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Learning and Networking at the AES Convention

 

After a three-year hiatus of in-person gatherings due to the pandemic, the long-awaited 153rd Audio Engineering Society convention took place on 19-20 October in New York, with additional events before and after, and to be followed by an online event on 26-27 October. If you’ve never been to one, what can you expect at an in-person AES convention, and is it worth going to? Here’s an overview of my own experience and opinions.

AES conventions normally take place twice a year: one in North America and one in Europe. If you’re a member of the AES, you get a discounted convention ticket. Conventions are very affordable if you’re a student member; if not, the admission price might be considered a little steep, coupled with travel and accommodation if you don’t live in the area. However, the opportunity to learn, network, explore industry products and innovations, and be inspired can make it a very worthwhile expense.

This year’s NYC convention took place on two floors of the huge and well-equipped Javits Center and was co-located with the NAB show – very handy for those interested in both audio and broadcasting. The Exhibits part of the AES convention consisted of an enormous array of booths and rooms displaying audio industry-related products and services, everything from microphones and hardware to software, acoustics and communications systems, and much more. It’s a fantastic chance to see and hear gear up close, ask questions, form relationships with manufacturers and sellers, and learn about the latest innovations in audio.

One of my favourite parts of the convention was the Tech Program and Training. In several rooms at the side of the exhibition hall, in addition to a couple of stages in the hall itself, a huge number of seminars, panel discussions, and presentations took place covering all manner of topics: studio recording, live sound, music production, post-production, networked audio, spatial and VR audio, broadcast and streaming, game audio, product development and more. Via an app, you could read about each seminar and presenter, and plan which sessions you wanted to attend. It was such a great learning opportunity; my only complaint was that there were so many terrific sessions going on at the same time, and I wished I could be in three places at once!

This year the AES also introduced a new format of hands-on learning workshops, where participants could bring a laptop and headphones and have access to audio materials sent by the presenters beforehand. Some of these workshops were more successfully interactive and hands-on, while others were similar to a normal seminar, with the limited number of participants allowing for more interaction and questions. This is definitely a great format for learning, and hopefully, AES continues with it and encourages presenters to include exercises for attendees to work on during the workshops.

For student members, there was a series of valuable events and sessions such as the Education and Careers Fair, the Student Recording Competition, and the Recording Critiques session. Meanwhile in other lecture rooms throughout the day, research and technical papers on a diverse field of topics were presented. Additional events included networking spaces, keynote speeches, and a film screening. Attendees staying on in New York could sign up for a tech tour to various venues the day after the convention – I was able to attend a tour of the famous Power Station studio at BerkleeNYC, a terrific experience that included witnessing a 3D music video recording.

It’s important to mention that thanks to the hard work of the members of the Diversity & Inclusion Committee, AES is making great strides in diversifying the audio community and creating inclusive opportunities for all races, genders, physical abilities, ages, and nationalities. Here’s a Soundgirls article about the Diversity and Inclusion Guidelines for AES conventions and conferences. It’s great to see the attendees of conventions becoming more diverse each year!

A huge benefit of attending the AES convention is the opportunity to network and meet others both in your field of audio and in other fields. This is something extremely valuable in a career path that thrives on connections and relationships with colleagues and clients. With so many brilliant people from the industry in one space, it’s the perfect opportunity to go up and introduce yourself to presenters, educators, industry colleagues, and people whose work you admire. People are very approachable and really happy to talk and share advice and contacts.

In conclusion: yes, the AES convention is absolutely worth attending! There is so much learning to be had, inspiration to be soaked up, networking to be done, and innovation to be marveled at. Hopefully, the AES will be able to return to holding a longer 4-day event in the future. The enthusiastic atmosphere, positive sense of camaraderie, and veritable passion for audio at this year’s New York convention gave me a huge dose of inspiration and motivation to keep doing my best, and boosted my excitement and gratitude to be working in the amazing field that is audio!

 

Ancient Acoustics

Have you ever wondered about the sounds our ancestors heard?  Digging deeper into the questions surrounding ancient noises is archaeoacoustics.  Archaeoacoustics is the study of humans’ relationship with sound and music that incorporates ethnomusicology, archeology, and acoustics.  A related field is music archeology, which focuses more on ethnomusicology in ancient and pre-history.

Beyond the natural soundscapes that still exist today, researchers are able to study what our ancestors noticed via rocks.  In the famous painted caves of France, the paintings are concentrated in areas of exciting echos.  Other caves display similar relationships.  Stonehenge and Chichen Itza are civilizations creating monuments that incorporate interesting acoustics on purpose.  For Stonehenge, the circular arrangement of the stones and their spacings add intrigue to the ceremony.  The Mayans built Chichen Itza’s staircases with acoustics in mind using reverberation to mimic a sacred quetzal call when someone clapped.

