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The Theatrical Sound Process

What Each Part Of The Theatrical Sound Process Does

(Because I’ve realized many non-theatre, non-audio people don’t know)

I was talking to a lighting programmer friend of mine, and while talking about band seating (we’ll get to that), I realized he had a misunderstanding of what Team Audio does during that time. So, I want to lay out clearly what audio does and why we do it to clear the air, help inform my fellow theatrical practitioners on what their colleagues are doing, and to lay it out linearly for myself and other audio professionals since we can be so in the moment we don’t think about why we’re doing what we’re doing.

Pre-Production

I’ll speak for my own process, which I learned from others-so don’t assume this is universal (but I think will be generally applicable).

What I am looking for from artistic production: emotion, time, setting, play themes, direction, matching the energy of other departments. This informs how I use my technical systems and make artistic choices.

When I am looking for from technical production: play space, audience space, what the inputs will be (instruments, computers, voices), what the monitoring needs are (speakers for actors & bands to hear themselves and others during the show), and what kind of show control we’ll be using. This informs my technical system designs.

The earlier a sound designer is hired, the richer the conversations can be and the system can blend better with the rest of the depts.

Drafting the System

Some places have systems already set up, others don’t. When they don’t, I depend on the theater and scenic designer to have accurate drawings so I can design the best sound system for the space. Using this information, my experience, and predictive software, I figure out the best layout for the system in the space. It’s not just mic -> amp -> speaker; there’s audio signal processors, audio control desks, audio signal distribution, etc.

These elements enhance vocal intelligibility, can add (intended) distortion and effects to an instrument, and can help make the work in the room happen more efficiently so more experimentation can occur.

Creating Rehearsal Cue List

When I’m composing my sound effects, ambiences, cues, etc., I’m taking into consideration what my system can do. When I have the right tools, I can create wild worlds. It’s why I wish it was financially feasible for me to be in the rehearsal room, because I could then react in real time with the actors & director. I could bring those compositions into the theater and expand on them!

Frequently however, there is no budget for me to be in the rehearsal room. I then have to work as quickly as possible, without the context of actors, to create the sonic environment. I will give stage management a rehearsal cue list to work with & then receive notes as they go through the script, but I can’t control cue timing, have conversations with the director in real time, nor engage with the actors who are depending on sound for their timing. I would like to be in the room, but the fiscal realities of design mean that for most shows I’m not able to. When I am able to though, magic can happen!

Quiet Time

This is one of, if not the most important step for creating an audio design. This is the time when I (and my team) can be in the space and hear the system and the room with no distractions.

This is when I tune the system, focus speakers, adjust any programming if need be, and make sure my design works is cohesive in the space. This is also when I hear my cues in the space for the first time, and I can set levels (volume), adjust where they’re being heard from in the space, and make artistic decisions in the space.

Tuning a system means I’m attenuating or boosting specific frequencies so that the audio output does not feedback in the room. Every room is different, and every show’s needs are different. I would tune a system for a hip hop show differently than a ballet.

We work with the time we have, but we almost never get as much as we we would like. Such is the way of art and theater (and honestly, if I wouldn’t be done even if I had infinite time, there’s always something to zhuzh).

Band Seating/Actor Mic Check

This is the other most important part of my tech time.

This is my opportunity to work with the band and actors to make sure mics are placed correctly, the band is comfortable with their sound and monitoring, to listen to them in the space, remove frequencies causing feedback, and add enhancements (like reverb) to their inputs. This is when the Music Director and I are having the most conversations about the sound in the space. It’s also my opportunity to blend the band so I have a base mix for them for tech, and for me to have base levels for actors so that I can efficiently program them during tech.

What this really helps with is I can focus on the room much more if I’m able to set this all up before tech-again this is something where I work with the time given but I rarely have what I need.

Tech!

Really just some thoughts:

I’m always listening to the room. I am not on com because I need to hear everything, as much as possible. I’m constantly making adjustments based on what I’m hearing.

When I have headphones on, I’m editing a cue so that it’s ready to be heard with everyone else.

It is also one of the first times an A1 (mixer) is working on the show, and they are performing as much as the actors are. They are rehearsing as much as the actors are rehearsing to get the best quality for the show.

My assistant (ideally) is coordinating with lighting and video on cues, timings, etc., so I can focus on the room.

A note:

You may have noticed I haven’t mentioned designing com and related. That’s not part of my design; there should be a separate department for show communications that handles show networking, show control, timecode, etc.

I have designed these systems in the past, but it should not fall on sound design to support show critical systems.

Previews -> Opening

This is when I hear the show with audience! So exciting! At this point I’m doing minor adjustments to account for bodies in seats, see how temperature and humidity changes are affecting the sound, and confirm that the show operator is comfortably running the show.

And then I party at opening night!

Conclusions

This is by no means a full description of what I do (feel free to ask I’ll give my thoughts). This is meant as a summary for those outside of my (and other sound designers’) heads to understand why we do what we do and why we ask for what we ask for.

Our goal is to make the best show possible. In this modern age of audio everywhere, it’s so important for live entertainment to match audience expectations, which is for a clear sound coming from a live person. Everyone hears differently now than they did in the past, and I want to make sure everyone can hear the work.

