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Let’s Load in!

 

One of the biggest components of a stagehand’s job on tour is load in. We often joke that we’re not paid to run the show, we’re paid to load it in and out and fix problems. (As an A1, your job is also about mixing the show, but the sentiment still holds true.) For me, I start prep work for load in even before we get to the venue: I chat with the house head and make up an advance for each city we go to. There will almost always be something that changes, but it’s easier to tweak a few things onsite than have to figure everything out from scratch.

(As a note, this is for larger tours that move once a week or less. It isn’t really sustainable to advance a tour that moves multiple times a week. Those smaller tours are the ones where your system is smaller so it’s more feasible to walk in and figure things out at the venue. That’s where you learn a lot of your problem-solving skills, which you’ll continue to use when you are on larger tours with more moving pieces that have to fit together. Tours rarely get easier; they just get bigger.)

One part of my advance is an excel document that’s an overview of the venue and how we fit into it: what the dimensions of the stage are, where the amp racks will go (this is called Ampland), and how high the theatre ceiling is over the pit so I know how far I can trim the cluster out (which also tells me how many boxes I can use), etc. The other part is a summary from speaker prediction software: on Les Mis and Saigon, I used Meyer’s MAPP and on Mean Girls, I use L’Acoustic’s Soundvision. This tells me what angle I should use for point source boxes or what I’ll need to set the splays to for the arrays.

Once we get to the venue, the first step is to take a look around and talk to the audio house head. I’ve been on the road for a decade at this point and have been to all but maybe 8 of the 68 cities that we hit on Mean Girls. So for most of the venues, I have archival photos and paperwork and know roughly what I’m walking into, but things always change. New management, new crew, post-Covid renovations, at this point I can’t assume that it’s the exact same space I came to two or three years ago.

So you get the lay of the land and try to identify any problems with the plan. If the venue left the house cluster up, now is the time to take it down or fly it further out so I can hang mine. Are the holes to run cable under the stage too small for all the cable we have? Let’s talk to the house head about running it around the pit rail.

I’ll use a disto with an inclinometer (so it can give me both distance and angle) to double-check the accuracy of the room for Soundvision and the measurements for how high the cluster will actually be able to trim out. Going back to Soundvision, I put in the new info and see if I have to make adjustments or if I have to cut (or maybe can add!) boxes on the cluster.

 

A normal load-in on Mean Girls has a spotting call an hour before load-in starts. This is when the Carpenters measure out where motors will go on the floor and I have some time to take the measurements of the house. Load in itself starts with a 5-hour call on Monday evening. Then we break for the night and come back at 8 am Tuesday morning where we’ll work through the day (with a lunch and dinner break) until the end of the show around 10:30 pm.

So at the end of the spotting call, load-in begins and the trucks start unloading. Most of the trucks will be packed by department: Audio has a truck for most of our gear, Electrics (LX) has one for theirs, Carpentry has one for the deck, another (or maybe two) for set pieces, Props has another, Wardrobe and Hair one more. However, the first truck is usually mixed to give every department something to get started. (On smaller shows it’s more likely that most of the trucks are mixed.) Carpentry will get drops to hang and motors to rig so LX can hang truss, Audio can hang towers, and Carpentry can build scenic pieces. Audio and LX usually get cables we can run. On the first truck, we get our FOH (Front of House) runs that will connect Ampland that’s backstage to the console out in the house. These are usually the longest and most complicated cable runs, so it’s better to throw the entire local audio crew on the project and get it done and out of the way.

When our truck is ready to unload, we’ll dump all the cases, carts, and racks and find a place to put them in the theatre, usually denoted by a color code on the case label. Some, like spares (YELLOW), just go somewhere out of the way like down the side of a hallway or a rehearsal hall we’re using for storage. Others have consistent places: FOH (PINK) will always go to the theatre lobby, and Pit cases (PURPLE) will go down in an elevator to the basement level or off to the side to eventually ride down on the pit. Cases like Ampland (GREEN) change depending on the venue and where we end up putting our amp racks.

Once everything is off the truck, it’s time to work on projects. Most of the time the A1 will take care of getting the system set up: tip the console at FOH, build the towers and the cluster. The A2 will cover everything upstage of the proscenium: running all the cable (cross-stage, towers, cluster, pit, remote musicians, etc) and setting up com stations and onstage monitors. Some things, like the pit, can fall to either one. I’ve set it up as an A2, but on this tour, it worked better with the flow of load in that I, as the A1, set it up. This is where people and time management skills come into play. On most tours, I have 6 locals on the load in crew for audio, so my A2, Sherie, and I trade off crew so each of us has enough people to complete each job.

So, with all the cases off the truck, I’ll take the majority of the crew to FOH to tip the console: taking racks out of their cases to form a table and setting the console on top. It sounds easy until you remember that the SD7 (with part of the flight case) weighs around 400lbs. So I need at least 4 people to help me set that up safely. While I have the crew, Sherie has some time backstage to get the racks set where she wants them and start patching the FOH bundles we ran when they came off Truck 1. Then we split the crew and I take three people to build the towers (stacking three sections one on top of the other and bolting them together) and cluster (taking two carts, re-splaying the speakers, and connecting them all together to fly out), while Sherie gets the other three to start working on smaller projects like tying in feeder into power the racks or starting on com runs.

Load-in for Les Miserables tour (2017-2020) in Nashville, TN. (You can see the towers being built at the 0:22-0:27 mark)

After I’m done with the towers and cluster (and get rid of the large carts that the towers and cluster travel into clear space for others to work), I can send my crew to Sherie so she has everyone and can start on the longer cables runs that go across the stage, or into the pit, or to the Dimmer Racks (for cameras and stage monitors we have built into their truss).

While they’re working on those, I’ll make sure that we are clear of the pit (it’s usually an elevator that can come up to stage level to give us more space to build large pieces like truss or the towers) so Props can take the pit down and get ready to set up chairs and stands for the musicians.

Next, I can start on smaller, solo projects while Sherie continues with the crew. I prefer to be the one who patches things into racks. I’ve had enough well-meaning local crews that have accidentally plugged in something upside down, into the wrong place, or managed to slam an NL4 into a Powercon socket, that it’s easier and faster if I do it myself. So I finish setting up my console, patch everything in (with the help of more color coding), and power up.

Then, I’ll head to the band rehearsal and work on that. This is something we only use during load-in so our show band (3 keyboards, drums, and a guitar) has a few hours to rehearse with the local musicians (2 reed players, trumpet, trombone, bass, another guitar, and a percussionist). This system consists of two speakers on stands (I get help for those, they’re heavy), and cables to run from a rackmount console to the various stations for all the electronic instruments.

This marks the end of Monday. My usual goal is to have the towers and cluster up so the pit can go down (or be ready at the top of the day on Tuesday) and most, if not all of the cross-stage runs are done. If we hit that point, we’re on track for the next day.