From the sounds they heard came the music they created.  Anne Kilmer, an Assyriology professor poured over clay tablets with ancient languages written in cuneiform to find some of the earliest written songs.  In 1972 Kilmer and a few colleagues created an interpretation of a written song that is believed to be a cult hymn.  This hymn was preserved in its entirety for over 3,000 years.  What makes this song remarkable is that it uses harmony, a concept thought to be a much newer invention.  The lyrics even match the harmony, with the melody left as an afterthought.  Kilmer and her fellow researchers knew this discovery would fascinate musicians and have published sheet music for the Mesopotamian lyre, as well as recordings for the casual listener.

 

6 Steps to Starting Your Freelance Business

If the thought of being a freelancer scares the bajeebers out of you….I completely understand. Because it IS scary. Especially if you’ve had a good few years feeling the comforts of a steady paycheck and insurance a “regular job” can bring. After being a freelancer (aka being a music business owner or entrepreneur) for 15 years now, I’ve figured some stuff out. I’ve put together six steps that can help you crunch the numbers, zero in on your skill sets, and help you take that first step into entrepreneurship!

Assess your priorities.

We all have different circumstances. We are all in different stages of life. What worked for one person taking the plunge into freelancing is not guaranteed to work for another. So, we must start by assessing where our priorities are. I created this worksheet (opt into my email address and I’ll send it to you here) that helps you organize your priorities in order of the absolute must-dos/must-haves (for some people, it’s their day job, for others, it’s their gym time).

Envision your dream future exactly as you want it 5 years from now.

Jot it down. Share it in a comment for us all to see. Give us excruciating detail. Not simply saying “I want to be making a living from my music”, but describing what a day in the life of “future you” would look like. The purpose in creating this vision in detail is so that we can map out the exact steps necessary to get us there. It keeps us focused on why we are getting up at 4 am or why we are turning down another gig that does not bring us closer to our optimal life. Write. It. Down.

Assess your skills.

Since we want our “dream” to actually be realistic, here’s where you are going to take an honest and detailed inventory of all of your skills that you can monetize. Think of evvverrryyyything.

Next to each skill, do some research and see if you can make an estimate as to how much you could charge for that particular skill or service. If it’s a remote job, you could visit sites such as https://www.airgigs.com/  or https://soundbetter.com/  to see what others are charging. If it’s for a local clientele (such as in-person teaching), see what the local market charges by visiting websites of people working in the same industry.

Assess areas that need attention, growth, or development in order to monetize them.

If your list of skills seems a little short, figure out what other skills you think you might be able to monetize with just a bit more work. Write that down and then make a plan of action to get you to the level you need to be at. For example, let’s say you can record vocals but haven’t really gotten good at editing them yet. Editing vocals is all about practice. Make a plan to take on some vocal editing jobs (can be music or podcasts) for a discount so that you can get more experience.

Assess your financial situation by creating a budget.

Adulting 101 includes creating and living within a budget. Be sure to include an emergency fund, savings, advertising, investing back into your business for equipment, etc. Figure out your bottom line in real $$ to sustain you and anyone who depends on you to provide. Include your day job income, if you have one. See what the actual dollar amount is that you need to live comfortably and make that your hard dollar goal for your freelance work. Remember that the typical freelance cycle can be very “feast or famine”. It’s important to SAVE! It’s also important to budget it the unexpected. Don’t create a budget based on the “best case scenario” but the “worst case scenario”. Then when you have the more plentiful months with extra income, stash that extra into savings so that you have a bucket to draw from during the famine periods.

Assess consistent income sources.

How much does each income source make, and how many of those jobs can you realistically do per week or month? For example, teaching can be a very consistent income source. It also demands a certain amount of time. Figure out how many regular student slots you can have weekly, then how much income that generates. How much time is left every week? How much more $ do you need to make to meet your monthly financial goals? Be realistic.

By this point, you should have a solid plan in place. “These are the skills I can monetize now, starting today.” This should help you formulate a real business. Give it a name. Grab the domain name. Build a site. Start making it happen. It’s important to not jump all in too soon. Be realistic about your bills and goals. If you are still working a day job and only have time to allocate 5 hours a week to do side freelance work, then start there. If you are disciplined with your budget and hone more skills that can be monetized, in time you’ll arrive at that place where you can replace the day job income with freelance income.

 

Delving Into De-mix Technology

Since Peter Jackson’s Get Back documentary about The Beatles, the use of De-mix technology has been more prominent in the public realm, and it is a truly intriguing technique. Even the term ‘De-mix’ is a fascinating one, that mentally evokes a challenge similar to ‘un-baking’ a cake.

