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Deep Fakes, Weapon Printing, and Virtual Reality

“The sky is like a bad dream and the earth is in cahoots.” The Drones

 

I’m not talking about sound or music today because I’m scared. Here are three anxieties I want to share with you:

In 2020, Taiwanese YouTuber Chu Yu-Chen ran an extraordinary Telegram group. The group was called “Taiwan Internet Celebrities”. To join, you only had to pay an entrance fee of between 100NT and 400NT (around 10 USD). It was a boys club, rich with bad taste misogynistic Trump-flavored language, and an eerie, implicit pact of silence. Now and then, a voting poll would be issued: “Which celebrities’ porn video you want to see next?”. After the voting, Chu would get to work and deep fake the celebrities’ faces into a porn video. It took him and his business partner around a day to render realistic enough content, but they would keep the gears running non-stop with both celebrity and non-celebrity videos that you could commission for an extra fee. All of this happened without the victims’ knowledge and consent, of course, and it was a matter of time before these videos were leaked outside of the Telegram group and the victims saw them. Chu Yu-Chen was sued for it in April 2021 and sentenced to five years in prison in 2023 for the nonconsensual creation of deep fake porn videos of 119 victims. Some of the victims were celebrities, others were women targeted by their exes for revenge porn and some were unsuspecting women preyed upon by obsessed acquaintances.

In 2024, OpenAI unveiled Sora and its incredible capabilities to create hyper-realistic 1-minute long videos from a text prompt with a render time of about an hour.

In May 2013, the first 3d printed handgun was fired in a shooting range in Austin, Texas. It was called Liberator and was capable of firing 8-10 rounds before breaking, but most builds exploded into pieces on the first shot. The distribution of its 3d models challenged gun control laws around the globe; if you had a 3d printer, you could print the undetectable and deadly Liberator. Since then, stricter regulation has been passed in several countries and states, but the gun printing community has only grown stronger. In 2020, the FGC-9 was released. Its initials stand for “Fuck Gun Control”. It’s an open-source, 3d printable, semi-automatic 9mm carbine developed by Deterrence Dispensed, whose alleged sympathy for the United States far-right movements like the Boogaloo Boys is hinted by the naming of some of their weapon designs (like the Yankee Boogle, an AR-15 mod that makes the all-time favorite weapon for mass shooters a fully automatic rifle). In the words of the FGC-9 creator, Jacob Duygu: “You can’t truly call yourself peaceful unless you’re capable of great violence. If you’re not capable of violence you’re not peaceful, you’re harmless”.

Back in the mid-90s you only saw executives and CEOs using mobile phones on the street, and as kids we would shout “Buy! Buy! Sell!” in Catalan, trying to make fun of the likely high-rise office investor and its gimmicky gadget. Fast-forward a few years and we were all sending SMS to each other. Today’s sci-fi shout-funny-things-to-whoever-wears-it tool is either the Apple Vision Pro or Meta Quest Pro. Videos making fun of people wearing these headsets in public are trending on TikTok and Instagram. Fast-forward a few years from now and we’ll surely Black Mirror our way into Virtual Reality. It could be argued that we’re already there, with more and more cases of harassment and assaults being reported in virtual chat rooms and games, the most notable and infuriating being the alleged gang rape of a minor in January 2024.

The world is fast turning into a sci-fi bad dream, full of technological wonders beyond our 90s kid imagination that come with an overlooked dark side. One could argue that, for example, gun printing tools give communities a fighting chance against oppression, like Myanmar’s rebels against the 2021 military coup d’état and current Junta. But whenever I’m tempted to condone a tool created by an alleged incel like Duygu, praise Meta’s virtual landscapes, or celebrate yet another AI mastering tool… I don’t know, I get an itch a sudden need to go to a nearby forest, sit on a rock, listen to the birds, and read Audre Lorde.