Tuesday morning we start our 4-hour call, power everything up, and continue working. I’ll take some time to make sure the towers sections are set at the correct angles (that disto comes in handy again) and I have sound coming out of all the right places, including any house system that we tie into to help supplement the touring system (under-balcony speakers or delays up in the balcony).

Once Props is done setting up chairs and stands in the pit, I’ll head down with a few locals to set up mics, conductor monitors, Avioms, and make sure everything is patched correctly for the musicians. While I’m in the pit, Sherie will work on deck with the rest of the crew to lag Front Fills in and continue setting up com stations as automation, the fly rail, and stage management gets set onstage.

Before we break for lunch, I’ll make sure that all my outputs are functioning and that SMAART and my wireless mic are set up for Quiet Time. (This is ideally when the Carpenters, Props, and LX are on their lunch break. I have an hour without people making noise on stage and they don’t have to listen to pink noise and loud music, so win-win.)

For Quiet Time, there are two general approaches: by ear with music and a disto, or using SMAART and an SPL meter. You use whichever your designer prefers, which on Mean Girls is the SMAART method. First I walk around with the SPL meter while a local is at the console to adjust levels and mute and unmute outputs as I tell them so I can set a consistent volume level across the house. Next, I’ll trade off with them, and give them the wireless mic to set at seats I’ve taped off so I can use SMAART to set the delay times for the matrix outputs. Finally, I’ll play music and walk the house to make sure that the delay and levels I set sound correct, making adjustments as needed.

After Quiet Time we have about 2 hours to finish everything up before the dinner break. That involves sending the local crew to strike the band rehearsal I set up the day before, getting percussion set up in the pit and our drummer set up in his booth, and checking that everything is coming into the console at the right places.

At the same time, Sherie is working on tuning RF, focusing the onstage cameras that Stage Management and Automation use during the show, making sure all the onstage monitors are set up and having the local crew neaten up or tape down cable and sending cases to get backloaded on trucks or tucked away in storage.

When we’re show ready, we break for dinner, then come back for soundcheck. Sherie will battery up and get the mics ready for the actors while I’m in the pit adjusting mic positions for the musicians as they settle in. Then we’ll do half an hour with just the band, setting levels for the local players and adjusting the mix in the house. The last half hour adds the actors onstage and Sherie will come out front to mix the songs while I walk around the house to make sure there’s a good balance between the band and vocals and it sounds consistent in all the areas of the theatre.

Once sound check is done, I’ll make sure we’re set to start the show (MIDI checks, the console is in the right snapshot, etc) and Sherie will set out any practicals as part of her preset and walk our local audio through the cues they’ll have during the show.

At this point, we’re done with load in itself and ready for the show. Post-show usually means heading to a restaurant or bar for some late-night food and a drink or two to celebrate getting the show in. Then we look forward to tomorrow and the touring stagehand tradition of No-Alarm Wednesday!

Load-in for The Phantom of the Opera tour (2013-2020) in Ft Lauderdale, FL.

The Best Free Drum Machines and Sounds

Drums are usually an integral part of any commercial track. No matter the genre, drums can play an important part in the groove of a song and can completely alter the style and mood if you programme the sounds in different ways. It’s also an easy sound to get right considering even the most basic of DAWs usually come with a decent-sounding drum pack. However, it’s worth exploring the different options out there and changing up the flavour of your track by adding in some fresh-sounding drums.

For that Vintage Sound –  BPB Cassette Drums

The plugin comes with a set of three drums ranging from warm, clean, and hot. The website states the clean sounds were based on unprocessed recordings whereas the warm and hot kits have been resampled using an audio cassette deck. This plugin works with windows and mac and it should be compatible with any DAW that accepts VSTs.

For EDM Drums – 99 Sounds 99 Drum Pack

It has over 450,000 downloads, the 99 Drum Samples pack has some quirky sounds to try out and is perfect for writing EDM or dance music. The pack is Royalty-Free and has been recorded using an array of techniques from sampling to synthetisation and is available in 24-bit Wav format.

For Beginners –  Logic Pro X Drummer

For those that are just getting started with music production or have little experience programming drums, the Logic ‘Drummer’ function is ideal. It essentially writes and creates a drum pattern for you. It takes into consideration the tempo of your track and you can select a drummer from a wide range of different genres and styles and alter their drumming pattern, fills, and loudness. Unfortunately, it only comes with Logic, but for those who have the DAW, it’s worth looking into, even if it’s just for some inspiration.

Acoustic Drums – Spitfire Audio LABS Drums

If you’re in the market for great quality sounds look no further than LABS, and their drum sounds are no exception. They are perfect for those that want an authentic sounding kit that can be added to any project and the interface is relatively easy to use and manipulate.

Obviously, there are an entire plethora of options out there and I do recommend searching the web if you are interested in expanding your drum sounds library. But these are just a few to get you started! Like all collections, it can be quite fun to gather different sounds and add them to your roaster but I also encourage you to have a go at making your own drum sounds. Who knows maybe your drum pack will feature in someone else’s creation one day!

Andrea Arenas – Live Sound & Studio Engineer

Andrea Arenas is a Live and Studio Engineer working in the industry for over 17 years. Andrea is currently working as a sound technician for La Perle by Dragone in Dubai. Andrea discovered audio when she was in her teens and overheard some of her friends from orchestra discussing audio engineering.  Andrea wanted to pursue music as she had been learning percussion since she was ten years old. She was deterred by her family who said that music was not an option, so audio engineering opened another career path for her. At the time in Venezuela, there were no official institutions offering audio as a career path, so Andrea enrolled in electronic engineering at Simon Bolivar University in Venezuela, with the understanding that it was somehow related to audio and music. Andrea is currently enrolled at Iberoamerican University, Puebla working on a Master’s Degree in Cultural Management.

 

Career Start

How did you get your start?

I approached a recording studio in my university, part of the communications department, open-minded and willing to find a person who could take me in to teach me all about it. The person in charge of it, fortunately, took me in and taught me most of the things I know about sound today.

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

That first job in the university studio was the door to starting my career in audio, it let me understand what the field was about and if it was something I would enjoy. So it was one of the most important decisions I’ve made in my audio career

What did you learn interning or on your early gigs?

I learned about types of gear, signal flow, working processes, and critical listening. I learned about which parts of the sound career I liked and whatnot.

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

Yes, Francisco ‘Coco’ Diaz was the person who took me in at the university studio and mentored me for almost 3 years. Even after all these years, I still go to him when I need some perspective or advice. You can follow his Instagram account in Spanish for musical production tips @serproductordemusica.

 

Career Now

What is a typical day like?

I wake up around 8 to 9 am and take care of any home and personal activities like cleaning, cooking, yoga, etc. Then I check emails and work on any out-of-work projects like my personal music, podcasts, mixing, university classes, volunteering work, etc. Then, my work hours for the show usually start after 2 pm. When I arrive at the theater, I check the schedule for the day. We usually have some training, rehearsals or validations with artists. Soundcheck happens every day a couple of hours before the show starts, depending on my track for the day (because I rotate 4 tracks, foh, monitors, RF, and musical director) I’ll do presets for microphones, consoles, computers, etc. Then I run two shows and go home at midnight.