In fact, the process of De-mixing has been used by Abbey Road Studios for some time, and the technique was developed in partnership with mastermind technical analyst James Clarke, who recalled that the idea first came to him back in 2009. The first project Clarke created was in 2011, with the reimagining of The Beatles Live At The Hollywood Bowl, with many classic Beatles records subsequently following, including A Hard Day’s Night (the movie), 1+, parts from Sgt Pepper’s Lonely Hearts Club Band 50th Anniversary and The White Album. Aside from The Beatles, David Bowie’s Life on Mars, Rush 2112 – The Live Concert, and material from Cliff Richard and The Shadows, as well as Yusuf/Cat Stevens, have been similarly reworked with the De-mix technology.

What is De-mix technology and how does it work?

Abbey Road Studios explains on their website that in its simplest form, the software enhances the original vocals and helps to amplify the bass, which is something that mixes in the late 1960s were often unable to do.

“Using algorithms that are trained on target instruments, De-mix can extract these components to enhance or reduce targeted EQ or isolation. Not only can De-mix be used to adjust the levels of musical elements within a mix, it can also make vocal isolation or removal a reality.

The new process unlocks mono recordings or those where full multi-tracks do not exist, allowing our engineers to adjust the balance and levels of instruments and vocals within a track to rebuild, rebalance and remix the recording. For remastering projects, De-mix allows our engineers to perform targeted EQ balancing. For example, the engineer can adjust and EQ a bass guitar without any impact on the vocals or drums.”

Abbey Road engineer Lewis Jones talked about working on vintage tapes by The Rolling Stones back in 2018, likening the De-mix process to remastering – he drew similarities between taking an initial stereo track, and then making a multi-track of that stereo in order to edit the parts more individually, and enhance them. In the case of these older tracks, however, the source is more often a mono track, which was commonplace in the 1960s.

The comparison to the remastering process makes the technology a little easier to digest. Delving deeper into the science of how De-mix works, Clarke explains:

“The process is that you create spectrogram models of the target instrumentation you’re looking for, so vocals, guitars, bass, drums, stuff like that. And then the software starts to look for patterns within the mixed version that matches those models. It then creates what are called masks, which effectively, think of them like a specific sieve, you just drop the audio through it and the mask catches the bits it wants to keep and lets everything go through. It then does the same for all the other instruments and eventually, it works out that this bit of audio belongs to the drum, or the vocal or bass guitar.”

Clarke also explained that if engineers were having issues while working with the De-mix software, he could tweak the code and the models to assist the process. And looking to the future, Clarke says he is currently moving into a deep learning approach that uses the same concept of generating these masks to un-mix the audio, however, the masks are learnt rather than derived and can be applied to any song. He states that “It’s producing some stunning results at the moment”.

What could be the impact of De-mix technology?

There appears to be only positive potential in the use of De-mix technology, the most notable being the restorative nature of its application – old, forgotten, or bootlegged tracks can benefit hugely from these techniques, and become resurrected to live a second life.

Abbey Road Studios already offer the De-mix service to clients as a remix or remastering option, and the possibilities for the future usage, licensing, or commercialisation of this technique look promising; should Clarke’s deep learning approach continue to create new versions of De-mix, it seems feasible that the technology could one day become widely available to producers and creators. If it can eventually be used as an adaptive preset (as Clarke described in his description of the technology’s deep learning potential), the impact would be huge. Ultimately, taking the innovation and quality of the Abbey Road techniques, and making the software available to use on records everywhere, is a very exciting prospect.

Sound for a 48-Hour Film Project

A week ago, I joined up with a local team of videographers to take part in the famous 48-hour film project. Barring the fact that I only slept for about 6 hours over the entire weekend, it was still one of the most awesome experiences I’ve had to date, and definitely not for the faint-hearted. In this article I’ll flesh out my experience for you, the highs and lows, and what to keep in mind should you ever want to be the SoundGirl and take part in your local 48-hour film project.

Preparation

See what gear you have available: Because we only get our script on Friday night, it’s hard to know what to expect. You don’t know how many actors there will be, what your location is, or even what kind of sound you will be recording. But there are a few things you can prepare for. The first step was to see what gear our team has on hand – because it is not a paid gig, you tend to work with what you’ve got – and then you formulate how you would go about making the most of that setup.

I had access to a Zoom H4 Recorder, a Rode Go lapel, a Saramonic lapel, and (I think) an ME66 rifle mic. I had to hire a boom pole and stand. My thinking was that we’d probably have two people lav’d up with one boom ready to go where needed. We fed two mics into the H4 and one into the camera itself to have an audio track to sync to in post (essential step!).

Make sure you know exactly how to operate the gear

Watch the tutorial in the week leading up if you must. There’s nothing worse than not knowing how to find the menu button on your field recorder hee-hee)

Have access to a sound library (I used Artlist)

Every piece of music or audio you use has to either be licensed or original, so make sure you don’t grab songs off YouTube or anything like that! On the first evening, start downloading possible SFX you might need to add in case you don’t have time to create them, as well as reference tracks for the music.