Judit K. (Barcelona, 1984) is a restless musician in constant transformation with a passion for glitchy, noisy, loud and almost annoying sounds. She’s been playing keyboards with Obsidian Kingdom from 2016 to 2021 and now is the girl behind the synths in Lys Morke. She’s also a solo artist working on her second album SAFO.EXE, a reinterpretation of Safo’s poetry from the end of the world. She combines her passion for music with feminist and lgtbiq+ activism. You can find her sharing musical and political content (and selfies, bc why not) on instagram: @_juditk

In the Zone

Mental health has become a significant topic of discussion among peers in the years following the pandemic. As we gear up for new shows and tours, we must continue these conversations. It matters for getting us through long tours, and for navigating our time off the road as well. Aside from these obvious benefits, taking care of myself and developing professional routines helps me with my creative endeavors as an engineer, and ensuring I’m in prime condition gives me notable advantages to help deliver a quality show every night. I’m going to take time in this next article to highlight some actionable steps I take to feel like I’m able to achieve focus and be in the zone during a show.

Just like an athlete has to visualize their success and optimize themselves for a big game, we should also take into consideration routines and activities that help us achieve peak performance. The goal is to not necessarily think about the music, but rather to feel it and jive with it, so what steps can we take to help us achieve this?

Routines

Developing personal practices to improve your physical and mental well-being can help maximize the outcome of the show.

You can start exploring what works for you by talking with your friends and family on the road and back home, and by visiting the plethora of wellness resources available to us in these communities.  It takes time to develop this skill, especially if you’re not already pre-dispositioned for the lifestyle or if you struggle with mental health.

Personal care is important. Figure out sleep routines, food, and proper care for your feet. You don’t want to feel physically or mentally unwell when they call “Go for show.” Take care of your coworkers, also. You all operate as a unit, after all.

Technical Considerations

Prep and rehearsal time should be used wisely to help you optimize your day. I work closely with the audio provider and audio team to make sure we have all the necessary tools to have the rig well-suited to what I need, accommodating for potential lack of space in some venues and maximizing efficiency. I find it best to prep my control package myself so I know each detail is at its full potential and I can roll into show day and set up with little hesitation. My workbox is sorted and my cases are well labeled. My world is also set up comfortably in a way that allows me to have access to necessary personnel during the show.

I’ve spent considerable time making sure I take time to elevate my system tuning skills and understand the jargon fluently. I include as many tools in my FOH package as possible so I can quickly tune a system; wireless units such as Lectrosonics have been immensely beneficial in letting me tune quickly in theaters and arenas alike. I’ve developed a target curve that’s appropriate for the show I mix and for my ear, and have an expectation for an SPL target every day. We’ll explore this in depth later in a future article.

Mixing can be similar to a performance. If you’re a musician, you understand how critical it is to internalize the details. If you’re in the creative hot seat, you need to know the music inside and out so you can relax and enjoy yourself, and start thinking about the music rather than the sound. We have a unique role and it’s vital for us to help deliver a seamless, distraction-free show. Learning how to master the catalog is different for everyone; I’ll also dive into this in greater detail later.

The Bigger Picture

Making sure you’ve taken steps to minimize errors is crucial. Personally, my least favorite shows are usually subjective and stem from a lack of comfort. The show always goes on, but the nightly responsibility is to always try and exceed my expectations and help deliver a stellar show as often as possible. Being timid or apprehensive during the show reflects in the mix when you miss solos or fader pushes, or are slow to resolve issues. Proper personal and technical preparation before the show can address many of these challenges.

Gender in the Workplace Part 2

A Nonbinary Individual’s Foray into Corporate A.V.

I think my boss gave up on trying to remember my pronouns.

It started about two weeks in. During the hiring and application process, as well as preliminary training, I could tell he was trying. But after seeing how my other coworkers could skirt past it, I suppose he figured he could, too.

I don’t mean any harm to any of my coworkers, I would like to point out. The two 62-year-old guys’ guys can’t be held to the same standard as I could hold a Gen-Z’er with similar political ideologies to me. I don’t hold it against them, as I’m simply chronicling my experience in this line of work. But, and I mean this from the heart, I don’t want to work somewhere where I’m not seen as myself.