How do you stay organized and focused?

Discipline is part of the daily routine in every aspect of my life, I think mainly because of my musical training, I try to plan short-term goals and keep track of schedules I plan in my mind. I say “in my mind” because following a routine is not my way of doing it. Depending on the day’s mood I organize my activities trying to follow those short-term goals, let’s say I try to keep a weekly schedule rather than a daily tight schedule.

What do you enjoy the most about your job?

Feeling that I’m part of a show that, for at least two hours, takes people’s imagination to new places, to enjoy and be happy for a moment. It makes me feel rewarded.

What do you like least?

Having shows on days you want to see your favorite artist show.

If you tour, what do you like best?

Before the pandemic, I was touring with Cirque and my favorite part was always during the first soundcheck at every new city. I usually felt very tired at that moment because of the transfer work, but as soon as the first notes sounded, I could remember why I was doing it, kept going, and enjoyed the moment.

What do you like least?

Working many days in a row, one time I worked 22 days in a row, live sound can be physically very demanding sometimes

What is your favorite day off activity?

I still work on my personal projects during the days I don’t have shows. I consider everyday activities as a choice and I disagree with thinking that on days off I’m “free”. Of course, I also enjoy doing nature or art activities, but I consider them as part of my schedule to achieve the mental state I need to be efficient, enjoy my creative process and enjoy life.

What are your long-term goals?

Keep learning and be open to new opportunities. The pandemic changed my perspective about two things: making plans and depending on a single paycheck. So I’m willing to expand my horizons as much as possible, always open to new experiences related to sound, music, art, culture, and a sense of community.

What if any obstacles or barriers have you faced?

It has probably been to leave my country and be able to be recognized as a professional again despite having to practically start from scratch. It’s common to find people don’t trust your skills and even doubt your CV when you are from a different latitude and speak different languages. Fortunately, not everyone thinks the same way, and some others gave me the opportunity to prove myself and let my work speak for myself

How have you dealt with them?

I always try to mention that despite anything that I’ve dealt with (consciously or not) I’m true to myself, and my ideas and keep working as hard and passionately as possible.

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

Follow your instincts, speak up, despite feeling intimidated by others, and don’t let these feelings rule the way you behave or think. There will always be people more experienced and less experienced than you anywhere, just be aware that your opinion is also important and can be considered as others.

Must have skills?

Problem-solving, active listening, and patience

Favorite gear?

I always say that because I haven’t tried them all, I can’t choose a favorite. I think the idea is to feel comfortable with the gear you use, and learning the most about it and practicing will be the only way to get there. So I usually try to feel comfy with the gear I use, sometimes I wish I could have the trendy ones or the ones that a super famous artist or studio owns, but sometimes it is not possible. So I embrace reality and get the best out of the gear I have in front.

Healthy Practices for the Audio Professional – The Physical Body

Recently, I have developed a desire for more information regarding better ways to take care of myself, specifically the professional me. I want more techniques and concepts tailored to my profession, regardless of what hat I am wearing that day. I also knew that I needed the how and why these techniques and concepts are being suggested to me. That way I could customize a routine to suit my ever-changing needs. I needed to find something that dove below the surface and I wanted to share my findings with others in the audio industry.

I began this process by sending out a survey to colleagues, peers, and friends. The survey asked what the individual does for work and what kind of concerns they have or struggles they face daily doing said work. The information I received ranged from anxieties for their body, to mental health issues, and personal challenges. I chose to first look into the physical concerns that surveyors had.  I collected practices, techniques, and backed research that could provide information to those who are looking to take better care of their body in the audio industry.

Posture

Posture is one of my problem areas and I was not surprised to hear reports of body pain in my survey. Responses like ‘Generally poor posture from prolonged periods at desk. Occasionally required to lift things beyond what I believe is safely within my strength capability,’ echoed similar situations that I have experienced. I broke posture down even further to take a look at specific bad habits and suggested practices that can aid in better posture and less aches and long-lasting pain.

A lot of our work as audio people is conducted sitting at a desk or standing for long periods of time. Prolonged sitting contributes to a flattening in the natural lumbar curve, muscle fatigue, and deconditioning of the lower back muscles (Jung). Not only is this going to cause immediate discomfort, but also long term health issues. Issues with posture and back pain are often considered to be challenges  faced when you are much older, however none of the survey respondents exceeded the age of thirty-five. There is also the factor that audio engineers and technicians heavily use and rely on their bodies. Excessive, heavy use is going to take a toll on the body, regardless of age. Once we cannot use it anymore, we can no longer do our job.

Similar to our ears needing breaks, our backs need them too. Ear and back fatigue go hand in hand in this industry. Prolonged sitting requires us to break up these stretches of time with movement. Getting up for a walk and stretch will also give your ears a break. I say stretching as a general term because any movement is welcome for this situation. Sitting puts a lot of stress on the discs in our back. Movement will help relieve some of that pressure and allow you to come back to the workstation feeling refreshed.

Rounded shoulders are another posture problem that is exhibited in my surrounding colleagues. This bad habit is personal to me as well and causes a great deal of pain. Similar to how sitting posture can affect and change the muscles in the lower back, this can also occur in the shoulders and neck. This can result in a reduced range of motion, muscle weakness when performing the easiest of tasks, and the individual being more prone to serious injury (Malmström). This poor posture puts the body out of alignment. Misalignment adds stress to the body and mind, decreases range of motion, pain and stiffness in the neck and shoulders, and limits the overall support that our spine can provide us.

I have learned several beneficial techniquest to free this region of my back. The Feldenkrais Method and exercises are some of the most helpful for me. Not only does this method help the body-mind connection, but the exercises can aid in easier movement, increased utilization of the nervous system, reduce muscle tension, and even aid in breathing. There is also Progressive Muscle Relaxation. This method is similar in it also supports a mind-body connection. However it functions a little differently. This relaxation technique incorporates tensing and relaxing muscle groups. It has been found to aid in relaxation and anxiety, help differentiate between tenseness and relaxation, and pinpoint problem areas. Oftentimes, people don’t recognize that they are holding tension, which is where PMR can help.

The last issue on the topic of posture is called Tech Neck or Computer Neck. It is something exhibited in every person who owns a phone. Most of us are also familiar with the term ergonomics. Someone who suffers severely from posture issues might consider setting up their workspace with ergonomics in mind. A good place to begin is with your computer screens and monitors. These should be an arms distance away with the top of the screen at eye level. This will keep you from looking downward at your work and deter you from slouching.

Lastly, like I said before, stagnation leads to stiffness and lack of movement leads to weak muscles and pain. Gentle rotation and stretching of the neck and head is going to relax these muscles. Don’t become a vulture at your desk.