Make sure you have enough batteries for your recorder/mics

We ran out of batteries about 8 times and nearly had one of our lavs lose power during a take. Luckily, I had a bag of semi-used batteries we then cycled through throughout the weekend. On that note – also remember to switch all of your inputs ON (sounds simple, but so easy to miss!)

During the Recording:

Don’t Forget your Clapper Board

We started off using a clapper board to note takes and such, however, being in such a rush all the time and surviving on McNab energy shots alone, I must admit I took slack and stopped enforcing it. Huge mistake, as we then struggled to find the correct audio takes for the picture and spent precious time in post trying to align audio waveforms up with mouth movements. This easily added a good 3 hours onto our process which is a lot of time when you only have 48hours.

Make sure you have everything in the correct frame rate

For some reason (who knows what happened) I set the frame rate on one scene to 60fps. Gosh… I am so fortunate that I had elastic audio handy to match the dialogue up to the talent in post, otherwise, I would have been screwed. This also added a good hour or so to my edit time. Not good.

Post-Production

Clean up audio even if you’re not going to use it

I thought it would make more sense to wait for the team to send me the final cut before starting to clean up audio takes of dialogue and such, but this was a big mistake too. The final cut was given to me last minute and I had no time to do any processing on the dialogue (eeeek!). What I should have done was clean up all the audio we shot while the editor was working, regardless of whether it was being used or not, so that when we did make a selection for the final edit, I would have clean and crisp dialogue takes. If you can do this, I highly recommend it, because you may run out of time in the end.

Don’t take anything personally

Sound is almost always the last part of the filmmaking process, and no matter how much you try to convey that this process takes time, it might not always be possible for you to have the time you need to be proud of your work. You must be willing to stand firm in doing your job properly, but you must also just do the best you can with the time you’ve got (because we ALL know you have that genius inside you that can pull rabbits out of hats at the last minute to make a masterpiece). It’s okay to not feel “proud” of the final result of the sound because of mistakes, time constraints, and a misunderstanding of the process of sound by others in general. This is a learning curve for everyone so always look for ways that you can improve your workflow and get better at being awesome, but don’t for a second take anything personally

Make things up even if you don’t have the final cut

The team only gave me the final cut of the video 30 minutes before submission. Yes, you heard me right… 30 minutes… You can imagine my stress levels! But, luckily I had predicted this being a last-minute thing, so what I did, was while the team was shooting the last scenes and editing the picture, I started making up things that I thought might be used – extra foley sounds, SFX, music (with the help of my fellow soundie, Deon), so that when they gave me the final cut, it was more of a “plug-in” process rather than starting from scratch.

Lastly, HAVE FUN

There may be times when you feel a lot of pressure, or like things just aren’t working out. Perhaps you get so tired that you start making small mistakes that have a big impact – but remember that at the end of the day, you are doing this for fun. If you can keep that in mind, then everything else seems easier to manage. At the end of it, you will look back and realize that you have made lasting and strong friendships with a team of amazing people and that you did what you thought at times would be impossible. It pushes you to your limit and gets you way out of your comfort zone. It’s SO worth every single sleepless moment.

The screening of our short film will be on the 21st of October 2022, so I can’t give you the link here now, but I can show you the little behind-the-scenes video I took that encapsulates how awesome the weekend was!

Kia Shavon: The Mix Artist

Kia Shavon is an audio engineer whose extensive resume includes tracks by Foxy Brown, A$AP Rocky, Lil Pump, the NBA and NFL, and hundreds of indie artists. Professionally, she goes by The Mix Artist. She obtained her Bachelor of Science in Music Engineering Technology from Hampton University, and now lives and mixes audio in NYC.

Kia has also become an outstanding educator, offering workshops virtually through Omni Sound Project as well as private lessons. It was in this capacity that I first encountered Kia and felt compelled to reach out with some interview questions.

You are known as The Mix Artist. Tell us about how you approach mixing as an art.  

Remembering that my job is to bring you into the artists’ world — into the moment they’re sharing with you — is the first step for me. I have to understand what they want to express and know how to accurately convey that message to the listener. We’re actually painting pictures when we mix these records — mental images you may see better with your eyes closed, but pictures nonetheless.

I’m starting with the “clean up” — removing unwanted sounds with cuts, fades, subtractive eq,  de-essers, etc…, chiseling away at the mud and whatever else is clouding the beauty of the image I want to expose. I’m using additive EQ, compression, and saturation to bring out the details. Also using leveling, reverb, delays, and more EQ to create depth – every part of this composition is important, but I need to show what’s in the foreground at this moment and what’s supporting.

I’m not just monitoring LUFS and inputting outputs all day. Knowing the bulk of my job is dealing with emotions and the creative expression of such is key. Getting too technical actually hinders the process. For example, maybe your vocals need to be a little buried in the beat for this particular track. Perhaps it’s a song about being lost or consumed and that’s fitting.  Sometimes I have to just do what the song is telling me to do without thinking about what’s standard or what I may have been taught in school.