My entire A.V. team consists of men, with one exception. Since my transfem coworker quit, there’s only myself and one woman who bucks the trend. She’s a 26-year-old with a music degree and left-leaning views and sees herself as on the older end of Gen-Z. As you can imagine, she’s been my light in the dark during the harder days. She’s fairly consistent with getting my pronouns correct, as well, which is encouraging, especially seeing that I don’t think anyone else has tried.

I have a pin on my messenger bag that reads, in all capital letters, “MY PRONOUNS ARE THEM/THEY.” I’m not entirely sure why the order is them/they instead of they/them, but it’s an important object to me either way. I bought it at Lancaster Pride, back in 2017. I was just figuring myself out at the time. I waited until my friends were out of sight, and then purchased it with cash while nobody was looking. There was a sense of shame about it that I don’t feel anymore. But anyway, I bring this bag with me to work every day. And, believe it or not, this has caused some issues.

I’ve had three different coworkers try to “debate” me about my gender identity like each man somehow knew better than I did.

Those conversations were weird, to say the least, and deeply uncomfortable. The first of which was with an anti-mask climate change denier, so you can imagine how that went. His father and grandfather before him were upper-class white rural farmers. There was a disconnect in the way we were raised, and I think that that makes conversation with him trying at times. Mainly because he’s a man who doesn’t listen to science, not unless it supports his already deeply ingrained beliefs. In all his wisdom, he told me there are only two sexes, like this was somehow news to me. It was as if he genuinely believed I’d gone through over twenty years of life without knowing about chromosomes, and that they were the only basis of gender identity. I mentioned intersex individuals, and then he proceeded to ask me if I was one. Since I am not, he told me that I must be a woman.

The second conversation was with an intelligent guy from Baltimore, about in the same age range as the first fellow I mentioned. We were sitting in a Vietnam War memorial service and luncheon, held in the event center we work at. He and I were stationed at a tech table off to the side. I always really respected this coworker, as he’d had the most experience in the A.V. business. We were talking about history, and eventually, that conversation evolved into talking about the history of race and gender in the Vietnam War era. He is a black man, and he was specifically talking about the terminology used at the time. He mentioned that African American wasn’t a term they used at the time, and he expressed his distaste for it, seeing as he’d never even been to Africa. He was simply American, and he was black. The intersection where those two adjectives met is how he described himself– an intersectional identity.

He then brought up how the way he wore his hair, at the time, drastically changed others’ perception of him. On this topic, I mentioned that I felt the same. People didn’t readily assume I was nonbinary until I cut my hair. I enjoyed wearing my hair in long blonde curls, but it was easier to be nonbinary with short hair. People were able to clock me as queer, and it made the constant coming out a lot easier for me. That’s one thing to note about nonbinary identities– there’s a constant need to come out to be recognized. Hence the pins: it’s a way to be seen and respected without having to constantly address my identity. It’s a good thing, too, because that gets old quickly. My coworker then mentioned the pin on my bag and asked me what being nonbinary meant to me. I was taken a little aback by this, but given the deep nature of our conversation, I answered.

“To me, gender is a protest,” I said, trying to boil down years of study, a complex understanding of gender constructs, and Western societal tradition into one simple sentence. “I was told that, due to something about my body that I can’t change, I had to fit into a certain mold. I had to only spend time with girls, I had to worry about hiding my acne with makeup constantly, and I had to dress a certain way that identified me as a member of a certain sex. Girls were taught in school that they must hide their shoulders, lest they cause a man to stumble. Girls were told they should stay in the kitchen and live to serve men. It’s been less than a century since women were granted the ability to work, and even now wages don’t line up. We are all people, all the same, and I reject the idea that our anatomy somehow makes us inherently different. I believe, deep down, that we’re all the same species, and that our genders aren’t as important in our lives as society has taught us to believe.”