Diet

Diet was also a unanimous issue sounded throughout the survey responses. One surveyor reports, ‘I generally don’t build the padding into my schedule for real meals, I very often find myself going to the King, the Clown, and the Colonel. Definitely starts to show itself after a weeklong gig of eating the greasiest food available.’ What I have seen from reports, diet comes with two issues. One being the above; not having access to the best food when on the job. Not only are these eating habits going to contribute to weight gain, but also increase rates of hypertension, high cholesterol, and diabetes (Bray). These are life long effects that can generally be avoided.

The second issue being the lack of understanding of nutritional value and how to use that to your advantage. If you feel like you are not eating enough, take a look at what you are putting into your body. What foods are high in good calories and what contain empty calories. Some high calorie food options are;

I like to incorporate high calorie foods into my snacks since my work is so fast paced. This helps me curate a rotation of snacks and meals that I can rely on for fulfillment. Things high in added sugars and fast food are where you are going to see a lot of empty calories.

Why are they deemed good calories though? True nourishment is going to help you with things like lack of energy, fatigue, headaches, dizziness, and muscle weakness. Those are also going to be some of the first signs that what you are eating is simply not cutting it for the demanding jobs we work. Good calories are not the only thing you are going to want to look out for.

Incorporating snacks that are high in antioxidants, antihypertensive, and contain natural beta blockers are going to also help your diet out. These properties have been found to support the cardiac system, help with migraines and anxiety, as well as blood pressure. Some of these options are;

Understanding the characteristics of foods and what they can offer you before you consume them can help you utilize food to your advantage and find a healthier way of eating when on the busy clock.

However, a lot of employees are given a per diem for their food. This can be exciting when you are in an area with lots of good food options, but can be devastating when you are not. Or you have a special diet like me. Fast food can easily become a constant. It can also be challenging when packing meals is not as accessible or financially feasible. For week-long gigs, packing food is no longer practical and if you are spending your own money outside of the per diem, trips to the grocery store add up quickly. I might suggest using your per diem for groceries and meal prepping if your employer is willing to give it to you in advance. For longer stretches of work where meal prepping is not an option, consider healthy and portable snacks that follow the information above. Try to develop conscious eating habits that incorporate gained understanding from this article and its research, and remember that it is better to eat fast food than not eat at all.

Natural and Artificial Light

Lack of natural light and elements are a constant complaint from those who work in dark environments like theatres. In my research, one respondent simply states, ‘Very long periods of sitting in one spot with very little sunlight.’ People are a lot like plants. We tend to flourish with the addition of a little sunlight. In a study titled ‘Why We Need More Nature at Work,’ researchers report with more exposure to natural sunlight and elements there is a decrease in stress related diseases, anxiety, depression, and even blood pressure.​​ This clearly shows a correlation between natural elements and an increase in mental health and stability. Who doesn’t want more of that?

Interestingly enough, researchers have also found little difference between the results of actual natural elements versus simulated elements. This includes things like visual representations of the outdoors and nature soundscapes.  So if you live in an urban jungle, consider giving this a try. Especially when so many of us don’t have easy access to things like window views and strolls through a park. Some other suggestions to prioritize light in your work life are;

On the other hand, too much sunlight can also be an issue. With the summer season approaching, engineers and technicians are stocking up on sunscreen. One respondent reports an understaffed +12 plus hour day, on top of a long day prior, where they nearly passed out from heat exhaustion. He was a danger to himself and others. We as individuals are accountable for ourselves and our preparedness, but companies should also be accountable for supplying their employees with what is needed for long days in the sun. Especially when overexposure can have life-threatening consequences.

As someone who has been a lifeguard and has worked many shows in the heat, it is always surprising to find out how little consideration sun protection is given. Or how little people know. Therefore, these are the suggestions made by health professionals in regards to protection from the sun and heat;

This section can offer insight to how employers can accommodate their employees during the hottest time of the year. It also outlines what employees might want to expect when arriving on the job site.

Relaxation & Slee

This is the subject that I personally feel gets surface level generalization. So let’s talk about methods of relaxation. As a sound designer and composer, I have a fascination with sound therapy. Delta and beta waves, binaural beats, soundscapes and music, naturescapes, and even white noise and certain frequencies have been found to be beneficial in the aid of relaxation (Salamon). Guided meditations are also a strong option in any mindfulness practice. Those 10 minutes of walking, stretching, or being outside could include some of these to further your relaxation experience.

I am a big believer in relaxation being something that starts at the beginning of the day rather than an emergency tactic at the end. That is why it is so important to factor relaxation into your day and routine. We don’t want to end our day overwhelmed and overstimulated if we can avoid it. I am an avid journaler and have different journals for different areas of my life. My work-life journal is great for keeping a log of the things you experience and realizations about yourself. This is helpful for reflection on the past and goals and needs setting when looking forward. Keep track of what works and what doesn’t.

My personal list of relaxation techniques are;

To many people, sleep is relaxation. I would challenge others to see them as separate. There is a quote from the book Stillness is the Key, ‘If we treat sleep like a luxury, it is the first to go when we get busy. How many of us have sacrificed sleep for our work time, and time again? My closest friends know who I am dedicating this section to. So let’s talk about sleep and what healthy sleep should look like.

There is a big difference between sleep and napping. When the ratio between the two is more time napping than sleeping, the quality of your sleep suffers. Anything beyond a 20 minute nap reflects a need for more sleep and having poorer sleep quality. In a study published in Sleep Science Review, better sleep leads to an improvement in mental health with factors like depression, anxiety, suicidal idealations, rummination, and burnout, along with stress-related disorders like generalized stress and PTSD (Alexander). All of these conditions exist within this industry and to some of us, they are really important issues.

However, turning to sleeping medication can be a dangerous option to take in order to gain some of that precious shut eye. In a recent article surrounding sleep, anxiety, and the coronavirus, prolonged cold and sleep medication use was found to actually cause more damage than be helpful (Kai). Things like a relaxation routine, PMR, and a healthy diet are going to help a person fall asleep easier. Some other options for better sleep are;

Conclusion

When researching these topics, I found a lot of parallels to other concerns brought up in my survey. These concerns fell into a more ‘mental/mind category’ that I would like to explore next. Furthering my research, expounding upon established conversations, and providing a wider range of helpful practices for the niche work that I do is something that needs more presence. What helps the body helps the mind and vice versa. Taking these concepts and techniques into consideration could lead to better performance of your job and skills. From a long term point of view, it will also lay the foundation of being healthier well into your later years.

Thank you to everyone who contributed their concerns and experiences to my survey and helped with the long process of research. If you are interested in a more in-depth look at the work cited part of this article, please reach out! What is included is a brief representation to the more extensive list. Stay tuned for future articles on this subject!

