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Review of A Song for a New Day

So far the books I have reviewed for SoundGirls are all non-fiction.  While I would love to start the year off with escapism in an idyllic setting filled with joyous music, I must share with you a book that will ignite and inspire.  Sarah Pinsker’s debut novel A Song for a New Day is a book written for us, the SoundGirl community.  Fittingly, Pinsker herself is also a singer-songwriter with the band Stalking Horses.  A Song for a New Day however caught attention for being published at the right time, earning a Nebula Award for Best Novel in 2019.  Yes, 2019, the year that the world stood still.

If you look for A Song for a New Day in the bookstore you will find it amongst the Sci-Fi shelves, but that broad genre does it a disservice.  This novel fits squarely in the speculative fiction subgenre of science fiction.  Speculative fiction is the near future where you will find The Handmaid’s Tale by Margaret Atwood and other martian-less stories.  The majority of A Song for a New Day occurs after a pandemic where there are laws against gathering in large groups.  Unlike COVID-19, the disease leaves visible scarring and no longer returns as a seasonal illness.  It also is not spoken of by name, instead the characters refer to “Before” and “After.”  In fact many of the large scale changes and political actors are not the focus, but rather the lives of everyday people.

A Song for a New Day follows 2 women in mismatched timelines as they live during and after a pandemic.  Luce Cannon, the first, is a musician on the brink of becoming a big touring star.  Rosemary Laws, the other, is stuck in a dead-end service job for a mega-corporation in a rural farm in the middle of the country.  It was surreal reading their stories and looking at how the COVID-19 pandemic has played out 5 years in.  Luce and Rosemary’s reality took remote work and social distancing more seriously, implementing strict occupancy limits and self-driving cars that are like individual high speed trains with dedicated roads.  Constant connectivity is aided by the portable “hoodie,” a garment integrated with a display, speakers and a wide-variety of augmented reality features.  Several companies took control of the pandemic-led disruption: Superwally, an amalgamation of Amazon and Walmart making same-day deliveries standard; and StageHoloLive, what Ticketmaster and Spotify wished they could be.  It is not a big leap to see our real future as similar, especially if you are tuned into the news.

Pisker keeps the story engaging by switching the two perspectives.  Their character growths are different, but related and makes the reader ask difficult questions.  What do we do with our knowledge and position?  How do we live with the new normal?  If we resist, how do we resist?  How do we build community when we are isolated?  How do we remember the last event before the world changed?  Even as we are forced to confront these questions, the story gives brevity with music.  The unique background of live music that Pisker brings infuses vibrancy and excitement to each musical performance.  What StageHoloLive attempts with the hoodies, Pisker succeeds with words to immerse the reader in all 5 senses.

If you are looking for a live music experience in book format, A Song for a New Day provides.  However, you will also hit with reality, dialed up to 11.  Fiction is a reflection of our present.  As a mirror it can help us look at ourselves as if we are strangers.  This perspective informs us on what actions to take.  The message from A Song for a New Day is that the show continues.  How do we keep the music going in 2025 and beyond?

Designing and Mixing My First Shows

Since becoming a theatre sound student last September, I’ve had the opportunity to work on two productions in two different spaces. The first was our Christmas pantomime, Rapunzel, and the second was one of the all-time great musicals, A Chorus Line.

First, Rapunzel. I was warned that I’d be thrown in the deep end on this one, and that was certainly true. It was one of the biggest shows of the year, running for two weeks in our 250-seat theatre. We had two shows a day for most of that time: schools performances in the morning and general public in the evening. As sound designer my work started in October, attending production meetings with the director, lighting designer and DSM and going to as many rehearsals as possible. In keeping with pantomime tradition, there were a lot of comical and bombastic sound effects required. One of the most fun to create was a bubbling, hissing cauldron in the witch’s lair. It involved blowing bubbles through a straw in a bowl of water, capturing the sound made by water coming into contact with a stovetop, mixing the two together and adding a lot of reverb! I was quite proud of how it turned out.

I’ll be honest: tech week was incredibly stressful, unlike anything I’ve ever experienced. I had to program a lot of pretty complex sequences in QLab which, considering I’d never done it before, was definitely one of my proudest achievements. There were various technical challenges to overcome and a few tensions along the way, which is to be expected during any tech run. I think it’s fair to say every department struggled with the first dress rehearsal. However, everything suddenly seemed to click into place afterwards and by the time we opened, everyone had found their flow.