He then changed the topic to religion, and how his religion separated men and women. I felt my eyes gloss over as I listened to the same argument I’d heard a million times, that somehow, the creator made women the submissive, subservient sex. And you know what? I just don’t think that’s true. But agree to disagree, right? It was hurtful, but I wasn’t going to refute his opinion on the “debate” of my identity. He has worked here for over a decade. I’m not going to lose my job over this.

Y’know, this sort of thing doesn’t happen when I’m working in theatre. Before this A.V. gig, I was working at the Pennsylvania Shakespeare Festival as a sound engineer, just outside of Allentown, PA. It was such an eye-opening experience as to what the workplace could be. We were on a tight schedule, but my coworkers and I were always on the same page. I was left in charge of things once I felt comfortable, and there were always other LGBTQ+ individuals not too far away. I felt like a respected and responsible member of the team. It’s weird how something like respect can significantly alter the work environment. Here, in the A.V. position I hold now, I don’t feel as confident or self-assured. When working with coworkers here, I am talked over and talked down to, as if I don’t understand the things I studied at a collegiate level. I am very infrequently scheduled onboard op positions, despite that being my strength, as there’s always a guy “manning” the board. Even though my female coworker is in a managerial role, she’s still treated as if she were at the bottom of the totem pole.

So, I beg the question, is sexism the root of transphobia? In my experience, well. It’s starting to seem so.

Gender in the Workplace – Part 1

A Nonbinary Individual’s Foray into Corporate A.V.

Being nonbinary in central Pennsylvania provides a unique set of challenges, to say the least. I’m very proud of my identity as an enby, and have been out for over half a decade. That doesn’t necessarily mean that things have been easy, though.

I graduated college in Selinsgrove, PA last year, and it was very fascinating the difference in treatment I received across different departments. I was a very dedicated and busy student. I worked four jobs at one point in my college career, mostly in the realm of sound. I was known as “The Sound Guy” around the school. When I was working sound for the theatre, respect for my gender identity was a no-brainer. I remember introducing myself to a professor as the sound guy, and immediately he asked me my pronouns. Everyone was accepting, and in fact, all four of the other sound engineers in the program identified as nonbinary as well—go figure! It was always easy to be myself, and the professors were always respectful of their students in this manner. Music, however, was a different story.

I went to a classical music college, and the vast majority of my education followed the history and musical literature of old, Christian, and largely successful white men. (Shoutout to Hildegard von Bingam and Clara Schubert for bucking the trend, but they were the exception, not the rule.) I feel like this male-centric mindset really purveyed into the minds of faculty and students, even if it was subliminal. This old-school classical mentality meant that there were very few professors who really cared to respect my pronouns, no matter how many times I gently corrected them, or signed an email with (they/them) under my name. It didn’t change. To them, if I looked like a woman, I was one.

I remember when I first started at my job in Hershey. Much like my college experience, I was living in central PA and was still trying to find a workplace that was accepting of my gender identity. When I began, HR and management were very open to using my pronouns correctly, at least during the hiring process. That being said, I’m not a person who’s completely committed to correcting every misgendering slip I hear. I’m aware of the negative stereotyping surrounding that, and I’d like to avoid it at all costs, thanks. Yes, I’ll take the time to inform those whom I care about and to gently remind those whom I see on a regular basis. However, when it comes to other departments or guests, I’m not going to make a scene. (Heaven forbid someone makes an “I identify as an attack helicopter” joke, or a “Did you just assume my gender?!” joke. I don’t think I could take that lightly.) When I began my work there, however, I realized quickly that my A.V. colleagues could not care less how I identified. The hiring and onboarding training, preaching LGBTQIA+ and diversity acceptance, had seemingly been a guise to protect the company from potential lawsuits, rather than an actual company policy.

I wasn’t the only trans person in the workplace. A coworker of mine was (read: was, as she has since quit) a proudly-out transgender woman. She wore makeup, was on HRT, had long nails, and spoke in a high-pitched voice. By all accounts, she was recognizable as a woman, as far as the Western gender binary and all of its stereotypes decreed. As soon as I interacted with her, I knew she was a woman.