Thanks for reading!

The Night I Almost Let the Music Sleep

Imagine we are sitting together by a fire. The Kenyan night is cool, the crickets are providing the percussion, and the sparks from the wood are dancing toward the stars. If you look at me now, you see a woman who knows her worth. But I want to tell you about the Lydiah who almost disappeared before you ever knew her name.

I didn’t stop loving music. I just started wondering if music had forgotten how to love me back.

In those early days, my biggest mountain wasn’t talent, it was a thin wallet. Studio time in Nairobi was a luxury I had to negotiate for. I would save my shillings for weeks, skipping meals and walking long distances, just to afford a single hour under the lights. I would rehearse until my throat was sore because, in that booth, there was no room for a mistake. Every second was money.

The Weight of the Control Room

Back then, almost every studio was a kingdom ruled by men. Some were kind, but many were gatekeepers who didn’t see an artist rather, they saw a target. I remember handing over my hard-earned savings, trusting a producer to breathe life into my songs, only to be met with silence. I waited for calls that never came. I watched my music sit on dusty hard drives, unfinished and abandoned.

You learn a strange skill when you are a young woman in this industry. You learn how to ask for your own money back so politely that you don’t sound “difficult,” even when your heart is breaking.

Then came the radio. I used to think a beautiful song would simply find its way to the airwaves, like smoke rising from this fire. I was wrong. I found out that songs don’t just “play”, they are allowed to play. Some presenters were blunt. They wanted things I wasn’t willing to give. They wanted money I didn’t have, or parts of myself I wouldn’t sell.

I sat with my recordings in my hands, feeling small. The exhaustion wasn’t a loud crash but a quiet, heavy blanket. I began to ask the fire, “Am I forcing a door that is meant to stay locked?”

The KORA All Africa Music Awards Spark

I was ready to walk away. I was ready to let the silence win. And then, the universe spoke.

Before the industry in Kenya even knew my name, my very first song was nominated for a KORA Award. I remember receiving the news and just… sitting. I didn’t scream. I didn’t celebrate. I just sat in the stillness of my room, realizing that my music had traveled across borders I hadn’t even crossed yet.

Someone, somewhere, in a boardroom in South Africa had heard the soul of the work. They didn’t see the empty pockets or the closed radio doors. They just heard the “sweetness.” And that’s how I boarded my first flight ever.

Why We Must Keep the Fire Burning

That nomination didn’t make the studios cheaper or the industry fairer overnight. But it changed the way I walked. I realized that the system wasn’t hard because I lacked talent. It was hard because it was built to keep people like us out. And an uneven system doesn’t get to decide who stays.

So, I stayed.

I am sharing this because I know there are other women engineers, technicians, and artists sitting in the dark right now, wondering if they should quit. In East Africa and the world, the path can ask too much of us too soon. Many brilliant minds disappear quietly because the friction is too great.

I am still here because I refused to leave when the night was at its coldest. If you are reading this and you feel like quitting, stay a little longer. Pull your chair closer to the fire.

Sometimes, staying isn’t just survival. It is the moment you finally begin to belong.

 

Burned Out, Buzzed, and Barely Hanging On?

 6 Ways Music Industry Pros Can Recharge Without Quitting Their Career

If you work in the music industry whether you’re a local crew, touring with a band, or holding it all together behind the scenes, you already know that burnout isn’t a slow build. It’s a sudden crash.

One day, you’re hyped and rolling cables at lightning speed. Next, you’re lying in bed scrolling for two hours with zero motivation to even brush your teeth, let alone show up for another 14 hour day.

Sound familiar?

Here’s the deal: your nervous system is working overtime in a career that demands stamina, precision, creativity, and emotional regulation… all on minimal sleep and maximum stimulation. Burnout is not a character flaw. It’s a byproduct of trying to do too much with too little recovery.

The good news? You don’t have to blow up your life to feel better.

Here are 6 realistic, road tested ways to restore energy without stepping away from the life you love.

1. Swap the Crash and Burn Routine for a Rhythm Reset

Let’s start with the obvious: your schedule is chaotic. No one’s expecting you to maintain a perfect sleep cycle on tour or during back to back shows. But your body still craves some form of rhythm.

Try anchoring your day with one consistent ritual, no matter where you are or what time it is. It could be:

This signals safety to your nervous system, and safety equals more sustainable energy. No crystals required. (However, if you are into crystals… use amethyst to calm, rose quartz for peace, sunstone for vitality, or Lapis Lazuli for mental clarity. You do you, boo!)

2. Fuel Like You Respect Yourself (Even in Catering)

No shade to the grilled cheese station, but burnout loves to hitch a ride on blood sugar crashes and dehydration. You don’t need a full on nutrition overhaul, just a few conscious upgrades.

Here’s what helps:

Think of food not as a fix, but as fuel for your next cue, your next call, or your next creative burst. Give yourself a high five

3. Rest Like It’s a Form of Rebellion

In an industry that glorifies hustle, rest is resistance.