As well as designing, I was also required to mix the show: something I know would not have been the case in a professional environment, but in this case we didn’t have the luxury of a larger sound department. My desk was a Yamaha QL5 and we had a cast of 19 actors and six dancers, with 14 radio mics at our disposal (swaps and breakages were involved). The moment of terror described by many theatre sound engineers just prior to their first ever show is now 100% relatable to me! Dress had gone well, soundcheck had gone well, but part of me was still thinking, “Is it too late to run away?” That nervous energy remained before each subsequent show, but I soon found I was able to channel it into pure focus as soon as the curtain went up. And when we got to bows, applause and cheers, that feeling of exhilaration would hit and I’d think: That’s why I wanted to do this!

The feedback I got from my tutors, the director, cast and my fellow crew, as well as the response from audiences, gave me confidence and assured me that all of the hard moments had been worth it. I certainly understand now why people say pantomime is one of the toughest things you can work on, but when it goes well, it’s so rewarding.

After Christmas it was straight into rehearsals for A Chorus Line. This show took place in our smaller studio theatre and was more straightforward in that there were no sound effects required, just tracks (and in this case QLab was operated by our DSM). I used an Allen & Heath analogue desk this time, so it was really good to get experience of a different setup. We had a cast of 15 and needed 14 radio mics and one handheld for the director character. Inevitably there were some breakages, which made mic swaps a bit of a challenge as the majority of the characters were on stage most of the time, with no interval. It was a bit easier later on in the show, as we had solos from Diana, Cassie and Paul which provided more opportunity for swaps.

My biggest takeaways from these two experiences have been:

Betty Wright: A Pioneer Who Refused to Be Overlooked

Black women have been the backbone of music since the beginning, yet their contributions have been consistently overlooked, borrowed from, and rarely given the credit they deserve. From Ma Rainey and Bessie Smith shaping the blues to Big Mama Thornton’s raw power and Sister Rosetta Tharpe inventing rock and roll, Black women laid the foundation for the music that continues to inspire generations. But despite their influence, they were often pushed aside while others profited from their work. This isn’t just about artists—it’s about producers, engineers, songwriters, and label owners, too. And that’s why it’s so important to talk about pioneers like Betty Wright, who not only took control of her own career but also created opportunities for others.

Betty Wright wasn’t just a powerhouse vocalist; she was a force in the music industry. She made history as the first Black woman to run her own label, Ms. B Records, proving that an independent artist could achieve mainstream success. In 1988, she became the first Black female artist to have a gold album (Mother Wit) on her own label—something unheard of at the time. She refused to let an industry that wasn’t built for her dictate her path. Instead, she carved out her own lane and thrived.

But Betty wasn’t just looking out for herself. She was a mentor, a producer, and a guide for the next generation. One of her most notable projects was mentoring and co-producing a then-16-year-old Joss Stone’s debut album, The Soul Sessions. Recorded at Miami’s legendary Criteria Studios, Betty brought in seasoned soul musicians—Benny Latimore, Little Beaver, and Timmy Thomas—to ensure the record had an authentic, lived-in sound. She had a way of pulling out the deepest emotions from an artist, helping them tap into something real, something raw.

Her reach went far beyond one album. Betty produced or collaborated with artists across genres—Gloria Estefan, Jennifer Lopez, Tom Jones, Snoop Dogg, Lil Wayne, and more. And she didn’t stop evolving. Well into her 50s, she reinvented herself again, teaming up with The Roots in 2011 for Betty Wright: The Movie. In an industry that prioritizes youth and where men still dominate behind the scenes, Betty Wright stands as a reminder that talent, wisdom, and impact don’t have an expiration date.