Maybe I was the only one who thought that way, because every member of the fifteen-person team (except myself and the one cis woman on staff,) referred to her as a man, and consistently with he/him pronouns. This caught me off guard.

Within the trans community, there is a wide berth of experiences to be had. There are those of us who are within the binary and choose to transition. Some of us don’t abide by the binary and transition, too. There are people with different means of gender identity and expression, different backstories, and different upbringings. We vary in economic class, race, and age. There is no right or wrong way to be trans, but rather a variety of experiences and hardships we face. This being said, if my cis male coworkers couldn’t understand a binary trans person’s experience enough to respect her identity, how on earth could they even begin to grasp mine?

An Essential Reading List for Classical Music Recording

 

Classical music recording is quite a niche area of the audio recording world that can take time and experience to build skills in. Fortunately, there are some excellent books out there by audio engineers who have been perfecting their craft for years, to aid and inspire us in our ongoing learning journeys and the quest for capturing compelling classical recordings. Several of these have become go-to references for many classical audio engineers.

Classical Recording in the Decca Tradition

By Caroline Haigh, John Dunkerley and Mark Rogers

Written by three highly experienced tonmeisters who have worked for Decca and Abbey Road Studios, this comprehensive guide offers detailed explanations of recording techniques (such as the Decca tree) and useful diagrams and photos. It covers all kinds of formats from solo instruments to large ensembles, orchestras and operas.

Recording Orchestra and Other Classical Music Ensembles

By Richard King

Another comprehensive exploration of recording techniques, written by a Grammy award-winning recording engineer and professor. It also has useful sections on the role of the producer, productions with video, and multi-channel recording as well as “Quick Start Guides” labeled by ensemble type.

New Stereo Soundbook

By Ron Streicher and F. Alton Everest

A guide that delves into stereo perception and recording, exploring what it is, how it works, and how to use microphones to achieve stereo effects – knowledge that is central to classical music recording. It includes a glossary of terms, basic principles of stereo microphone techniques, binaural techniques, multiple-mic recording, the early history of stereo techniques, and how to optimise listening environments.

Recording Music on Location: Capturing the Live Performance

By Bruce Bartlett and Jenny Bartlett

Classical recording more often than not involves recording on location in different venues, and this book provides lots of information on recording outside of the studio, including a section on classical music. Other useful chapters include gear and pre-production, and in-depth explanations of stereo and surround recording techniques.

Concert Halls and Opera Houses: Music, Acoustics, and Architecture

By Leo Beranek

Called the “definitive work on the architectural acoustic design of classical music spaces”, this book is an illustrated guide to 100 concert halls and opera houses throughout the world. It explores how architectural features affect acoustical aspects such as reverberation time and frequencies, and how this relates to classical music of different periods. It also features comments from conductors and musicians on how acoustics affect their performances.

SoundGirls Living History Project – Jamie Angus-Whiteoak Interviewed by Leslie Gaston

 

 

Jamie Angus-Whiteoak Is Emeritus Professor of Audio Technology at Salford University. Her interest in audio was crystallized at age 11 when she visited the WOR studios in NYC on a school trip in 1967. After this, she was hooked, and spent much of her free time studying audio, radio, synthesizers, and loudspeakers, and even managed to build some! She has worked in both industry and academia in diverse fields from integrated optics and acoustics to analogue and digital signal processing. Her expertise ranges from valve (tube) circuits to the applications of esoteric number theory in signal processing. She has pioneered degree-level courses in both music technology and electronic engineering in the UK. She is the inventor of; modulated, wideband, and absorbing diffusers, direct processing of Super Audio CD signals, and one of the first 4-channel digital tape recorders. She has done work on signal processing, analogue circuits, and numerous other audio technology topics. She has been active in the AES for 30 years and has been the paper’s co-chair for previous conventions as well as a judge for the student project and Matlab competitions.