Work Referenced

Posture

Jung K-S, Jung J-H, In T-S, Cho H-Y. Effects of Prolonged Sitting with Slumped Posture on Trunk Muscular Fatigue in Adolescents with and without Chronic Lower Back Pain. Medicina. 2021; 57(1):3. https://doi.org/10.3390/medicina57010003

Krantz, Jodie. “Freeing the Neck and Shoulders: Feldenkrais Exercises to Relieve Shoulder and Neck Pain,” Youtube, uploaded 20 Aug. 2014. https://www.youtube.com/watch?v=JWkUkmbQ94k

Malmström, EM., Olsson, J., Baldetorp, J. et al. A slouched body posture decreases arm mobility and changes muscle recruitment in the neck and shoulder region. Eur J Appl Physiol 115, 2491–2503 (2015). https://doi.org/10.1007/s00421-015-3257-y

Rennwellness. “Dangers of Rounded Shoulders and How to Fix Them,” Ravenswood Chiropractic and Wellness Center, 19 Jun. 2019. https://www.rennwellness.com/physical-therapy/dangers-rounded-shoulders.html

“The Best Ways to Fix Forward Head Posture,” Benevida Health and Wellness Center, 27 Nov. 2019. https://www.benevidawellness.com/how-to-fix-forward-head-posture/

Diet

Bray, G. A. “Good Calories, Bad Calories by Gary Taubes; New York: AA Knopf,” Obesity Reviews, 14 Feb. 2008. https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.557.8672&rep=rep1&type=pdf

Bremner JD, Moazzami K, Wittbrodt MT, Nye JA, Lima BB, Gillespie CF, Rapaport MH, Pearce BD, Shah AJ, Vaccarino V. Diet, Stress and Mental Health. Nutrients. 2020; 12(8):2428. https://doi.org/10.3390/nu12082428

Huizen, Jennifer. “10 Natural Beta Blockers,” Medical News Today, 27 Apr. 2021. https://www.medicalnewstoday.com/articles/natural-beta-blockers

Huth, P. J., Fulgoni, V. L., Keast, D. R., Park, K., & Auestad, N. (2013). Major food sources of calories, added sugars, and saturated fat and their contribution to essential nutrient intakes in the U.S. diet: data from the National Health and Nutrition Examination Survey (2003-2006). Nutrition journal, 12, 116. https://doi.org/10.1186/1475-2891-12-116

Liu, A. G., Ford, N. A., Hu, F. B., Zelman, K. M., Mozaffarian, D., & Kris-Etherton, P. M. (2017). A healthy approach to dietary fats: understanding the science and taking action to reduce consumer confusion. Nutrition journal, 16(1), 53. https://doi.org/10.1186/s12937-017-0271-4

Owen, L., & Corfe, B. (2017). The role of diet and nutrition on mental health and wellbeing. Proceedings of the Nutrition Society, 76(4), 425-426. doi:10.1017/S0029665117001057

Natural and Artificial Lights

An Mihyang, Stephen M. Colarelli, Kimberly O’Brien, Melanie E. Boyajian. “Why We Need More Nature at Work: Effects of Natural Elements and Sunlight on Employee Mental Health and Work Attitudes,” Plos One. 23 May. 2016. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0155614&mod=article_inline

Chulv, Vicentei, María Jesús Agost, Francisco Felip, JaumeGual. “Natural elements in the designer’s work environment influence the creativity of their results,” Journal of Building Engineering, Vol. 28, March 2020. https://www.sciencedirect.com/science/article/abs/pii/S2352710219313105?casa_token=dxidzq55lMgAAAAA:lvC1mLW-TctzFdQjxFe_negtOREn2JTRB1-tx7kZox_r8QJSYclE4EXKNp9RTtP7dh2Gb6WaqUw

Sleep and Relaxation

Alexander J. Scott, Thomas L. Webb, Marrissa Martyn-St James, Georgina Rowse, Scott Weich. “Improving sleep quality leads to better mental health: A meta-analysis of randomized controlled trials,” Sleep Medicine Reviews, Vol. 60, 2021, (https://www.sciencedirect.com/science/article/pii/S1087079221001416)

Holiday, Ryan. “Stillness is the Key,” Portfolio Penguin. 2019.

Kai Liu, Ying Chen, Duozhi Wu, Ruzheng Lin, Zaisheng Wang, Liqing Pan, “Effects of progressive muscle relaxation on anxiety and sleep quality in patients with COVID-19,” Complementary Therapies in Clinical Practice, Vol. 39, 2020, (https://www.sciencedirect.com/science/article/pii/S1744388120302784)

Maurice Ohayon, Emerson M. Wickwire, Max Hirshkowitz, Steven M. Albert, Alon Avidan, Frank J. Daly, Yves Dauvilliers, Raffaele Ferri, Constance Fung, David Gozal, Nancy Hazen, Andrew Krystal, Kenneth Lichstein, Monica Mallampalli, Giuseppe Plazzi, Robert Rawding, Frank A. Scheer, Virend Somers, Michael V. Vitiello, “National Sleep Foundation’s sleep quality recommendations: first report,” Sleep Health, Vol. 3, Issue 1, 2017, Pages 6-19, (https://www.sciencedirect.com/science/article/pii/S2352721816301309)

Salamon, Elliott, Minsun Kim, John Beaulieu, and George B. Stefano. “Sound Therapy Induced Relaxation: Down Regulating Stress Processes and Pathologies,” BioSonic Enterprises. 2002. https://lbdtools.com/resources/Reference_PDFs/SoundTherapyInducedRelaxation.pdf

 

Dana Jae: Studio, Film, & Live Sound Engineer

In the audio landscape of Northern California and beyond, Dana Jae has done it all these past 30 years: live sound, film sound (production and post), purchasing, studio recording, mixing, mastering, and education. She began as a purchasing agent for Leo’s Audio in the late 80s, acquiring extensive knowledge of audio equipment through brochures and spec sheets as she researched manufacturers and their offerings. From that time onward, she became proficient in live sound, serving as a house sound engineer at the San Francisco nightclub Bottom of the Hill beginning in 1991, touring the US and Europe with the band Medicine as their sound mixer from 1994 to 1995. From 1999 to 2004, she also partnered in and presided over the record label and commercial recording studio called APG Records/APG Studios, which has evolved into Portero Post. She then explored film audio through the creative visual media production company Films on 45 in 2007. She also runs her own sound company called dcj Productions, though that has since taken something of a backseat to her work as an audio educator — she is currently Broadcast Electronic Media Arts Department Chair at City College of San Francisco.

I met Dana Jae in April of 2022 while she was lending her experience to a tri-annual event called Bushwick Book Club Oakland and simultaneously providing her students with real-world experience mixing live sound. After a thrilling in-person conversation about audio education, Dana Jae and I corresponded via email and she answered the following questions. Her responses have been lightly edited for clarity.

What was your first piece of gear and what did you create with it?

I bought a Tascam PortaOne 4-track cassette recorder in 1983 when I was 20 and started recording bits and pieces of my electric guitar with some pedal effects. I played around with running the cassette backward to make some strange loops with my voice recorded (through the same pedals) to create some good noise that eventually turned into a song with more melodic parts added later. I learned to bounce tracks to get more than 4 in order to play with more overdubs. Thus began my official songwriting beyond writing lyrics, which I had done since around age 11 or so.