Joss Stone once said that Betty had a way of turning everyday conversations into songs. That’s who she was—real, intuitive, and always listening for the truth in the music. Her legacy isn’t just about the hits she sang or the records she produced; it’s about the doors she kicked down for others, especially Black women, to walk through. And that’s exactly why we have to keep telling her story. –Lisa Marshall Retro soul/folk-funk singer, songwriter, and producer. Passionate about authentic storytelling in music and keeping the legacy of soul alive. Connect with me at https://lisamarshallmusic.com/

Rosie Lowe: Producer, Songwriter, Recording Artist

Though British singer-songwriter Rosie Lowe has sustained a career as an artist for over a decade and has been recording her own music since her college days, it is with her August 2024 release Lover, Other that she took the lead on production, songwriting, and tracking. The result is a musical tapestry that crosses genres, spanning influences from R&B and electronic music to choral compositions. Her collaborators have included Little Simz, Jay Electronica, and Duval Timothy, with whom she released an album called Son in 2021.

People know you professionally as a recording artist and performer, but you have an audio background as well. Tell us about that.

I’ve always recorded my own music. When I was in Goldsmith’s University in London, we were doing a songwriting course, but you had to choose your limitations. My limitation was that I was only going to record using my voice. I was like, “I don’t want to be relying on anyone else to do this for me,” so I bought a computer and I learned Logic, got all of that equipment and spent some time with it, and it was the best thing that I did. Now I pick people that I want to collaborate [with] because I love their sound, but I think that early on, it was really important for me to do that stuff myself, not rely on someone else to make me sound how they thought I should sound. I’ve been recording and producing myself ever since, but I’ve collaborated quite a lot with producers over the years, and for this latest album, I really made a decision to steer the boat a bit more. I still collaborated, but I hand-picked where and how.

It’s interesting how you mentioned the first project that you gravitated toward being so voice-centered, because I noticed that the songs that you really took the helm on on your most recent album Lover, Other are vocal arrangements that are extremely layered and almost choir-like.

I love choral work. I love vocals as well. It’s where I feel most comfortable in a way, but also what I want to hear a lot of the time. Recording vocals is such a specific skill set, very different from producing. I actually made the decision on this album that I didn’t want to record in any soundproof rooms. I was wanting to record in open rooms and let that outside in. Some of my favorite records were recorded in that way, where you can hear stuff on the vocals, you can hear people talking, you can hear the sound of a car going by or whatever. And it’s all recorded in one take in a room. I love that. I love when recordings have life on them.

Where did you record?

At the beginning of this process, I just wanted to travel as much as possible. My main intention was to have as much fun as possible, because you never know if it’s going to be the last album you get to make. I was on the way to possibly having a child; you just never know. I reduced my studio to, like, a suitcase, and I just picked a few items. I first got on a plane to Catalonia in Spain, to a residential, and began writing there, and returned there about six times. It was just like heaven on earth. When I was there, I was in an annex that was attached to this big Spanish farmhouse. I traveled to from there to Florence, South France, Berlin, Sri Lanka, Devon, London. In Florence, there was this beautiful chapel. I sung some vocals in there that I then sampled. I recorded some of the vocals for “Sundown” in our empty flat, because we had to strip it out to renovate it. I [wanted] to record the vocals there, because there’s so much history and meaning for the song in that flat. It was the last time that I was there with my friend Steven, who the song was about.

It sounds like, from the church to the empty flat, you were going for a lot of natural reverb in your surroundings.

Yeah, absolutely. I really wanted just to create as natural sounding things as possible, and keep things quite raw. So if there was, like, a dog barking on the vocal, I wasn’t going to redo it. And it was the same with actually recording the vocals. I was only letting myself do full takes, and then trying to stay pretty true to the takes. I was trying to get myself away from the computer as much as possible, because I find that I’m a perfectionist. Really, I don’t think my best work is when I’m in that perfectionist head space, because actually, as a listener, I’m not interested in hearing like a perfect vocal. I’m interested in hearing a vocal that is free and means something.

Can you describe your studio in a bag?

It changed a little bit as I went, but it was a (Boss) SP 303. I ran a lot of the sounds from the album through the compressor on that, and I used it as a little affecting unit, as well as a little sampler. My Zoom recorder: I took that with me in my handbag, basically for the whole year and I would just record anywhere I was–little birds or my vocals somewhere, or a conversation or something, and I would layer that under things as well. I bought an (Isla Instruments) SP-2400 through the process. You can get samples on there really quick. You can also record really quickly, so it was really useful throwing stuff out and being like, “oh, dinner’s in 20 minutes. I’m just going to make something.” It was a bit more intuitive. I had my UA interface, a few mics. I had a Marantz tape recorder that I was recording a lot of the vocals onto, and a little MIDI keyboard. There was a Reslo microphone. I had a few ribbon microphones. I wish I could sing on ribbons on stage, but it’s just not possible.