You might not have time for an actual nap, but that doesn’t mean you can’t rest your system:

These tiny resets reduce cortisol, regulate adrenaline, and help your body shift out of fight or flight.

Burnout isn’t fixed by sleep alone, it’s fixed by strategic recovery.

4. Protect Your Energy Like It’s Your Most Valuable Gear

If you’re giving all your energy to everyone else from artists to assistants to audio techs you will run out.

Start saying no to the things that drain you and yes to small boundaries that protect you.

Try this:

People who are burned out don’t need a better calendar. They need permission to stop overgiving.

5. Find a Creative Outlet That Has Nothing to Do With Work

You’re constantly creating for others building the show, executing the cues, holding space for everything to go right. So make space to create for yourself.

Write something messy. Draw something weird. Make a playlist that’s not for the stage but for your soul. Dance in your hotel room like nobody’s filming.

Reconnecting with joy, silliness, and non productive creativity is how you remember you’re not just a worker you’re an artist too. Even if you’ve never called yourself that. Get curious about your thoughts and feelings.

6. Stop Waiting Until You Break Down to Ask for Help

We all know someone who waited until their body gave out before they slowed down. Maybe it’s you. Maybe it was last week.

Listen, this industry isn’t designed to protect your health. But you can be.

You don’t need to walk away from your career to feel better, you just need a strategy that honors your nervous system and meets you where you’re at.

You Can’t Tour on Empty, Let’s Fix That

You don’t have to settle for burnout being “just part of the gig.” This is your career, your passion, your life. You deserve to feel good in it.

So here’s where to start:

  1. Take the Stress Quiz , Figure out what kind of support your body actually needs right now.
  2. Watch some free tools on YouTube or Insight Timer , quick meditations, nervous system resets, and chill tracks that meet you where you are.
  3. Book a free Meet n Greet call – This industry asks a lot. Support can feel grounding, empowering, and even energizing. Through mentoring, consultations, and workshops, we can create space for clarity, confidence, and sustainable momentum.

You’re not lazy. You’re not broken.
You’re in a demanding industry that requires next level support.
Let’s build that support together.

 

How to Uncover Killer Vocals for Your Song

You’ve fine-tuned lyrics, found the perfect chord progression, and secured the producer to make your song shine. Now it’s time to uncover your vocal performance. The vocal performance to a finished record is arguably one of the most important parts of the production process, and it’s easy to see why: vocals tend to be what the average listener gravitates to and leaves with when they listen to your song. Additionally, according to a study done by Spotify, “vocals ranked high as a self-reported factor for a listener liking or disliking a track.” (More about that can be found here)

If you’re anything like me, you don’t want to drop the ball at this step. The truth is, curating a killer vocal takes a lot of soul-searching, forethought, technical skill, and discerning ears (more than two is ideal :)). Here are some things to consider as you embark on this important part of your vocal recording artistry.

Serve the song’s story

It’s really important to start on this step first. Whether you wrote the song yourself, or you’re performing a song that someone else wrote, context matters.

It’s really critical to understand the main message that you are trying to communicate within the song as a whole, and also within various sections of the songs. What emotion are you leaning into in the song? What is the song’s backstory (i.e. what occurred that inspired the song in the first place)? These are the sorts of questions that you should use as a guiding light as they will inform the theatrical side of your vocal quality as you dig into the lyrics.

As part of serving the song’s story, it’s important to make sure your vocal sounds convincing to the emotion you are portraying. This is often a delicate blend of acting and technical vocal skill, and sometimes an accidental, but emotional vocal take that is not “perfect” communicates the song’s story better than flawless singing.

Make space for experimentation

One thing I really like to do with every song I am recording is make space to experiment with my expression of singing before committing to the final vocal performance. This can happen a lot of different ways, but I like to do a mix of singing and recording the song in different ways on different days. For example the following:

Sing the song all the way through, live on your mic/speaker a few times and record it casually on your phone. Do this for several days, listen back with a critical ear, and fine tune the performance to hone in on the lead vocal

Create a demo of the song – a tracking session with the backing track/instrumental in your DAW and record a few takes section-by-section to laser focus on one part of the song (aka verse, pre chorus, chorus) at a time

Try different microphones or play with vocal effects chains so you can envision direction for the final sound. If possible, practice with a vocal plugin that has presets of the vibe you’re going for so that you aren’t just hearing your “dry” vocals during experimentation

Dedicate a day or two to play around with potential background vocals, ad libs, response vocals, or vocal textures

Get coached

Whenever possible I bring songs to a professional vocal teacher/coach so they can help bring a better performance out of me. It’s inevitable that a vocal coach will bring up something that you might not have considered yet for the song. It’s great if this person is trained vocally and knows you/your voice, but it can also be a producer if that individual is comfortable playing that role and pushing you. Either way, it’s ideal to spend some time here and be open to feedback, all in the spirit of getting a better performance than you already have.

Utilize a Lyric Sheet to mark up notes for your vocal performance (check out the end of this blog post for an example lyric sheet to one of my songs!). The lyric sheet notes can be personal scribbles that make sense to you – it’s great to include expressive notes for the lyrics, technical/vocal cues you need to remember, and any tips about how you will sing or emphasize certain words, phrases or sections of the song. Be extremely detailed here and don’t be afraid to edit / adjust things as you refine the performance.