She has been awarded an AES fellowship, the IOA Peter Barnet Memorial Award, and the AES Silver Medal Award, for her contributions to audio and acoustics.

AES Awards In 2004, James Angus was presented with the AES Fellowship Award for achievements in research and education in electroacoustics, particularly for pioneering work on sigma-delta modulation.

In 2019, Jamie A. S. Angus-Whiteoak was presented with the AES Silver Medal Award for a lifetime of important contributions to audio engineering and instruction. Non-AES Awards & Award Nominations Peter Barnett Memorial Award in Electroacoustics from Institute of Acoustics Education Background 1973-1974 University Of Lethbridge, Alberta, Canada 1974-1977 University of Kent Canterbury, England, BSc 1st Class hons in Electronics 1977-1980 University of Kent Canterbury, England, PhD in Electronics, Thesis, “On the design and implementation of a general purpose digital signal processor”

SoundGirls Seeking Online Mentors for 2024

Mentoring the Next Generation of Women in Audio.

How it Works:

SoundGirls Members are invited to sign up for online mentoring and be partnered with a mentor for three online sessions. The sessions will focus on a project or goal you are working towards.  Sessions will be conducted through Zoom, Skype, etc.

If you would like to volunteer to be a mentor please apply here

5 takeaways from SXSW Sydney 2023 relevant to the Entertainment Industry

I had the privilege to attend SXSW Sydney in October last year, and here are my top five takeaways that affect the entertainment industry

Tiktok has changed how young people listen to music.

In a panel titled TikTok soundscapes, WPP House gave the participants blindfolds and headphones and played us a series of narrations with soundtracks. That was a good way to demonstrate how music elevates storytelling by augmenting emotional connection. It also shows how pairing songs with narration can completely alter the meaning of the song, bending it to the storytelling. In a way, that’s what the platform does, especially with its audio trends. You know, those bits of audio that consist of a song or voiceover, and that users can add video to. Musician Ashwarya mentioned that if she heard a song first on the platform, she would tend to associate it with the mood of the videos using it, even if that wasn’t the original intent of the songwriter. And everyone who’s been on Tiktok long enough will agree.

Licensing and sync are currently some of the best income streams for working musicians 

Songtradr CEO Paul Wiltshire, who recently purchased Bandcamp, told us how his platform uses AI to scan audio files and extract data points like bpm and genre to determine who is the best target audience for that track. More than that, they use that data to match these tracks to brands looking to evoke a specific feeling in their customers. With streaming platforms paying pennies and physical media sales dwindling due to the cost of living crisis, it’s smart to explore every revenue stream available. Oh yes, he also reassured us he has no intention to change the experience that Bandcamp offers their users, so indies out there can breathe a sigh of relief.

Science-based marketing gives us the chills

No, literally. Speaker manufacturer Sonos teamed up with Eric J Dubowsky and creative agency Amplify to design a track specifically to elicit physical responses like goosebumps, chills, elevated heart rate, and I get butterflies in my stomach. Campaigns like this aim to grab our attention in an increasingly noisy landscape, using a scientific approach to make them impossible to ignore. And with spatial sound becoming more ubiquitous, their impact is greater. It’s fascinating but also a bit dystopian if you ask me.

Check it out here.

VR and AR are still very niche but growing steadily

There was a special section in the expo for VR exhibitors and there was a lot of competition to get to a headset. People are excited about these technologies and I particularly didn’t test any experience that had immersive sound, which in my view would elevate the experience exponentially. An interesting take on the possibilities of VR was given by artist Lynette Wallworth, who creates interactive experiences in partnership with indigenous communities to translate their worldview to Western minds. She says that the new technologies open space for new ways of working with them, and producing for them. That makes them more flexible to work within different cultures. An Amazonian shaman told her that VR headsets work just like Ayahuasca, changing your perception to deliver a message, and afterward, you come back to your reality.