Does anyone stand out as sort of a mentor, someone that you’ve learned a lot of your skills from, who elevated your approach to mixing and producing?

Dave Okumu, who was a long-term producer and collaborator and friend of mine, was definitely like a mentor, not necessarily technically as much as life-wise. They are just a very wise soul, and always encouraged me to kind of block out the noise, not listen to what people think I should be, or what other people’s opinions are of me, and just carry on, stay focused on my own path. So that’s been pretty amazing. He would always say, “is it something that you’re going to be proud of doing 10 years down the line? If it’s not, then you probably shouldn’t do it,” and I think that was really good advice. But on this album, there was one person in particular that was incredibly influential: Harvey Grant. He’s one of the best pianists I’ve ever come across. He’s an organist and just an absolute wizard on piano and harmony. He did all the string arrangements on the album, that I’d then respond to with vocal arrangements, and then we’d do it as, like a call and response. A lot of the time, in the studio, you tend to lean on the person who can do things quickest and with ease. A lot of moments where he could probably do something quicker than me, he was like, “no, no, you do that.” I think that he was really integral at being a bit of a cheerleader and pushing me to actually see things through myself sometimes, where a lot of other people I have worked with in the past would have just sat down at the computer and done it.

What advice do you have for other performers who want to extend their skill set behind the board, so to speak?

Just doing it is the best advice. Leaning into things that aren’t necessarily your skill set can bring about the most exciting sounds. Generally, in life, it’s a really good thing to do things you’re not good at. You can be really surprised by what that brings up in a positive way. A lot of the time with music production, there’s this sense that there’s a right way to do it and a wrong way to do it, but I really don’t believe in that. I don’t think it really matters how you get to the end point, as long as it represents what you imagined it to be.

Do you have any advice for women and girls in particular?

My experience is, if there are men around that can do it, they probably will. [Try] to get it done yourself behind closed doors, chiseling away and not being scared to push through what it is that you want. There’s a lot of egos in this industry, and sometimes, if you don’t have much of an ego, then you just have to kind of pretend that you do. I don’t go into studio being like, “No, I’m doing that.” But I can be like, “I don’t think that’s quite what I imagined.” There’s a lot of incredible, amazing, supportive men, and I think it’s just about finding your crew and sticking with them, but also working with other women. I love writing with other women so much. You can just open up and write a song with so much joy and ease in my experience.

More on Rosie Lowe:

https://rosielowe.bandcamp.com/

Selected Interviews with Rosie Lowe:

August 2024: Composer Magazine

August 2024: Clash

August 2024: F Word Magazine

Georgia Snudden – Live Sound Engineer for Cirque du Soleil

Georgia Snudden is a live sound engineer currently working with Corteo by Cirque du Soleil. With a passion for immersive audio experiences and a dedication to technical excellence, she has built a career in live sound, blending creativity with precision to deliver high-quality performances.

Her journey into audio began unexpectedly when she attended a university open day with the intention of pursuing a different path. A chance encounter with the sound course director sparked her curiosity, leading her to explore the world of audio. It was during her studies that she discovered her passion for sound, recognizing the power of music to create unforgettable moments and emotional connections.

Georgia studied at the Western Australian Academy of Performing Arts (WAAPA), where she specialized in Production and Design with a focus on Sound. She graduated with a Diploma, Advanced Diploma, and a Bachelor of Performing Arts in Production and Design (Sound Specialization). Her strong foundation in both technical and creative aspects of audio has been instrumental in shaping her career.

Beginning her professional journey in 2019, Georgia worked for audio hire companies, as an in house theatre technician as well as a freelance mixing engineer and sound designer for theatre before transitioning to a full-time role with Cirque du Soleil in 2023. On Corteo, she primarily serves as the monitor engineer but also rotates between FOH mixing and RF management, ensuring seamless audio for every performance.