Pro Tip: If you are scheduling a voice lesson I highly recommend bringing your lyric sheet and taking notes during the lesson itself

Along with getting a coach for the song itself, it’s really important to work on your voice in general. The more you take your voice seriously and incorporate regular practice and lessons, the more confident you will be as a singer. This takes time, and there isn’t an overnight fix, but the technical aspects of voice–like tone, pitch, breath control, and belting–need to be nurtured.

Planning & Pre-production

Along with all of the above steps, a granular plan for your vocal performance should be made. While it’s sometimes fun to have a little spontaneity in the studio or during your vocal recording at home, we don’t want to leave too much up to chance as your performance might lose direction or you might burn too much studio time still figuring out what you want rather than simply laying down the vocal. A lot of producers get impatient if you’re not prepared on the day of recording too; it’s important to prep for that day as if it’s an important business meeting.

If you need some inspiration it can be helpful to find a reference track (s) whose vocal performance is close to your vision. This could be the same reference track that you already used for the production, but it could also be something else altogether. I recommend listening to some of your favorite artists and playing their songs repeatedly to analyze what they’ve done with their vocals.

Make an initial list of vocal parts and vocal effects you might be hearing so that you stay inspired and incorporate those in your final record or performance

Meticulously plan out each vocal take and the overall vocal arrangement for the song  (i.e. lead vocal, background vocals for verses, double and triple leads for chorus, ad libs) in advance. Write down each item/vocal needed so you can check it off as you go during your recording session.

Pro Tip: Send the list to your producer in advance so they can prep the session quickly. 

Practice each specific part of your vocal arrangement on its own until you can sing it with clarity and confidence. Take note of any difficult parts so that you can work through those, and on the day of recording, consider recording those last so that you don’t wear your voice out prematurely

Day of Recording (or Performance)

Make sure that you’re well rested and well hydrated 24-48 hours before your vocal session/show

Warm up before your session – don’t overdo your warm ups!

Bring your lyric sheet, vocal arrangement notes, reference track, and anything else that will keep you focused and comfortable during your recording session. You should have the song memorized at this step but if you’re in recording session its ideal to be able to reference the lyrics

For a record, make a plan for when you will “comp” your vocal session. It’s great to do this the same day with your producer to make sure you have the perfect performance; this ensures that you’re ready to move onto final editing and mixing

If you run out of time during your session (or you’re simply sick or not ready that day), book another day to finish the song. It’s ok if recording takes a little time 🙂

As you can see, most of the preparation for killer vocals happens before the Day-of-Recording. When you get to that day, you should intimately know your song and how you want to express it.

Happy singing!

Daniela

Lyric Sheet

Elaine Rasnake – Mastering Engineer and Live Sound Professional – Owner of Daughterboard Audio

Elaine Rasnake (she/they) is a Philadelphia-based mastering engineer and live sound professional, and the owner of Daughterboard Audio. Since entering the audio field in 2016, Elaine has built a practice rooted in musicality, technical precision, and a deep respect for the emotional impact of sound.

Elaine’s relationship with audio began early—long before it became a career path. Growing up, music was a constant presence, from singing in choirs and performing in musicals to obsessively listening to favorite records and experimenting with recording on a family computer using an early ’90s gray microphone. An old home stereo receiver with physical EQ knobs and switches sparked a fascination with shaping sound, while writing and recording original songs for Myspace CDs laid the groundwork for what would become a lifelong pursuit.

While Elaine always knew music would be central to her life, audio engineering emerged as the most sustainable way to build a career within it. She studied Audio/Video Production and Vocal Performance at Bloomsburg University, earning a Bachelor’s degree and gaining her first exposure to formal recording techniques. As the only non-male student in the freshman audio cohort, Elaine found motivation in the challenge—proving themselves technically while helping open the door for more women to enter the program in the years that followed.

After college, Elaine gravitated toward mastering, a discipline that received only brief coverage in school but quickly became a passion. Largely self-taught in this area, Elaine developed her skills through extensive independent study, drawing from the work of mastering engineers like Bob Katz and Jonathan Wyner, alongside countless hours of critical listening, experimentation, and research. That self-directed education ultimately led to the founding of Daughterboard Audio in 2019, where Elaine now works as Owner and Lead Mastering Engineer.

Today, Elaine balances mastering work with live sound, bringing a musician’s sensibility and an engineer’s attention to detail to every project. Her work is guided by a belief in continuous learning, thoughtful collaboration, and creating sonic spaces where artists feel supported and heard.

Career Beginnings

How did you get your start in audio?

Once I graduated, I continued making my own music at home and uploaded everything to Bandcamp. I used that digital space primarily as a way to display my engineering skills for future clients as well as selling the music/touring/being an artist. Making those songs and going out and performing them was my first big solid step into

What were your first jobs, gigs, or internships like?

