journey, and Metallica playing in our living room.  Alongside artists like Ella Fitzgerald, Dean Martin, Led Zeppelin, and The Beatles.  I was always borrowing (with or without permission) my older brother’s mp3 player and my older sister’s CD player so I could jam some MCR, Atreyu, and Death Cab for Cutie.  I developed a love for metal and went to my first show at 15 and fell in love.”

Career Start


How did you get your start?

I moved to Los Angeles to attend The Los Angeles Recording School in 2017 to take the opportunity to dip my toes into a major market.  Since the program I attended was primarily studio focused, I took a lot of volunteer opportunities around town and was the person that showed up to a gig to just ask questions.  I shadowed a few people at White Oak Music and Arts in the valley and The Viper Room on the strip in Hollywood.  I attended a SoundGirls class on live sound at the Ventura Theater and was linked up with a summer internship at Schubert Systems.  I worked my butt off and showed I could learn and be a part of a team. I was hired full-time and worked there up until the pandemic.  During that time I learned so much and was afforded a lot of opportunities to network and grow.  None of us were hired as just one specific role which gave me experience in many positions like being a Systems/PA tech, RF tech, stage tech, and mix engineer for notable artists.  I also met people who hired me for my current gig, which may be the best part.

I also worked at a few clubs/theaters around town including The Whiskey, The Federal NOHO, and The Satellite in Silver Lake to name a few.

What did you learn interning or on your early gigs?

Understanding your place in a team is just as important as being the leader of it.  Being teachable and asking questions when you don’t know something will make people trust you more than if you think you know better than everyone else.  And if you are mixing monitors, don’t take it personally.

Career Now:

What is a typical day like?

I am primarily a touring engineer as of right now.  We usually start loading in at 11 am and with a lunch break, we are usually ready for line check with techs at about 2:30-3 pm.  The guys come to the stage to check a few songs and will sometimes use that time to work on adding new songs to the setlist. Depending on how long they want the stage, we are usually done and have a small break from 4-5 pm before the meet and greet.

During our meet and greet, the band plays one song and while the band takes pictures, the techs get the stage peeled for the opener and cover the set.  Dinner break is 6-8 pm.  I use this time to hang out and make sure I’m ready for the set by putting fresh batteries in all my wireless, checking my scenes/setlist for correct order, making sure I’ve saved my file, etc.  We do another line check right before the set starts at 9 pm.  Our show I almost 2 hours so we are usually loaded out and lock the trailer at midnight.  Then we shower and get to the bus before call usually around 2-3 am.

How do you stay organized and focused?

I like to make sure everything goes back in the same place and in the same order just as a general rule.  This applies to our trailer pack and how gear is packed in the cases and how it’s set up/torn down.  Things like mics and labeled looms/cables are all inventoried by me before they go into cases.  I always pack up my personal things like laptops, adapters and my in ears first followed by the band’s molds and wireless.  Making sure you have a routine helps you not misplace gear especially when load out is moving fast.

I have a photographic memory so I’m pretty good at seeing when something is missing, but having a physical list of gear or order of operations for yourself could be a good way to do the same thing.

What do you enjoy the most about your job?

I love the problem-solving and technical aspects of my job.  It’s always fun to figure out a new way to do something or an easier way to get the job done.  I love live events because of the finality of a show and how fast things move.

What do you like least?

RF anxiety on a daily basis.  Our space is shrinking rapidly.

If you tour what do you like best?

I love traveling and working with amazing people while doing what I love.  Sometimes I have to pinch myself to make sure I’m really awake.


What do you like least?

I don’t love paying for an apartment back home when I’m hardly in it.


What is your favorite day off activity? 

I love going to get a good meal on days off.  Usually something local or what that place may be famous for.  Second to that would be hiking and mall walking.

What are your long-term goals?

I would love to work on bigger festivals and shows than what I am doing right now, although I’m pretty content with the level of touring I’m at.  I am spoiled and skipped van tours.  I just want to always come to the gig excited to work the show and excited to see the people I work with. Right now I’m so blessed that I have both of those things.

My long-term goals are probably more knowledge/skill oriented than working for a huge artist.  I just want to be the best I can be at my job.

What obstacles or barriers have you faced?

I am lucky that I haven’t faced too many obstacles along the way.  I know that working in a vastly male-dominated world can be daunting to some, but that is something I was used to since I am a former Marine where the numbers are almost identical to live audio.  I have been turned down from gigs because a touring camp didn’t want a woman on the bus, but that is their loss and I wouldn’t want to work with people who don’t want me around for something so trivial.

How have you dealt with them?

I find that walking into a gig or venue with the right attitude makes those around you respect you.  I tend to show up to the gig with a level of confidence that shows I should be respected, not to be confused with arrogance or false confidence.  I’d like to think that’s working for me because I rarely encounter anyone who gives me a hard time.  Plus I know I have 11 brothers with me on the bus that always have my back.

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

Have confidence.  In my experience, the industry is changing, especially after the pandemic.  A lot of the people who had old ways of thinking have been weeded out.  Trust yourself and know that you belong.

Must have skills?

Wrapping cable and a good attitude will take you a very long way.  Signal flow and having a good grasp of digital gear are a must as well.

Favorite gear?

I love having a Q box with me.  I was generously gifted with one and it’s one of my favorite things to have with me if I need to troubleshoot.  I’m also very grateful for Shure’s wireless workbench software.  It’s essential for coordinating wireless and I use it daily while on tour.

Anything else you want to add or contribute

Never stop asking questions and learning your craft.

And a huge shout out to Mike G from Schubert Systems for giving me an amazing start, to Josh Sarraulte for teaching me and continuing to teach me everything I know, and to Mckenzee Morley for hooking me up with my current gig.

The people you meet and form friendships with along the way are one of the most important things you do!

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