Her background in music extends beyond audio engineering—she studied music throughout high school and took vocal lessons for five years. This musical foundation has given her a deep understanding of performance dynamics, allowing her to collaborate effectively with artists and musicians.

Georgia’s early love for music, cultivated through participation in choirs and school bands, shaped her career path and gave her a strong sense of community. Her commitment to excellence in live sound continues to drive her, as she contributes to creating extraordinary experiences for audiences around the world.

Career Start

How did you get your start? 

I would say that enrolling in WAAPA honestly opened a lot of doors for me. I think the lecturers, alumni and peers were so incredibly supportive and helpful in establishing industry relationships and there was a really large focus on getting practical hands-on experience which meant I felt really empowered to put myself out there when applying for jobs or internships.

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

I think due to most of my earlier jobs ranging between theatre, studio recording and live audio I was able to build a more diverse skill set and that putting myself in the deep end of multiple disciplines of audio really helped me gain experience quickly.

I would also say that internships played a really crucial role in building the foundation for where I am now. They allow you to learn from a much wider range of people you might not otherwise have the chance to work with. I actually completed the final practical component of my degree doing a work experience placement on Corteo!

What did you learn interning or on your early gigs?  

I feel like the most important thing I learned early on is that if you are attentive, have a positive attitude and are willing to put in the work, it really does go a long way.

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

Over the years I’ve been lucky enough to have multiple mentors who have really helped guide me in building my skills and confidence. I’m extremely grateful for Laurie Sinagra, Ben Collins, Lee Buddle, Elliot Smith and Christian Peterson as well as the entire team over at Perth company AudioTechnik for their time and knowledge. In particular, Andy Walters, who not only taught me an incredible amount but set such a brilliant example of what it means to approach work with patience, resilience and resounding precision.

Career Now

What is a typical day like?  

Corteo is a touring arena show and we typically stay in each location for a week at a time. This means that typically a week looks something like this;

Monday: Travel / rest

Tuesday: Load In

Wednesday: Premier

Thursday: Shows

Friday: More shows

Saturday: Even more shows

Sunday: A couple more shows and then Load Out / + maybe travel

A typical day just running only one or two shows normally starts around midday. I’ll come in and see if there’s anything to troubleshoot or fix, if not I’ll keep working on whatever projects I am at the time. During some days we might have extra rehearsals, meetings, advance first aid training or show scenario sessions to attend also. Around 5pm we’ll have a sound check with the band, finish off whatever presets we might need, grab a bite to eat and get ready for the show. Once the show is done, we do whatever offsets we need to do to be ready for the following day and head back to the hotel!

How do you stay organized and focused?  

Whenever I feel myself becoming slightly overwhelmed with work or darting between tasks without a plan I like to take the time to sit down, reassess what my goals and priorities are for the day and what I want done by the end of the week / month. I like to then write out a checklist on paper, breaking up larger projects into more achievable daily tasks if need be. It’s simple but it works!

What do you enjoy the most about your job?  

I’d say that the highlight of working for Cirque du Soleil is that we each get to play a role in highlighting the immense talent and hard work the performers put in every show to help make some beautiful memories for those who come to watch. To see people staring up in awe, holding their breath or cheering being completely engaged in the show is the best feeling.

On the technical side I think what I enjoy most about working on Corteo is that although the audio department is a team of four, when we run the shows we actually rotate positions. My main position is as the primary monitor engineer, however I also mix the show out at FOH, run the RF track backstage as well as rotate responsibilities with the system tech every other week taking measurements, doing up a PA plan, tuning the PA and so on.

Another thing I really enjoy about working on Corteo is the music. Not only it is diverse in itself but the live band of 8 players perform in a manner that is both succinct and seamlessly ever changing. Guided by their bandleader, Philippe Poirier, the band accompanies the performers onstage. Tailoring their performance to every twist, turn, catch and leap as well the unpredicted, in the moment, as it happens. They deliver every performance with such consistency all whilst providing each show with its own improvised adornment of musical accents, solos and improv. It’s truly remarkable!

What do you like least?  

I feel really lucky that this question is hard to answer! I honestly don’t think I have a least favorite aspect, I really do just enjoy going to work!

If you tour, what do you like best?  