You hosted an intro course on immersive audio on October 8th. What first got you excited about this technology?  

I first paid attention to it when I watched my first film in Atmos in around 2014. I was blown away and didn’t want to experience films any other way afterward. Keep in mind, that was film sound whereas I mostly work on music so I couldn’t hop right in.

Shortly after, I noticed the rapidly increasing developments being made in the visual world with the rise of VR and knew there would be a need to understand immersive audio outside of just gaming and film. We’d been listening to stereo since the ’30s, which is wild! We were long overdue for an upgrade.

I dabbled with spatial processing using plugins like dearVRpro and Fiedler Audio Stage but didn’t go all the way in until I discovered Dolby Atmos Music — a game changer for me. The whole purpose of sound reproduction from the beginning was to recreate what we actually hear and in my opinion, Atmos Music is the closest we’ve come to that. Combine that with the ability to recreate this in headphones so just about everyone can experience it *chef’s kiss*.

Whose career do you find most inspiring? Do you try to emulate them in any way?  

It’s really difficult to choose a single person whose career I find to be the most inspiring — there are soooo many. I tend to draw the most inspiration from anyone challenging the status quo simply by being themselves unapologetically and living life in their purpose on their terms. I’m always here for that. I don’t believe I can emulate or imitate something that isn’t already within me. How they came to be whoever they are as a part of their process and their methods may not necessarily work for me. Instead, I see them as an encouragement to recognize that indomitable spirit within myself and to stay on my path, respecting my own process.

Tell us about an experience with an artist that pushed you to expand your skill set.  

Y’all are going to get really tired of me not answering these questions directly. Haha. I’m pushed almost every time an artist gives me any feedback on a mix other than “this is  perfect.” Haha.

But, an artist named Shaaye, is one in particular who helped me to get out of my comfort zone as an engineer and break rules a bit. When I started working with him, I would say 90% of my clients were hip-hop artists so it was easy for me to get stuck in a pattern of doing things.  Earlier in my career, I would take more risks, effects-wise, but quickly realized that’s not what was wanted from most artists so I learned to keep it simple. For the most part, they tend to want the same things from their mix.

Shaaye is a somewhat mellow singer/rapper and he brought the creativity back out and then some. He loves playing around with space, whether it’s through reverbs or delays or whatever.  He’ll also ask for a different “effect” on almost every track, which keeps me on my toes.  Sometimes he’d have certain ideas and my initial reaction (in my head) would be, “there’s no way that’ll work,” but lo and behold, it’ll work. He gave me the freedom to experiment and “just  try things.”

If you could mix a track for any artist in history, who would it be and why?  

… I don’t know why I’m such a glutton for punishment, but the first person who comes to mind right now is Kanye West. I just know I would learn so much from that experience. Despite whatever else comes with him, he’s a creative genius who knows what he wants. If you’re working with him, you need to be at the top of your game and you need to know how to surrender to how you think things should go and instead deliver what it is that’s being asked of you. It would not be a comfortable experience at all, but I feel that’s where most of my growth comes from. That would be a lesson in flow for me. I think it’s important to be able to get out of your own way when mixing, as well as in life in general, and just allow things to be without overthinking. Things go so much smoother that way.

What piece of advice have you received, good or bad, that you still think about today?  “Things turn out best for those who make the best of the way things turn out.”

I don’t know who originally said it, but a faculty member at my school, Hampton University,  used to say this all the time and I would hear students constantly repeating it. It didn’t mean anything to me at first, but after I lived life a little, I realized its application.

Understanding and living by that single sentence is a life-changer. It’s all about going with/ accepting the flow and not thinking that you know how things should turn out or even that there is one specific way something needs to happen. There isn’t.

Two people can be in identical situations, but one chooses to see the beauty or lesson in it and uses it to their advantage while the other chooses to turn it into a problem they need to fight against. The situation is a positive one for the first person because they chose to view it that way while the second person is in a funk because things didn’t go their way. They literally

created their own realities — their own experiences. We do that every moment. Life is so much more freeing when you know that you have that type of control over it, at least for me.

What do you hope to learn more about in the coming year?  

Oh wow, how much space do we have on this page? Haha. I’ll contain myself. I am so intrigued by immersive audio. I definitely want to learn all there is to know about it, not only by reading about it, but by working on some really creative projects and pushing limits.

I also want to learn how to become a better teacher. I’ve learned quite a bit over the decades and have about 15 years of experience as an audio engineer so I’d love to feel confident enough to share what I’ve learned with whoever I can help or inspire.

Thank you, Kia.