AI in music is more a partner than a threat

One of the highlights of my SXSW was the panel on AI in Music production, by Justin Shave and Charlton Hill from Uncanny Valley studios in Sydney. Both have been at the edge of the intersection of Music and Technology for decades; and have been involved in projects such as Music of the Sails, a generative piece made for the 50th anniversary of the Sydney Opera House, and developing their own AI Music Engine, Memo. Their argument is that generative AI tools like DDSP, Lyrics generators, Voice replicators, Musicgen, Source separation, and others are to be seen as tools instead of competition. They use synths and Napster as examples of technologies that disrupted the music industry and stirred fears that they would end it, but in the end date didn’t. Playing with any of the above-mentioned, it becomes clear that they are useful resources; but if they might one day replace a skilled human, that day is still far away.

 

Mixing: Band Next

In my last blog, I started talking about how you can approach mixing when you’re just getting started. If you haven’t read it, here’s the cliff notes version: vocals are your first priority. Make sure you get the lines out (especially in tech), no matter how many faders you need up at the beginning. Then you can work towards line-by-line mixing from there.

Once you’re comfortable enough with the vocals and can start paying attention to other things, what’s next? If it’s a musical, the answer’s easy: the music.

The band is more self-sufficient than the vocals. They’ll do some dynamics on their own, so they can take care of themselves to a point while you’re settling in with the vocals. For the things they don’t do on their own, you’ll tend to notice and take care of them naturally. If the music is too loud and it’s hard to hear what the actors are saying, you pull it back. If we’re heading into a song, bring them back up to support the singing. All of that is a good start, but at this point, those moves are reactive as you notice something and adjust to compensate. Once you can give more attention to what’s really happening in the music, you can anticipate and be proactive.

There’s some work you can do even before you get into the theatre. If I’m working on a show that already has a cast album I’ll do what I call a Music Map. I’ll go through each song and write down which section or instrument has the melody or is featured. Even if the recording isn’t the exact version I’m going to do, it gets me in the ballpark. It could be just the sections (brass, strings, percussion, etc), or even a best guess. So what if I mark down that it’s a trumpet that has a solo and it ends up being a French horn? It’s paperwork that’s only for me, so it doesn’t have to be perfect. More than anything it gets me to put a critical ear to the show a few times so I’m more familiar with the music and feel more prepared going into tech.

This was one that I did for Les Mis: it’s a quick jot of “Valjean’s Soliloquy” with the part of the song (usually by the lyric), which section has the focus if I picked out a specific instrument and anything else I noticed like supporting instruments. You can see that it’s a rough sketch, not the end product. There are things like the note of “Keys?” towards the end, which meant I wasn’t sure if it was an acoustic instrument or a keyboard patch. Again, you’ll find out for sure once you get the musicians in the space, but this gives you a reference if you feel like you’re missing something.

Every song has a shape to it. Some get progressively louder, building to a big musical moment at the end, other times it’s a quiet ballad that has some builds but may stay pretty quiet. Others might be a mix or jump from singing into dialogue and back again, going up and down fairly drastically in volume. As the mixer, you help maintain that shape to get the right emotional build. This typically happens in one of two ways: supporting or managing.

When you’re supporting the band your faders move the same way as the dynamics. So you’re riding the fader up with the big crescendo to give the moment a little more punch, or as the music fades you’re bringing it back at the board so they settle where you need it in time to make a pocket for the vocals. This is how you usually treat slow songs (love ballads, dramatic solos) and shows that have a larger, traditional orchestra. Acoustic instruments tend to use more dynamic control, so you’re helping them along.

On the flip side, when you’re managing, that means you’re moving in the opposite direction of what the dynamics are doing. Say there’s a moment where it feels like it should get bigger musically, but logistically what’s happening is only part of the pit was playing at the beginning and when the music feels like it’s going to bump up a notch, the rest of the band comes in. Everything gets louder naturally with the additional musicians, so you don’t need to push to get the dynamic increase you want. You might even have to pull them back to make sure everything doesn’t get too big too early or overpower the singers.