I think what I enjoy most about touring is that it’s a constantly changing environment. Being able to perform in a different venue each week means that every week we are delivered a new set of challenges to solve. It also means I’ve had the privilege of touring through some really interesting places and venues.

At the start of the year we began a residency at London’s Royal Albert Hall that runs until March 2nd. Fitting such a complex 2 sided show like Corteo into a historic venue of this nature meant that every tiny detail had to be planned and prepared for. It was incredibly logistically challenging but also so incredibly rewarding!

We are also traveling to Australia later this year which I couldn’t be more excited for. Not only do I finally get to bring my family and friends into my working world away from home, but I get to show my touring family on Corteo all the beauty Australia has to offer. Bringing Corteo to my home city of Perth will definitely be a huge full circle, pinch me moment for sure.

What do you like least? 

One thing I do find difficult whilst being on tour is definitely being able to establish a sense of routine. It takes quite a lot of self discipline to keep yourself consistent. It’s gotten easier over time but is something I’m still definitely working on!

What is your favorite day off activity? 

My perfect day off if I have enough energy normally consists of getting in some exercise, finding a good spot for brunch, a bit of relaxing or exploring and then heading out somewhere for dinner or a drink.

What are your long term goals  

One of my goals is definitely to tour more within the live music scene, to work on large scale concerts, arenas and stadiums. I’m also really focused on honing my skills as a system tech so that’s also something I’m hoping to do a lot more of in the future.

What if any obstacles or barriers have you faced?  

I would say that my largest obstacle or barrier has been navigating my own self doubt and confidence. When I reflect back on any missed opportunities they almost always coincide with hesitations caused by not really believing in myself enough.

How have you dealt with them?  

I think it became a lot easier when I realized that if I approached each situation with confidence (even if it was sometimes pretend confidence) that those feelings of self doubt would subside. Before I enter new environments, I feel it’s really important to do a self check in, so I can assure I’m approaching each new situation with confidence instead of analyzing everything through the lens of self doubt.

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

I used to have this subconscious notion that the certain dreams or goals I had were ‘for somebody else’ or that ‘I could never do that’. So I think my advice to share with anybody hoping to enter this industry would probably be that when the only thing holding you back is a limiting idea you have of yourself, to just give it a go and be your own advocate. It can be challenging but I found that voicing my goals or areas I want to develop my skills in to those around me didn’t result in them thinking less of me, it resulted in me being placed in positions where I was pushed to learn and succeed.

Think of all the things you’ve already achieved that you weren’t even sure you could… and remember that’s only the beginning!

Must have skills?  

I honestly think the most useful skills within this industry are interpersonal. There might be a lot of people with the technical capabilities for a role but when you’re immersed in team environments in almost everything you do constantly, it can be those interpersonal skills that are truly make or break. Having a strong sense of communication and paying attention to the communication styles of those around you and being able to adapt to them can really make such a difference.

On the technical side I would probably say having a good understanding of audio networking systems is something I wish had begun studying sooner!

Favorite gear?

Besides the trusty multitool, tape and sharpie that live in my load in pants pocket I don’t really think I have any favorite gear to be honest. On Corteo we’re lucky enough to have ample toolkits at our disposal so I’ve been avoiding those ‘Oh I wish I bought this with me’ moments for a good while now!

Socials:  

https://www.instagram.com/georgieeie_/

Linkedin:

www.linkedin.com/in/georgia-snudden-3a4a93222

The Shop Person: Your Secret Weapon for Breaking Into Live Audio 

When people think about careers in live audio, most picture mixing at front-of-house, dialing in monitors, or tuning a PA in a massive venue. These positions can seem extremely out of reach for a beginner in the field, and I am lucky to have found an amazing way to climb this career’s ladder that often gets overlooked: the shop. 

Whether it’s a rental house, a production company, or a venue’s equipment storage, the shop is where gear is prepped, tested, repaired, and packed before it goes out to a gig. And the person who keeps it all running—the “shop person”—is one of the most valuable connections you can make.

If you’re an aspiring audio engineer, working in the shop isn’t just a stepping stone; it’s an opportunity to learn, network, and position yourself for bigger gigs. Here’s why starting in the shop has been one of the smartest moves I’ve made in my career and examples of how it could help you.