Kia can be found at https://www.themixartist.com/ as well as on Instagram at https://www.instagram.com/themixartist/ and SoundCloud: https://soundcloud.com/themixartist/sets/kia-shavon-mixes

Fake It ‘till You Make It?

 

The live events industry can be hard to navigate. There isn’t a defined career pathway or educational framework that one needs to follow, no qualification that is necessary or will guarantee you a rewarding job once you have it. It can feel even more confusing if you’re a freelancer. You don’t have a boss to guide you or promotion options to pursue within a company. You are the only one who is responsible for your training and progression. When you then take into account the… creative and organic nature of live events and the current industry-wide shortage of experienced technicians caused (mainly) by the pandemic, it is quite common for people to be offered roles that don’t exactly match their skill set. Whether it’s an ad for a dream job that lists a bunch of skills or experience that you don’t have, or you’re getting offers of work that involves equipment that you’ve never touched, you may feel that there is a gap between your current skills and what potential clients are expecting of you. What should you do? The phrase “fake it ‘till you make it!” gets thrown about a lot, but is it really the solution? It is something I have struggled with throughout my whole career and I’m sorry to say I still don’t have the answer, but here are some things to consider so you can form your own conclusions.

Unfortunately, we’re a bit special

There are endless articles out there about whether you should fake it until you make it, but it is almost all aimed at employees in corporate jobs. There are definitely lessons to be learned from these sources, but there are a few things about our sector that mean the advice is not entirely applicable to us.

First of all, the proportion of workers in our field who are freelance is much higher than most. We have to advocate for ourselves and convince potential clients that we are a good choice and that our experience puts us in good stead to do the job well. This can be challenging when there isn’t an “industry standard” qualification and everyone’s experience history is unique. It is much easier to fire freelancers than employees, or simply not call them again if their work isn’t up to scratch. We are also up against untold numbers of other freelancers for each job, and in the absence of formalised, transparent hiring practises, it can be hard not to take hiring decisions personally. Paranoia and bitchiness about who gets what role can take hold in freelancer circles, similar to when there’s an opportunity for promotion in office-based sitcoms. All I can say is try to avoid questioning why this job went to that person, because it can eat you up inside, and trying to find logic, where there may be none, will drive you crazy.

Most jobs in live events, especially touring, are quite short in the grand scheme of things. Even if you land a role on a two-year global tour, that’s not much compared to potentially spending decades working for the same firm. This means we go through the stress of job hunting much more often than most people. There is also much less of an incentive for clients to invest in our professional growth or even put as much effort into recruitment as they would for a full-time position.

Lastly, our job is much more immediate than “normal” jobs. Of course, we can, and should, study and practise our craft as much as possible on our own time, but there is a lot that we can’t help but learn through experience. You can only deal with a quiet, unpredictable singer when you’re faced with one. You only find out what word clock slipping can sound like when you hear it (I’ve often thought that an audio library of what things sound like while being affected by different technical issues would be incredibly useful. If anyone has assembled one please let me know). Your live mixing will improve more with the experience of real musicians in real, crowded rooms than with any amount of practising with a multitrack. So if you are faking it until you make it and come up against something beyond your capacity, you will have to deal with that in real-time, potentially in front of thousands of booing fans and an angry client.

Keeping up with the fakers

In an ideal world, we would never have to fake it. Everyone would be offered jobs according to their abilities and everyone would be given opportunities to grow and progress along the way. Wouldn’t that be nice? Unfortunately, that is rarely how it works. If you have an employer or client who takes an active role in your professional development, please recognise them for the rare gem that they are. That’s not to say that everyone else is evil, it’s just that most companies are swamped with work and they don’t have the time or resources to dedicate to training, appraisals, mentoring, etc. At the end of the day, if you’re a freelancer, that responsibility lies squarely with you anyway.

I used to turn down jobs if I wasn’t 100% comfortable with every piece of equipment that I would need to use. I would tell them that they should choose someone else, for the good of the gig. However, it took me far too long to realise that more often than not, they didn’t find someone better, they just found someone who had the chutzpah to say yes and give it a go. Those people did a good enough job most of the time to get away with it, and so kept getting offered more opportunities. I dread to think how much putting the gig’s success before my own career has held me back, particularly because the gig probably would have succeeded anyway.

This brings me to the difficult part: none of us would have to fake anything if no one else did. We would all get exactly the level of jobs we deserved. However, there are all sorts of people in this industry, and as I just alluded to, the way things work favours people who are full of… chutzpah. It’s understandable: if you’re a busy booker who has a lot on their plate, finding a freelancer who has reassuring confidence about them and says they can do anything you ask them to is a godsend. If you’re an event organiser who’s worried because there’s been a technical difficulty, someone who uses a few select pieces of jargon but tells you it’ll all be fine shortly is exactly the kind of person you want. Never mind whether the difficulty was caused by that person in the first place; you don’t have the time or specialist knowledge to find that out, you just want your gig to happen. People like to say that chutzpah-ers get found out and don’t last in the industry, but in my experience that isn’t true, and in fact, the opposite can be the case. It can be frustrating to have to work with these people and watch their careers skyrocket, but I still don’t think you should join them if you can’t beat them. We’re all on our own journey, comparing yourself to others is a recipe for misery. The road might be longer if you don’t take the “chutzpah” shortcut, but you learn much more and can be truly confident in your own competence as you progress.