Describe your most memorable learning experience as a novice engineer. Was it fun? Difficult? A bit of both? 

The first time I had to run FOH sound at a local festival was a huge learning curve for me. I had done sound for about a year or so at a lot of smaller clubs and outdoor events, but nothing the size of a festival in the Castro for Pride. I was supposed to be the (learning) second engineer and not the lead mixer. I think this was sometime in the late 80s. The guy mixing told me, after the first song of the headliner, to take over as he had to go find an outhouse. I was shocked as I knew it would take him the entire rest of the set to get there, stand in line, and then get back. I was so nervous! “What if something went wrong? Would I know how to fix it? What if there is feedback? What if…?” He just split, and I had to find a way to calm myself down quickly, center myself, and stop my hand from shaking on the faders. Deep breathing.

I just focused on the band on stage and opened my ears to the whole sound. I kept asking myself, “What’s missing in the mix? How does the bass sound? Should I EQ it a bit more? Maybe I should add some delay at the end of a couple of the vocal lines in the chorus.” I got into the zen of mixing live at that moment and was transported. I think I lost 5-lbs that day from my heart racing. The best part about it was the soaring feeling of having dialed up a pretty good mix, that I was actively mixing throughout their set, and some kudos I received after. Was it fun? Shoot. Not back then. But it became so much fun the more I mixed and learned as I went. Events like this one and every gig thereafter started the word-of-mouth trajectory that made my live sound career flourish. By the time I started mixing at Bottom of the Hill in 1991, I felt ready to take on any mix and be able to deliver.

How did your time as a purchasing agent shape your relationship with gear and sound in general?

The best part about purchasing was being paid to research manufacturers and model numbers as well as important specification differences between different model numbers. It was like having an audio education with all the brochures and spec sheets (this was pre-everything available on the web), so I would shuffle through hundreds of brochures, make phone calls, and receive FAXES! of current pricing. Those jobs enabled my ability to “talk audio” with anyone. I have so many manufacturer names and model numbers stored in my wee noggin. And I also was able to buy the gear I wanted for myself at cost plus 5% (employee deal) = SCORE! I became a gear geek early on. The Shure brochures were (and are) so full of excellent audio education.

You teach audio at CCSF. What first motivated you to begin teaching and what inspires you to keep teaching?

City College of San Francisco (CCSF) is where I teach and have been since 2001. At the time, I was working/owning/promoting a record label and recording studio I had, partnered with another audio engineer, in 1998 — APG Records/APG Studios. We had 6 or 7 artists on our label. My friend who was teaching at CCSF was applying for tenure and she asked me for a letter of recommendation to add to her tenure portfolio, as we had known each other since the 1990s and I was one of a few of our colleagues who had my own letterhead! (ha!) Alas, I wrote the letter and when we checked in some months later, she told me she had received tenure and was looking to hire a lab instructor in the department. I had never thought about teaching as a profession, but when she had me come in to shadow her one afternoon to see what it was like, I thought: “Oh, yeah! I can certainly do this!” She knew that I trained some of our interns at the studio and also for my own live sound company (dcj Productions) and said it was a lot like that, except I had to be organized to complete grading, paperwork, etc.

What is one of your favorite ways you’ve found community in the Audio field?

Most definitely through organizations like SoundGirls, Women’s Audio Mission, and Audio Engineering Society. I have also been attending numerous audio conferences over the past 20 years like NAMM and these are where you can meet a lot of audio professionals. Also, being the purchasing agent for several local pro audio firms had me seeing the names of all the local top audio folks and I was able to meet many of them through these pro audio companies via events we would host on occasion or chat with them when they came in to pick up gear.

You own your own sound company, dcj Productions. What do you feel is the most unique personal quality you offer your clients?

All of my live sound work has been through word of mouth. I never had a website for dcj Productions because I didn’t have to. I had a business card with a phone number and email address. I provide a personalized service that attends to the needs of the local community (mostly the not-for-profit sector) and am someone who communicates clearly and in a focused manner. Since I am able to do many different sound tasks from live sound to recording to editing and mixing, I have found that one job usually has led to another that way. Once I started teaching full-time at CCSF in 2011 (was part-time for 9 years), I had to slow way down on the gigs to focus more fully on the college and my students.

You have worked across so many settings. Is there any area you would still love to explore?

I absolutely love composing and mixing other artists’ music. I’m a plugin freak and really enjoy tweaking a mix with the myriad plugins I own. This includes composing using soft synths. There are so many VI plugins out there! I’ve also been developing my skills in the area of immersive audio and developed a class at the college teaching surround sound mixing. We received some grants to purchase the latest for two different surround mix rooms that I’m very proud of. They are excellent learning environments for students to work in a solo fashion in a smaller mix room to develop their mixing skills on the latest technology.

What advice do you most often give to people just beginning to pursue audio?

It is important to learn everything. These days there are so many aspects to audio: AES67, Audio over IP, Immersive Audio, live sound event production, wireless… it’s endless!  My advice is to stay focused and be sure to learn something every day. Join audio groups such as SoundGirls, AES, SMPTE, and WAM. Read up on gear, new developments, and the people in audio via online magazines such as Sound on Sound, TapeOp, Mix, ProSoundWeb, and FOH. Learn to wrap a cable well, and you’ll have doors open to you.

 

Dana Jae’s website can be found here: http://www.danajae.com

She is also on the following platforms:

Facebook – https://www.facebook.com/dana.jae

Instagram – danajae33

Twitter – @danaj33

LinkedIn – https://www.linkedin.com/in/danajae/

 

Audio vs Video Podcasts

Most people, when they think of the word ‘podcast’, think of audio. However, there are a growing number of podcasters who are using video as their main medium, with audio largely taking a backseat.

Is this something we need to embrace in the future? Or is it okay to be an audio traditionalist?

In recent months Spotify has branched out into video podcasting through its Anchor platform, giving creators options beyond YouTube. This has sparked further debate within the industry about whether video is going to become an essential part of podcast consumption.

Call me old-fashioned, but I don’t think it will

There are certainly a lot of successful and popular video podcasts out there, and good luck to them. If having a visual element helps people engage with the content, or is key to getting your story across, that can only be a good thing. But when it comes to a straightforward panel or interview show, does video really add anything to the experience that audio alone wouldn’t be able to offer? I may be biased, but there is something special about audio storytelling. For years, people have been predicting the demise of radio drama (especially when television first began to increase in popularity). Yet it’s still going strong in many parts of the world, and now we have fiction podcasts too. Audio-only stories have never been more popular.

That being said, the word ‘video’ is appearing in more and more podcast producer job adverts. But I can’t help thinking that, by requiring video editing skills from applicants, employers might potentially miss out on hiring a great audio producer who doesn’t necessarily have those additional skills. If video is your main area, then fine — but if you’re primarily making audio podcasts, with video as bonus content, then it could be an issue.