My first college internship was at a local radio station which was cool but I learned more about radio in general than anything new in terms of audio engineering. I’m pretty sure my 2nd internship was actually a scam that I was able to escape…but then my first solid job/gig was running live sound in my house. I had been living in a 6 person “show house” we called The Waiting Room. We would have a bunch of bands come through every month and host shows in our basement. I got the chance to work the mixing board for a lot of those shows and in the process, meet a ton of folks that I would later help record/mix/master out of my bedroom.

What skills or lessons did you learn early on that still serve you today?

Be genuine. Make friends. Be kind but set boundaries. People will enjoy and experience the music you help create, but they will always remember whether or not you were a kind, genuine person.

Did you have a mentor or someone who significantly supported your growth?

Katie Tavini was (and still is) a big mentor of mine. We met online and I was able to ask her a ton of questions when it came to the business, growth, networking, side of things. And over the years, she’s just been a great friend and cheerleader for all of my milestones and accomplishments as I move up in this industry.

What barriers did you encounter early in your career, if any?

I would say for the longest time, I was my own biggest barrier. I had a ton of anxiety about the world and life in general (still living at home solely out of fear and worry of being on my own, working the same restaurant job for 8-9 years, scared of any kind of major change). It wasn’t until after meeting my now wife and going to therapy that I was able to overcome a lot of those internal, mental barriers which helped me make even bigger strides in my career and life.

Your Career Today

What does a typical workday look like for you now?

During the day, I juggle two jobs: Mastering and taking care of my 2 year old daughter. I always have my phone on me so during any down times with her, I’m answering emails & dm’s. During her nap I do mastering/admin work in my home studio and attempt to remember to clean the house and myself. After dinner, I am either back in the studio to do more mastering work or I’m out running live sound for Warehouse3 out in Swarthmore, PA.

How do you stay organized and manage the demands of your work?

I am the kind of person that always keeps my notifications cleared and read, so that helps a ton. I use Trello a lot in tandem with Gmail and Google Calendar. When someone sends an email inquiry, it shows up in Trello as its own card. When I add a deadline to a Trello project card, it shows up in my Google Calendar. This setup has been huge in keeping things organized and knowing how my mastering work lines up with my live sound work and my child care work/home life.

What do you enjoy most about what you do?

I love getting to meet so many creative and inspiring artists and listening to new music every day. I love having that “proud parent” feeling when a project gets released and knowing that I was able to help them feel really confident and excited about something they put a lot of time, money, and energy into.

What aspects of the job are the most challenging or least enjoyable?

I am SO bad at small talk haha so as much as I love meeting new people and networking and everything, talking to people in person (as compared to email, dm’s, texting) is still very challenging for me. But I’m working on it!

What is your favorite way to spend a day off or time away from work?

It feels like it’s been years since I’ve had any proper kind of time off, especially since my daughter was born. But I always enjoy watching movies, reading books, hiking, biking, playing video games, and sleeping.

Challenges, Growth & Perspective

What obstacles or systemic barriers have you faced in the industry?

I often feel like such an outlier when it comes to this because I never felt like I was treated any differently than my male peers in the audio world. For all of my life, I just felt like one of the guys, was never really treated differently, or faced any major obstacles outside of my own brain and mental health.

Have you seen the industry change during your career? If so, how?

I’ve seen so many more women/non-cis male engineers enter the field and be recognized for their accomplishments which has been so wonderful.

What still needs to change to better support women and marginalized genders in audio?

We need to increase our visibility and representation and diversify hiring (I’m so tired of looking at a studio’s website, scrolling through the endless list of male engineers and finding that the one woman is just the manager/secretary.) When the younger generations don’t see role models that they can look up to, it’s hard for them to see a place for themselves in the audio world.

Advice & Looking Forward

What advice would you give to women or young people interested in entering audio?

Now is an incredible time to get into audio. There are so many people making music, there is always a show or event that needs sound to be amplified, etc.. And gathering the proper info and experience to do this has never been easier thanks to the internet. You can join audio engineering discords, directly message engineers on instagram, attend virtual conferences, etc. There are so many people out there rooting for you to get started and to succeed. The only thing left is for you to go out there and make the first move.

What skills—technical or otherwise—do you think are essential for success?

People skills are huge because in a big way, this is a service industry. Being able to talk to people, whether it’s a new artist you met or your co-workers at a live sound gig, could be the difference between getting the next upcoming job/project or not.

What long-term goals or aspirations do you have?

I want to keep growing my business. Maybe one day it’d be cool to have other engineers be part of Daughterboard Audio (a lot like the Weird Jungle mastering collective over in the UK).

Is there something you wish you had known earlier in your career?

I wish I had known about all of the resources out there like SoundGirls, AES, GrammyU, etc. That would have been huge.

Favorites & Personal Touch

Favorite or most-used gear (and why)

My Audeze LCD-MX4 headphones. I monitor all of my work in headphones so without these, I’ve got nothing. I also do all of my work “in the box” so my favorite plugin gear is Izotope Insight 2. I use this to meter everything I’m working on to see where things are sitting. It’s also a great way to see where modern releases are sitting, loudness-wise, these days.

A piece of gear you can’t live without:

Also the headphones for the same reason why they are my favorite.