You’ll Learn Gear Inside and Out

Before you can confidently troubleshoot problems during a show, you need to understand how gear works—and the shop is the perfect place to learn. Working in the shop gives you hands-on experience with:

When you spend time in the shop, you’re not just pulling racks off a shelf—you’re reading through orders, quality-controlling gear, maintaining inventory, working with all kinds of technicians, all while staying organized, working quickly, and learning anything and everything you can. This experience will give you a major advantage when you start working on shows!

You’ll Become an Expert Troubleshooter

One of the most important skills in live sound is troubleshooting under pressure. When something goes wrong during a show, you need to figure out the problem fast. The best way to develop that skill? Fixing gear in the shop before it even gets to the gig.

If you’ve spent time repairing faulty DIs or tracking down bad cables in the shop, the chances of this happening on the gig is much slimmer. Not to mention, you’ll have a much easier time diagnosing and fixing these issues in the field. Working in the shop, you are surrounded by every tool you need to be a great tech—and that’s invaluable on a live gig.

You’ll Earn the Respect of Your Peers

In the live audio industry, respect is earned through knowledge, skill, and work ethic. Starting in the shop is one of the best ways to gain credibility.

You’ll Make Connections That Lead to Gigs

One of the biggest benefits of working in the shop is the networking opportunities.

The Shop is a Stepping Stone to Bigger Gigs

Many top technicians started in the shop. It’s a place where you prove your work ethic, gain technical experience, and get your name out there.

Some look at the shop and think it’s just a behind-the-scenes job with no upward mobility. It’s important to know how to use the shop as a launchpad, don’t see it as a dead end.

You’ll Gain Confidence in a Low-Stress Environment

Live shows are high-pressure. Things move fast, mistakes are costly, and there’s no “pause” button when something goes wrong. The shop, on the other hand, gives you time to learn in a lower-stress environment. You can take the time to ask questions without the pressure of a live show, make mistakes and learn from them, and experiment with gear setups and configurations. By the time you step onto a gig, you’ll have way more confidence in your abilities.

How to Make the Most of Your Time in the Shop?

It’s easy to find a lot of down time when working in a shop, especially during slower seasons. 

Your Environment will Cue Motivation

Humans are incredibly responsive to their surroundings, and being in an environment that reflects your interests or career can constantly trigger motivation. Just being surrounded by equipment can act as visual reminders of what you’re working towards and can fuel your passion, especially when you see and interact with it daily.

Surrounding yourself with your profession keeps your mind engaged with your field, which can help foster creativity and persistence when you’re faced with the inevitable challenges this career will bring. I’ve found that working in a shop is like a continuous source of encouragement that helps me stay focused and energized, reminding me that I’m working towards something bigger.

Final Thoughts

For anyone breaking into audio engineering, working in the shop is a game-changer. It’s a place to develop skills, prove yourself, and make connections that will lead to bigger and better gigs. So if you’re looking for a way to get your foot in the door, don’t overlook the shop. It might just be the key to launching your career.

Join SoundGirls at USITT 2025!

The USITT Annual Conference & Stage Expo is happening March 5-8, 2025, in Columbus, OH, and SoundGirls and TECH 25 has an exciting lineup of sessions and networking opportunities to help you grow in the live sound and production industry!

SoundGirls Schedule – Friday, March 7

Let us know what sessions you will be attending here

11:30am-12pm – How to Optimize Diversity in Education with Tech 25
Learn how to improve diversity, equity, and inclusion in the live events industry with Jordan Gilliam and Carolyn Slothour of Tech 25. Gain practical steps to create a more accessible and inclusive industry.

12pm-12:30pm – Live Sound 101 with SoundGirls
New to live sound or looking for career advice? Carolyn Slothour (NYC Chapter) and Laura Moeller (Pittsburgh Chapter) will share essential skills, career tips, and networking resources for aspiring and working live sound engineers.

4:30pm-5pm – Maximizing Resources and Impact: Tech 25’s Scalable Model for School Districts
Discover a 36-unit curriculum that integrates AI, event production, and cross-curricular storytelling, helping schools provide real-world, media-rich learning experiences even on a budget.