To fake or not to fake?

It’s a bit of a catch-22 that knowing when to turn something down and when to go for it comes with experience. Experience that you might need to fake a little bit to get in the first place. Now that I’m older I’ve seen more of how the industry works: I know that no one knows everything about everything. New equipment and software updates come out all the time, and you get used to reading manuals or chatting to friends who have used it to get up to speed (on that note, if any manufacturers are reading this, can you please stop replacing your PDF manuals with endless video tutorials. They are useful as supporting material, but you can’t search for a keyword in a half-hour-long video and scan through the relevant paragraph on your phone while the client isn’t looking. Or even just browse it during a slow conference). You get used to the equipment list fundamentally changing at the last minute, so whether you’ve used a certain desk before might suddenly become irrelevant anyway. You see so many people being thrown in at the deep end that you start to wonder whether there is any type of baptism that isn’t of fire. So once you see that perfection isn’t always necessary, and once you become more certain of your own abilities, it is easier to make that judgment call.

Further, it is easier to have a frank conversation with the booker when you’re more established. I still flag gaps in my knowledge with my clients. Sometimes they’re happy for me to read the manual or spend extra time in the warehouse to fill those gaps, sometimes they have a more suitable candidate for that role that they go with instead. I’m lucky enough that I don’t need to take every single gig I’m offered, and admitting to my lack of experience in certain areas doesn’t affect my long-term relationship with my clients. In fact, they usually appreciate my honesty and trust my self-assessed competence in other roles more.

So what can you do if you aren’t that experienced yet? It’s a decision you have to make yourself, but I would suggest the following:

Some day we will all be able, to be honest about our abilities and even our insecurities with everyone, and everyone will get exactly the jobs they can handle and deserve. Until then, a little bit of “faking,” insofar as you’re coming across as confident and reassuring while taking on new, reasonable, challenges, can do wonders for your career. If you know that it’s just a little bit of a stretch for you, and you are competent in the basics, some chutzpah can get you closer to the point where you won’t need to fake it because you will have genuinely made it.

Tips For Recording Podcasts Remotely

The COVID-19 pandemic resulted in many people taking up podcasting for the first time while existing podcasters found themselves having to rethink their methods of recording in the absence of face-to-face interaction.

Remote recording has always been a great way of interviewing people who might not live anywhere near you, even before the pandemic (not to mention the fact that you may be working from a home studio on a tight budget), but it has arguably become a much more widespread practice over the past two years. It undoubtedly has its challenges, but recording remotely doesn’t mean you have to sacrifice audio quality. Assuming you already have the ideal setup on your end (if not, there are some great tips to be found in other SoundGirls contributors’ blogs), here are some ways you can get the most out of your guests, no matter where they may be in the world.

Equipment checklist

Ideally, your guest should have a good-quality microphone. There are plenty of affordable USB mics on the market which will do the job, but if they’ve never been on a podcast before, you may be limited to their built-in computer mic (as an editor, I’ve found that some of these can be surprisingly good). Headsets, on the other hand, can be quite hit-and-miss. Some sound great while others sound no better than a phone line, and I’ve had many an editing nightmare as far as plosives are concerned. Always check things out with the guest beforehand; you don’t want to hit ‘record’ only to find that the quality is terrible and you don’t have any other options. You should also make sure they’re using headphones or earbuds at all times.

Eliminate background noise

Just as important as the equipment your guest uses is the environment they record in. Unless you’re fortunate and they have a studio of their own, you’re probably not going to get flawless acoustics. But you can (and should) make sure they’re in a quiet room with no distractions as far as possible. Home life can be chaotic, of course; this can sometimes spill over into a recording despite our best efforts. The dog barks for attention, the kids forget that you asked them to be quiet, and your neighbor decides to start mowing their lawn outside. Fortunately, these can all be edited out if they don’t last very long and parts can be re-recorded. But try to make sure other avoidable noises are taken care of in advance: ask your guest to switch off any fans or air conditioning, have their phone on silent, and close any tabs on their computer that are likely to play notification sounds. If they’re not used to the recording process, encourage them to stay ‘on the mic’ and avoid moving around too much, shifting in their chair, or brushing against the mic and any cables.