A moment in your career that made you feel proud or affirmed:

Being asked to be on the panel for the 2025 SoundGirls conference. In the past I was a part of a couple of AES panels but I think it was mainly because I was a moderator on a mastering Facebook page and all of the mods presented a couple group panels. The recent SoundGirls conference panel was the first time I was reached out to, solely because of who I was and what I had accomplished and people wanted to know my journey, workflow, and perspective. It was one of the few times where I finally felt like I was a “pro” and had a proper place in this industry.

Anything Else

I love teaching, mentoring, guiding folks through this audio world so always feel free to send questions and reach out to me on Instagram @daughterboardaudio or send me an email at elaine@daughterboardaudio.com

EIPMA Presents: Women in Music —  Four Journeys, One Evolving Industry

The Entertainment Industry Professionals Mentoring Alliance (EIPMA) has always focused on one thing: making the invisible pathways into entertainment visible. Their events and mentorship programs bridge the gap between aspiring creatives and the working pros who keep film, TV, music, and live events running every day.

In their webinar “Women in Music,” EIPMA brought together four women whose careers reflect very different corners of the industry—Ainjel Emme, Ariel Beasley (Tender Misfit), Suzy Shinn, and Karrie Keyes—for a candid, often vulnerable conversation about identity, craft, and finding your place in a field that rarely hands anyone a roadmap.

This wasn’t a highlight reel or a panel of tidy anecdotes. It was four women telling the truth about how they got here, what they had to learn the hard way, and what they want the next generation to know.

Growing Up Musical—and Figuring Out How to Make It a Life

For all four, music wasn’t just an interest—it was the thing that shaped who they were long before they understood what a “career in music” could even look like.

Ainjel Emme grew up assuming she’d be an artist. But the more time she spent in the studio, the more she realized her instincts were pulling her toward vocal production and engineering—the behind-the-scenes work of coaxing out the honesty in someone else’s performance.

Ariel Beasley’s path clicked into place early: musical theater at five, songwriting at twelve, and then a Taylor Swift concert at thirteen that felt like a lightning bolt. From that moment, she knew exactly what she wanted to do—and she’s been building toward it ever since.

For Suzy Shinn, music was the constant. She wrote songs in her bedroom long before she ever thought of herself as a producer. That emotional rawness—those imperfect, honest beginnings—still guide her work today.

Karrie Keyes, unlike many young women today, didn’t grow up seeing audio as an option at all. “Working in music wasn’t presented as a real job,” she said. That changed only when she met Dave Rat and stepped—almost accidentally—into live sound.

Different stories, yes, but woven together by the same thing: music wasn’t something they chose. It was something they followed.

Early Lessons They Wish They’d Known

Every career starts with a learning curve—some gentle, some not.

Suzy Shinn shared the lesson that changed everything for her: emotion beats perfection. The recordings that shaped her weren’t flawless—they were intimate, messy, human. That’s what she tries to preserve in her work now.

Others talked about the sudden realization that the job they wanted actually involved far more than they imagined. And in many cases, that reality was far more rewarding.

Clearing Up What Their Jobs Actually Are

Even within the industry, people often misunderstand the work.

Ainjel Emme talked about vocal production as an art of intentional imperfection—sometimes literally detuning John Legend to bring back humanity when a performance becomes too polished. Her job is to keep the soul intact.

Ariel Beasley broke down the myth of overnight success. Her career is built “brick by brick”—writing, discipline, consistency, and the unglamorous grind no one posts about.

Creating Spaces Where Artists Can Be Vulnerable

True artistry lives in vulnerability—and that means creating conditions where people feel safe.

Ainjel Emme often clears the studio so a vocalist can sit alone with their emotions. That’s when the real performance shows up.

For Ariel, songwriting is therapy, and choosing the right collaborator is everything. “You’re opening yourself up,” she said. “You want to do that with someone who gets you.”

And for Karrie Keyes, who works in live sound, building trust has to happen fast. Sometimes she has five minutes before soundcheck to make an artist feel grounded. They need to feel right away that I’m in their corner, that I’m there to support them.”

Where Music Is Headed: A Return to the Human

All four women sense a shift happening. Listeners are reaching for recordings that feel alive—room sound, breath, feel—after years of hyper-digital polish.

Defining Moments That Shaped Their Careers

These weren’t résumé highlights—they were turning points.

Each story was a reminder that growth often happens in the moments we don’t feel “ready.”

How Men Can Actually Be Allies

When the panel was asked how men can meaningfully support women and marginalized genders in the industry, the answers were refreshingly direct:

Real allyship isn’t a slogan—it’s how you move through a room.

Balancing Work, Family, and Real Life

Karrie spoke honestly about motherhood—particularly touring while raising twins. There was no “superwoman” narrative here. It took a community of caretakers, clear communication with her co-parent, and a village she could trust.

“No one does this alone,” she said. “And no one should have to.”

EIPMA’s Role: Keeping These Doors Open

This webinar embodied what EIPMA does best: take real stories from real professionals and make the industry feel navigable for the next generation.