5:30pm-6pm – Dynamic Live Visuals: VDMX6, ISF Shaders & Show Control Integration with Tech 25
Explore VDMX6 and ISF shaders for live performance visuals, integrating with QLab, MadMapper, and more. Perfect for anyone looking to enhance their live show control workflow.

Saturday, March 8 – SoundGirls Networking Chat (10:30am-11am)
Meet and connect with women and gender non-conforming professionals in audio. SoundGirls fosters community, mentorship, and career growth in an industry where women make up only 5% of the workforce.

Free USITT Passes for SoundGirls Members!
Thanks to Meyer Sound, a limited number of passes are available for SoundGirls members! First come, first served—email Robyn at robynb@meyersound.com to claim yours. Huge thanks to Meyer Sound for their ongoing support!

Help Get SoundGirls to USITT!
SoundGirls has been provided a booth and classroom space, but we need help covering membership costs. Support the cause and access 50+ on-demand sessions from the SoundGirls Virtual Conference for just $20! Topics include Live Sound, Post-Production, Recording Arts, Film & TV Sound, and more.

3 Weeks Only! Don’t miss this chance to invest in your future in audio. Get all the details here: https://soundgirls.org/3-week-flash-sale-help-get-to-soundgirls-to-usitt-conference/

Let’s make USITT 2025 unforgettable! Who’s coming? #USITT #SoundGirls #WomenInAudio #MeyerSound #LiveSound #AudioEngineering

3-Week Flash Sale! Help Get to SoundGirls to USITT Conference

SoundGirls is raising money to get SoundGirls to the USITT Conference. USITT has provided us booth space and room for classes, but we need to cover the cost of membership. This is where our SoundGirls Community comes in – For just $20, you’ll get forever access to over 50 videos from the SoundGirls Virtual Conference, covering Live Sound, Post-Production, Recording Arts, Film & TV Sound, Broadcast, and more!

You can view the sessions here.

✨ Educating and Inspiring the Next Generation in Audio ✨
Over 50 Video Sessions to watch on-demand forever
All for just $20—support SoundGirls & your career!

Limited Time – 3 Weeks Only!
Get Yours Now: Purchase Here

Don’t miss out on this amazing opportunity—invest in your future in audio and help us get SoundGirls to USITT! #SoundGirls #USITT #WomenInAudio

Trial and Error – Considerations in System Design from a FOH Engineer

Like most things in our industry, learning the behaviour of a sound system takes some trial and error. Understanding what you like does also.

When I started touring, I had no clue what was really out there. I had tried one brand of speakers in a fairly contained environment, and had read Bob McCarthy’s Sound Systems: Design and Optimization book, but had yet to gather true experience to be able to guide my teams with any real opinion. As I navigated the world, it became clear how much variety there was. I started to gain opinions as time continued, but struggled describing what I was hearing or why. Advancing shows felt like a huge obstacle since I still lacked practical application and wasn’t sure how to communicate my experience.

Repetition and analysis have helped me to decide what I want in a system (when I’m given resources to carry one,) and how to conceptualize it. I could break down my observations into data in this blog, but this is just intended to interpret the decisions I make, which ultimately boil down to how I feel when I mix on a system. I have taken accountability by attending classes, reading, and watching videos, so that I am capable of understanding what is happening mechanically that influences the results, and can communicate with systems engineers as needed. However, I am ultimately concerned with what my ear prefers, in which I’m asking myself questions such as:

On top of being able to make qualitative observations about a PA, it equally became necessary to understand the tools at hand. Most modern systems utilize their own software with tools that assist you in the final product. L-Acoustics, Meyer, and d&b, for example, all have varying approaches, and being able to understand those tools can help you determine why you’re hearing what you’re hearing, and provide insight into how to approach it. Also invaluable are the systems engineers who know how to turn expectations into a tangible end result.

These were definitely not concepts I was familiar with initially, but when comparing mixes on PA du jour, I was able to quickly familiarize myself with what I was hearing out of different boxes. Being able to identify these trends have made me comfortable as a mix engineer. Most importantly, being able to recognize trends between the systems has improved my mixing greatly because I was able to begin anticipating the shifts in my mix system to system, night to night. This isn’t an all-inclusive guide or necessarily actionable, just simply considerations for qualifying your experiences. At the end of the day, use your ears and be observant of how you feel.

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