Choose the right recording software

In the past, it was common to use Skype to record podcasts. Now a lot of people are using Zoom, which arguably gives better quality and allows you to create separate audio files for each participant. However, you still have to rely on both you and your guest having a stable internet connection. For this reason, you should consider opting for a platform like Zencastr or Riverside.fm, which allows you to set up online studios and record each track locally. So even if the internet connection drops, everything will still be recorded in high quality to your, and your guest’s, computer. Even better, all you have to do is send them a link and they can access the recording window in their browser. It’s worth noting that both platforms also have video recording capabilities.

There’s probably no perfect substitute for sitting face-to-face in a studio, but with a little preparation, you can get your remote recordings sounding top-notch.

Accepting Applications for SoundGirls Bloggers 2023

 

Blog for SoundGirls

Are you passionate about the industry, do you want to share your experience and knowledge with the SoundGirls Community?  Then you may want to become a blogger for SoundGirls in 2023.  Our bloggers volunteer for a year of blogging  and choose how often to submit blogs (once a month, every two months, or four blogs for the 2023 year)

If you are interested, please apply here

Things we are looking for in our bloggers

Although we are mainly looking for people who can write well, are organized, and are passionate.  All areas of audio & music are welcome to apply. We look forward to welcoming you to our community.

Industry Knowledge

Not only is understanding the industry from a concept/fundamental standpoint important, but having real-life experiences is essential for any great blogger.  Having real-life experiences allows you to share those experiences, learn from those experiences, build relationships, and learn things that are not taught from reading a book.

Passionate

Great bloggers must be passionate about what they are writing about.  We believe if you are writing about things you are not interested or knowledgeable in, it will show in your writing and to your readers.  People who are passionate about a topic or industry find it much easier to write about things that others with similar interests would enjoy.  Long-term, you have to LOVE what you do.

Writing Background/Experience

Of course, if you have a writing background or you have acquired good writing skills through years of experience, it will help keep your blogs to be engaging and more enjoyable.  Using proper grammar, descriptive verbiage, and compelling headlines can keep readers engaged in your content longer.  We think overall if you are naturally a good writer, it will allow you to create high-quality content much easier and more efficiently.

Organized

A great blogger should be very well organized.  It will be important to plan and manage your writing schedules.  Like running your own business or planning your week for your full-time job, blogging should be no different.  Brainstorming blog ideas and creating a writing schedule all need to be organized to maximize your work schedule.

If you fly by the seat of your pants (as many people do) and are disorganized, it will most likely lead to inefficiencies in your blogging.  You can also find yourself so consumed with daily tasks, that your content quality suffers because you are just trying to rush through the writing process to get something out.

Strong Work Ethic

Having a strong work ethic turns good bloggers into great bloggers.  Someone that is able to stick to a schedule, exceed personal goals and expectations, and push themselves, will stand out from the crowd.  Many bloggers are writing for their own blog so it is not exactly a situation where they are getting paid for each post they write.  So it takes a person with a strong work ethic to see the long-term benefits and keep pushing themselves to consistently produce great content.

Network/Industry Reach

A blogger that has a large network and is known in the industry will make it much easier to promote their content.  As we all know, even if you write great content, you still need to promote it.  If you have built personal relationships with industry veterans, it can help earn credibility personally and for your blog.  If you can shoot a few messages and e-mails to key people in the industry who you know will promote your content to their networks, that can be extremely powerful.  Essentially you are leveraging your network and industry reach to promote content, gain feedback, and even help contribute to your blog.

SEO Knowledge

Having basic SEO knowledge is a plus for any blogger.  Bloggers who understand the benefits of good keyword research, how to promote content, and maximizing the potential of each post, will gain a larger readership in a shorter amount of time.

Goes Against the Grain

To be a great blogger, you need to sometimes go against what everyone else is doing and do something that is away from “the norm”.  Coming up with unique ways to stand out from the crowd is a way that great bloggers get found.  It could be a post, design-related, new way of promotion, unique content delivery, or something that has never been done before in the industry.

Social Media

Generally, bloggers spend a good amount of time on social networks like Twitter, Facebook, and Linkedin.  Being active on various social networks and engaging with people on a regular basis will help bloggers get noticed.  If you are consistently promoting other users’ content, those users will begin to notice and return the favor.  If you read other industry blogs and leave thoughtful comments or even personally contact the blog owner, this is all-important for building your network and getting noticed.

A plus for a great blogger would be being a power user on social bookmarking sites like Digg, StumbleUpon, and Reddit.  If you have the ability to promote content and others in the community, notice and promote it as well.

Enjoys Sharing and Helping

Great bloggers genuinely enjoy helping others.  Many bloggers blog because they want to showcase their knowledge in the industry.  Of course, that is part of why people blog, but it should not be the only reason.  Gaining satisfaction from helping others in your industry is a trait that all great bloggers have.  Taking the time to personally reach out to someone asking a question or thanking someone who leaves an intelligent comment on your blog is going above and beyond.  It shows that you do care about what others are saying.

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