It wasn’t just a conversation about women in music. It was a reminder of why mentorship matters, why community matters, and why telling the truth about our paths helps the whole industry grow stronger. Because when more stories are shared, more people can see themselves in this work—and more doors start to open.

 

Call for 2026 SoundGirls Bloggers

Are you passionate about audio and eager to share your knowledge with a vibrant community? SoundGirls is seeking volunteer bloggers for 2026!

We are looking for enthusiastic individuals who can contribute their insights, experiences, and advice on various aspects of audio engineering, production, and the music industry. Whether you’re a seasoned professional, an aspiring audio engineer, or someone with valuable life lessons to share, we want to hear from you!

Why Become a Blogger?

  1. Share Your Voice: This is your chance to contribute to a community dedicated to empowering women and marginalized individuals in the audio industry. Your unique perspective can inspire and educate others.
  2. Expand Your Network: Blogging for SoundGirls connects you with a supportive network of audio professionals and enthusiasts. You’ll build relationships with fellow bloggers, industry leaders, and readers who share your passion.
  3. Enhance Your Skills: Writing for a community platform is a fantastic way to improve your communication and writing skills. You’ll gain valuable experience in content creation while showcasing your expertise.
  4. Make an Impact: By sharing your knowledge, you can help others navigate their audio careers, avoid common pitfalls, and discover new opportunities.
  5. Boost Your Visibility: As a blogger, you’ll have the chance to establish yourself as a thought leader in the industry. Your work will be featured on a respected platform, enhancing your professional profile.

Ready to Contribute?

If you’re interested in becoming a volunteer blogger for SoundGirls in 2026, please reach out to us with a brief overview of your experience and topics you’re passionate about covering. Together, let’s inspire and empower the next generation of audio professionals!

Join us in making a difference—your voice matters!

Apply Here

Ready, Set, Document

I’ve covered how I prep my script for a show and how I practice for tech in some of my previous blogs, but let’s take a deep dive into the what you can use to prep for tech and document a show for the run.

First up for preparation: get the script and and recording of the show. Details ad nauseam in this blog, but learning the show starts here. Personally, I retype the entire script (time allowing). This helps me get the show into my head because it requires me to go over every single word. While I’m typing (and any other time I can listen to music) I’ll have the recording playing in the background.

Once I have a version of the script to use for the run, I’ll do a pass through and rough in fader assignments and where to take cues for  new scenes. (Details on different ways to do that in this blog.) Those notes create my next piece of paperwork: what I call a CG Breakdown. (DiGiCo consoles call their DCAs “Control Groups” so I use CG or DCA interchangeably here.)

My breakdown is a spreadsheet where I fill in what each scene will look like. The first pass comes from what I noted in the script and it’s a rough pass. Things will change as you go through the show a few more times, but this gives you a starting place. Once it’s all there, I’ll look for patterns and how I can refine and simplify the mix: which people track from scene to scene or if someone’s in almost all of the scenes so it might make sense to keep them on a consistent fader.

When I was mapping out The Outsiders, my original pass assumed that Ponyboy, the main character, would end up on CG 1 for most of the show since he’s in almost every scene. What actually ended up happening was that he settled in on CG 3 for most of the show. In most of the scenes with other people he was usually the 3rd person to talk, and that also allowed me to place people around him. Dally and Johnny or Darrel and Soda became pairs on 1 and 2 for their scenes with him while Cherry or Bob usually ended up on CG 4 (with Bob on 5 when he was in a scene with Pony and Cherry).

Here is the first pass

 

Here Ponyboy bounces back and forth between CG 1 and CG 3 with a quick jaunt on CG 5 for a bit. If he continued from scene to scene, most of the time I put him on the same fader.

Then we have a few drafts later

Bumping the first couple scenes over puts Pony pretty consistently on 3, and then a couple scenes shift in the middle to keep him there (a few times it makes more sense to put him in speaking order). Moving him also doesn’t leave an awkward gap between him and Cherry for their scenes together.

This is a “Final(ish)” pass because things changed in tech and what we started with wasn’t what we ended up with, although they were pretty close.

The goal is to take the rough draft of DCA assignments and polish them to a more logical flow that you can take back to the script. Once you’ve made any changes from the original pass, you can start practicing. When you’re starting out in the industry you probably don’t have a practice board, so the tried and true method is using quarters. Grab a set of coins, one for each fader, and line them up on a table. (If you want to get more detailed you can grab some tape and make a line for each fader path with marks for where 0dB, -5, -10, -20 go.)

Honestly, quarters are much harder to navigate than regular faders, so if you can make it work with the quarters, you’ll have no problem once you get on the console. This was how I learned the mix for the first few years of my career.

As you practice, this gives you a chance to work through the script and the assignments you created. I like to go through the entire show at least once and then I’ll focus on the busy sections or transitions. This is the time where you can tweak things if something doesn’t feel comfortable, possibly changing fader assignments or adding in additional cues to make scenes smoother.

Once you feel good about the choreography of the mix, it’s all about repetition. Listening to the recording as often as possible and making sure you practice the trickier bits so you can check that it all really makes sense and feels cohesive.