I recently discussed this subject with a client. She was of the opinion that audio is far more important than video when it comes to podcasting, not least because of how easy it is to listen while engaging in other activities like running, going to the gym, cooking or tidying the house. So many of us schedule our podcast listening time during such activities, not to mention morning and evening commutes or even winding down before bed (when the last thing we might want to do is stare at a screen). Sometimes we just want to close our eyes and shut out the rest of the world, relying on only our ears.

One downside of focusing on video is that — not always, but often — sound quality is compromised. I’ve seen podcasters turn what was originally a Facebook or Instagram Livestream into an audio file, and that’s where you really notice the shortcomings. As a college lecturer of mine used to say: an audience will be more likely to forgive poor video with great audio than great video with poor audio. Wherever possible, it’s always better to record remote interviews through dedicated platforms (like Riverside or Zencastr, for example) which allow you to get the best possible audio quality and take advantage of separate tracks (you can use these for video too, so there really are no excuses!).

Video podcasts look like they’re here to stay, so it’s a debate that will go on and on. But ultimately, for most audiences, I think audio will remain the go-to.

An Interview with Lebo Poen

Connecting with Fellow Women

This month I have been in the spirit of networking. Having hosted online webinars, delivered motivational talks in events around Durban, SA, and to the KZN Women in Business members, and am using my audio skills to start a podcast (which I will tell you ALL about in June!!), I thought it would be great to get up close and personal with a fellow female in my sound circle.

I met Lebo Poen when I was studying audio engineering at Abbey Road Institute, Johannesburg. At the time, she and I were the only women in the entire building! It was lovely getting to know her on a personal and professional basis, so I thought I’d reconnect with her (6 months later) to check in with how she is doing and tell you a bit more about her and her experience as a woman in the sound and music industry, the good, the bad and the inspirational!

So, here goes!

How did you get into the audio/music industry?

“My love for music definitely came from my dad. His ear for music is one I still admire to this day.

I studied music and sound engineering immediately after high school, and while in music school we were strictly encouraged to begin being active in the industry. We all had to either gig in different bands or attend gigs to expand our network.

But, because of my dad’s influence, well before music school, as a teenager I had already enrolled in extra music lessons (even after having grown up in a school that had music from grade 1), and I have predominantly been involved in singing groups/choirs/bands.

I’ve always known I wanted to end up pursuing a career in music (or the creative sector rather), but just that it would not be an easy road.”

How has your experience as a female in a male-dominated industry been?

“This question always makes me emotional because the evidence of male privilege within the music industry affects over 50% of the women who walk this brave path.

It has taken me much longer to get to where I wanted to be in my 20s although, I never look back and say; “What if?” Or as the famous saying goes; “Life Happens”.

Time was stolen from me at that early stage… time I could never get back.

There have been men in the industry responsible for hindering my progress, be it through the job application process – giving preference to males when we were both equally competent or whether it was blatantly letting me know that the job would only be mine if I was willing to afford sexual favors to the potential employer…

There are deep-rooted issues within the music industry, especially in our country, South Africa, where men are only just starting to realize that discrimination against women in the industry (and in general in our culture) is not acceptable.

I have also witnessed women alongside me who did not have the heart to keep pushing toward their dreams of creating albums or even going into specializing when it comes to sound engineering. They settled for “safer” jobs and changed careers. The discrimination was too much to handle. My heart cries out to them all.”

When I was at Abbey Road Institute, you and I were the only two women there. How was the experience for you?

“It’s lonely sometimes, to be honest. I have been so used to predominantly working with men, used to how they are nearly never mindful of their sexist so-called jokes, etc.

I am so used to hanging out with men that whenever I meet female creatives or engineers, it’s a pleasant surprise – it’s like finally, someone I can connect with that could “get it”.

In the same vein, it doesn’t mean that I’ve been able to befriend female engineers at first glance, I guess it’s about the individual. It’s weird!”

Have you ever been a victim of discrimination in the music industry, if so – what happened and how was it handled?

“I have.

Fortunately for my sake, I am very resilient, and I have had a pretty firm stance in my adulthood as far as faith matters are concerned, so when I realized and encountered discrimination happening to other females around me I would report what I witnessed when they struggled to speak up for themselves.

So, when I experienced discrimination there wasn’t an ounce of fear within me.

I spoke up. I acted.

On two occasions I reported an issue before I abandoned the working relationship. One matter was settled in a disciplinary hearing that went in my favour. I was given the verdict of the offender’s suspension after I left the professional relationship.

Nothing was done about the other matter at the time of my reporting, but I am grateful that a few years later I received a call from an old colleague letting me know that that offender had since been fired. There had been more complaints against him and evidence had been weighed, and he was let go.”

What are some of the struggles you face as a woman in the industry, and how can we address these?

“The top two struggles I face are assumption and unfair treatment.

I am sure many other females can relate. Most of the time, when a man and a woman both raise their hand for a position for which they are both competent, the assumption is that the woman is less competent and unable to fulfill the role “as well” as the man would. This assumption leads to employment or selection of the man instead of the woman, regardless of skill set or experience.

Secondly, if a man and a woman were to both apply for a job where their skillset/competence does not meet the minimum requirements (i.e., they would require training), that training would much rather be provided to the man than the woman.

This is what I have called for years, part of ‘The disease in the music industry.”

What have some of the highlights of your career been?

“I have been blessed to have met some inspirational people on this tough road. It has not been all gloom!

I have been a part of amazing, big stadium shows locally, which had some of the country’s top musicians, either focusing on FOH or monitor mixes for the artists/performers on stage. On some projects I co-engineered, on others, I flew solo behind the console.

In this work though, it is rare that in a big event there is one engineer. It is always a team effort, and it matters a lot that one has good interpersonal skills in general.

Another highlight was when I worked as a technical producer with a room full of journalists in a “Current Affairs” show that ran live on-air every evening. I have a passion for broadcasting and a special place in my heart for journalism/newsworthiness/storytelling.”

What are you working on/busy with now?

“I am working on getting my second book published.

My first book was a poetry anthology Called “For the Broken Ones”, and it was published in 2018 by Nsuku Publishing Consultancy.

I have also curated a production event where music meets poetry, and rehearsals are underway for the band to perform 10 tunes of that set.

I have also collaborated with a friend who is a playwright, working with them on a performance in which I play a role as well. I am rehearsing lines as we speak.”

Do you have any words of inspiration for females in the industry out there?

“Never give up.

The world is changing every day.

Perspectives and mindsets shift with each passing day, and if you are determined about having your legs in the industry, then it will happen. It is just a matter of time.

It is also important to not compete with anyone and always be on your own side.

As a believer, I always encourage people to pray.”

How can we support/find you (socials, published work, etc.

“I am @ellpoen on IG and Twitter. My book “For the Broken Ones” is also still available for sale and I accept orders of copies via direct messages.”