Managing happens more often with electronic instruments, which might not have as much fine control over their dynamics with pedals and presets. In some cases, they don’t have any, like if a keyboard patch is a trigger. That means it doesn’t matter how hard or soft the keyboard player hits the key (velocity), the sound it triggers will always be at the same volume.

Once you have an idea of the musical shape of the show, start noting band moves in your script. These will become a part of your choreography. I’ll use numbers if I know where the band faders usually end up, or markings like crescendo, decrescendo, or circles for quick bumps if the moves are more general.

Along with overall dynamic moments, you’ll also begin to pick out individual solos or features where you may have to give additional support or managing, just on a smaller scale. For example, if a flute and a trumpet each have a moment in a song, they’ll likely have to be treated differently. The flute is naturally quieter, so you’ll likely have to push their mic to get them out over the mix. However, the trumpet may not need any help (or you might have to pull it back) depending on the player’s lung capacity and sense of subtlety.

Try to remember that no rule is absolute. Although trumpet players are very good at being loud, that doesn’t mean you’ll always pull them back. In Mean Girls, there were a couple of moments where the trumpet had a James Bond-style riff and I’d have to push it quite a bit to get them out over the rest of the band. So treat each moment as its own entity. In sound it’s easy to get caught in traps of comfort and appearance: an eq doesn’t look quite right, and you never usually have to push the drums, so why would you need to now? Try to listen first and make adjustments accordingly. Does the eq sound right? Can you not hear cymbals in this section? When in doubt, ask for a second opinion. Sometimes you just need a set of fresh ears when you’ve been listening to the same show for weeks or months.

Once you learn where the band moves are, you can focus on the details. Different songs will want different approaches: sweeping orchestras lend themselves to fluid, continuous movements while quick, pop songs tend to have quicker bumps or more dramatic pulls.

 

Here’s a video of “Why God Why?” from Miss Saigon. It’s mostly one person singing, so the attention is on the band’s moves. My main focus is to make sure the vocals (faders 1-8) are always supported—not overpowered—by the orchestra (11 and 12), but I can still fill in the music around the lyrics so the overall level stays consistent. There are pushes with the orchestra in the emotional builds which are followed by quick pulls to get the band back and make a pocket for the vocals again. Around the 3:35 mark, there’s a pull where I tuck fader 11 back a little bit more than the rest of the band to compensate for a louder key patch: an example of the managing I talked about before in action. Overall, the song starts out quiet and has slow builds, each getting a bit bigger than the one before. There’s a quick pullback when we go into the faster section, the emotional build with Chris and the Vietnamese, and then the big finish at the end with a bump.

Music is an essential part of a musical, but it can do so much to enhance the story on an emotional level. As a mixer, you get the chance to put an extra flourish on some of those moments to drive them home. One of my previous blogs covered some of those times in-depth and how good it feels when everything comes together. Because the next level of working with the band is learning to adjust it live to the actors so you get that emotional impact. When they’re able to go for it, you have more leeway to make the moments bigger, or if they’re under the weather or having an off day, you adapt and pull the music back so they still land in the right place relatively. Like in “Why God,” you can literally hear Chris’s frustration building as the orchestra gets bigger, but how big the orchestra can get depends on how big Chris is going to go.

It’s these details with the music that make a lot of shows more fun to mix. There’s a feeling you get when you hit a bump at just the right moment and just the right level that keeps you coming back to see if you can do it again and again. I’ve been incredibly lucky that I’ve worked with some people who are both amazing musicians and lovely humans, and you always want to let that talent shine. I can’t count the number of times one of them has come up to me, so excited because a friend came to see the show and told them they sounded good. If they know that you’re taking care of them, you build trust, which ultimately leads to a better show for everyone. So take the time and make the effort to learn the music. Some people will actually notice and appreciate it, others will just know that the show hit a little deeper this time. Either way, it can make a world of difference.

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