Thank you so much to my friend, Lebo for her time and effort to chat, as well as her inspiration for other women in the industry to persevere and follow their dreams, despite any challenges that may arise!

 

Seeing DAWs Introspectively

A common question amongst engineers, producers, and music makers alike is, “which digital audio workstation (DAW) do you use?” The first time someone asked me this question, I was a new student at Berklee aspiring to join the music production and engineering major. The question felt more like an investigation into my qualification for the program rather than innocent curiosity. For a while, I felt ashamed to share with anyone that I started producing music on GarageBand for fear that it reflected my lacking skill set. I even curated my own impressions of people based on the DAW they chose, assuming others were doing the same about my colleagues and me. I put Pro Tools on a pedestal and believed it was the only “correct” DAW to fulfill recording, editing, and mixing needs. Truthfully, I was stuck in this bubble for a while.

During the pandemic, I had the space to change my perspective on a lot of the opinions and ideas I picked up while at music school, and DAW choice was one such opinion. When I think of the same question now, it seems more equivalent to asking someone about their zodiac sign. I believe that DAWs have their own personalities that reflect the kind of creator that uses them. I experienced this through the development of my own production as I migrated from using Pro Tools to using Ableton Live.

I learned Pro Tools as a means for servicing the musicians that I was working with when I began focusing on engineering recording sessions and mixing. I knew that it was the main DAW used in professional recording studios for tracking live instrumentation, and I was intrigued by the technicality of it all. In a way, this took my mind off of the competitive environment of a hyper-talented musical community and gave me the chance to shine somewhere else. I saw Pro Tools as a very manually controlled software that encouraged me to take control of the intricate details of every recording session. Setting up the session parameters, I/O template, and playback engine and ensuring a smoothly run session was the ultimate expression of my technical competence.

While I still love to use Pro Tools for recording vocals, vocal tuning, and time-based editing and mixing, I recently recognized that Pro Tools wasn’t serving my needs as a creator. During the pandemic, I shifted gears to focus on my own music again, but I felt stuck in a pattern of using Pro Tools like it wasn’t meant for me. In order to form a healthier relationship with the DAW, I needed to step away from it and dive deeper into my own artistic desires.

While I tried using Logic Pro in the past for my music production, I struggled to break away from software instrument presets (I am a strong advocate for creating with presets, but I felt that I often trapped myself into a different sonic message than I intended for the song). I still felt like Logic Pro was making a lot of choices for me like EQing, routing, and time-based effects, and I even felt less in control with the playlist comping. This isn’t to say that Logic Pro is a bad DAW, although I might’ve assumed that a few years ago. There are loads of excellent songwriters and producers that work seamlessly in Logic Pro and make incredible music. I never needed to label Logic Pro a “bad DAW” just because it was bad for me. I only needed to recognize why Logic Pro wasn’t working for me, which stemmed from developing unhelpful habits that stifled any progress in producing a song.

I used Ableton Live lightly for some of my electronic production classes, but I never took the time to learn how I could curate the program to suit my songs. This was mostly because during my education I was purposefully distracting myself from discovering how a DAW like Ableton Live could serve me, so I didn’t have to discover the vulnerable desire within myself to use my production skills for me. With the space of the pandemic, I saw the chance to teach myself how a DAW that was untarnished by any of my own bias or insecurity could function as a vessel for my artistic evolution. Ableton Live had just the right balance of suggested presets and easy-access controls and still technical options to exercise the engineering part of my brain. I had ideas for how I wanted the electronic elements in my recorded music and performances to sound, and I had a much easier time bringing them to life and enhancing them in Ableton Live. I continue to learn more in Ableton now by practicing patience with the techniques I’m finding in it and by piecing my original music together in a calm and kind manner.

DAWs are less like a uniform you have to wear and more like an eclectic wardrobe that fits you perfectly. I used to mindlessly pass judgment on the tools that others in my field worked with, and with my own experiences, I’ve changed my mindset to accept that there is room in this world for everyone and everything. There is in fact space for all kinds of creators and musicians with unique ideas and messages and various software to support that reality. This is a dramatic way of saying use the DAW you love and not the one someone told you to use.

The Importance of Being a Good Networker

I’m sure you’ve heard it before. You’ve got to network. You’ve got to get involved. You’ve got to meet the right people. Well, here it is again. It’s really important to network. And get involved. And meet the right people. Because your skill will only take you so far, knowing the right people will take you farther.

This might seem intimidating at first, especially if you’re a bit of an introvert. But you can be the most amazing engineer on the planet, and if nobody knows it, you will continue to be the most amazing engineer on the planet without any leads. This is not to be confused with shouting from the rooftops that you are the bomb, this is about going out and making healthy human connections (which let’s face it a lot of times these days this is virtual).

When I first started, I would go up and introduce myself to ANYONE – and I was kind of shy, so that took a lot. I would think of any, and I mean any question – even one I knew the answer to, and I would go ask. If I went to a concert, I would locate the sound person. And if there was a free moment, I would go ask my question. If I loved an album, I checked the credits, found the engineer, and wrote them on Myspace (I just dated myself with that but anyway).

But the biggest and most important place to network and meet people is through professional organizations. Going to conferences, and signing up for meetings, for workshops – i.e. getting involved in your community is the best way to get ahead. Meeting people will not replace skill, so it’s a delicate balance. You have to meet people AND hone your craft because you have to be ready for the opportunity to knock on your door. But those connections you make are the things that will bring those opportunities knocking. You recall I said it wasn’t so much who you know, but who knows you? Well, that’s going to require getting out there and meeting people.

I know this looks a lot different these days since a lot of this happens virtually. But it’s not to say you can’t pop questions in the chat, or reach out after the fact. Some of the conferences I’ve seen have smaller breakout rooms that allow you to have closer one-on-one chats. And from what I’ve seen most people on panels are open to people reaching out and often give their social media.

Don’t be discouraged if nothing happens immediately. I remember one year I must have applied for what felt like hundreds of jobs, and I got no after no or just ghosted. I sat down with my therapist (therapy is important), and she said it’s ok, you’re planting seeds. At the time, I was angry, because I was like whatever, I want change – I want a job now. But, I’ve never forgotten that because you eventually do see results. See the interview process is almost in a way networking. I had tons of emails and direct contacts for interviews I had been on which resulted in jobs later on. Because instead of going through the internet, if I saw the job posted a year later, guess what – I had the email of the person I interviewed a year ago, so I just wrote them directly. Also, if you make a good impression on the recruiters/employers, it’s not to say they won’t contact you later.

This is why it’s so important to be cordial. Be careful how you speak and treat people because you never know when or where those people may pop back up in your future. You don’t want to burn any bridges. How you speak and treat people will follow you everywhere you go. There may be a lot of people across the globe, but the audio community is in fact very small.

They say that success happens when opportunity meets preparation. So make sure you’re ready,  and get out there (in person or virtually) and make some connections.

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