At this point I’ll add in once last layer to my prep: I print out a version of the CG spreadsheet where I add scene numbers, cue lines to hit GO, and the names of all the CGs. (It’s basically what I’d have in front of my on the console without a script, because when I get to programming the show, I’ll use whatever note feature available so I’ll see what the cue line is for the next scene.) It looks like this:

Using this version of my breakdown I’ll do what I call “pointing through the show,” which means I’ll listen to a recording and point to who’s talking as they say their lines and mimic hitting go. Without the safety net of the script you can really see how well you know the show and easily identify the spots you need to review.

However, this is something I only do with an established show, like a tour, where the mix is already set. For newer shows that will change a lot during tech, trying to memorize the full show ahead of time isn’t as helpful.

All of this prep gets you to a point where you hit tech with a solid understanding of the show and a plan for the mix. When you’re loading in, you will likely have to do some programming to set up the console and your DCAs. This adds one more piece of paperwork to the load, but it’s simply another version of the CG breakdown.

In this final iteration I add an extra row underneath each scene and add who’s in that control group if the name doesn’t already tell me, either because they have a different name in the script (in Mean Girls the ensemble all had character names for some scenes) or they’re grouped together in some way.

Here’s an example from the show

This gives me a comprehensive document so I know exactly who should be on what fader in each scene. Sometimes you’ll have to go to the music department to find out who’s singing which part in a scene or Stage Management to know who says a line if you have ensemble numbers for the actors but character names in the script.

This is a time to exercise independence. Don’t wait for someone to spoon-feed you information if you have the means to figure out yourself. On Les Mis the associate and I were talking about how the focus shifted over the course of the song “The Confrontation,” and he said that we typically follow who’s on top (singing the higher part). So I went back to the score and marked out who that seemed to be, then asked him to double check my work. It worked much better for him to take a quick glance at what I had boxed in my script instead of having to go line by line to tell me who I should be pushing throughout the song.

Everyone has plenty of work to do themselves and the designer will usually be completely onboard if you’re able to take initiative and other departments will be happy to give you information ahead of time instead of having to play catch up on the back end.

Once you’re into a show run, you’ll need documentation on how your start up and shut down procedures work, especially if it’s a longer run or there will be subs covering the track. Pictures are always helpful, but clear directions can always get the job done:

On tour having a punch list for load in and load out tasks is helpful. I’ll do basic outlines for myself, but have more detailed notes in case someone has to do the load in without me (thank you Covid – examples for this as well as some other documentation are in this blog). All of these are things you should do as an A2 as well.

Speaking of, I’m not the expert on A2 paperwork and mine is very tour specific, but I had a couple documents I would always make:

First, you need a track sheet. On tour you’ll hand the local their sheet in every city and it needs to be clear and concise. Mine always included the time a cue happened in the show (some people don’t know the show or the songs so an external reference is helpful), the scene or song (if they are familiar), what they were supposed to be doing, and where they’d be doing it. I’d also leave a column for notes, just in case.

For my own documentation I had a couple spreadsheets I used to organize things:

I kept a log of our microphones. What the model numbers were, who they were currently on, if they swapped to a chorus member after the initial use or after a repair, and notes. It’s time consuming to set up and takes regular entries to maintain, but I found it helped me keep track of everything and was worth it in the long run.

In addition to the log, I had what’s commonly called a “bible” which is a list of all the actors, what role they played, what their mic rig was (clips, ear rig, coloring, etc), who they understudied and any alternations for that. More thorough bibles than mine will also include pictures of the actors in their mics to show correct placement and more detailed instructions on the rigs including materials and measurements.

For troubleshooting documentation, I had a running lists of problems that happened during the show (this I didn’t actually start until a year into my time on Phantom, but it’s something I wish I’d started earlier). It was anything from mics breaking/popping to com or camera issues to sweat outs to RF dropouts. I included what the problem was, what we did to fix it, and if there was any additional information or follow up that occurred. I added automatic highlighting in cells for keywords like “camera,” “Phantom,” “com,” or “antenna” so it was easy to find reoccurring issues.

These are all merely examples of what you might find useful and want to incorporate into your own workflow. All it really boils down to is: What do you need to feel prepared in your job? I personally enjoy busy work like typing a script or collecting mic ID numbers, and it helps me feel more organized and prepared for my job, so I’ll happily do it. But paperwork is not a one size fits all scenario, so it’ll take some trial and error to figure out what your organizational style is and what information you want to have within easy reach. My systems were developed over several years of paying attention to what others did and then incorporating them with my own preferences. There are things that change for every show as I learn more and find better ways to do things, so ask others for help and watch what the people around you are doing. You never know where you’ll pick up something good!

Screenshot

 

The Laramie Project

If you attended an event in early spring of 2019, there was a sense that it was the last you would see your friends.  From the news reports on COVID and many towns passing policies on public gatherings, it felt like a time of change.  September of 2025 felt the same way.  The violence and the negative repercussions to any statement with certain ideologies feels more akin to a Black Mirror episode than what life should be like.  It is still too early to tell what changes will happen to public discourse and diversity of thought, but the floor is covered in delicate eggshells.

In that same September 2025, I was fortunate enough to work on a local production of The Laramie Project, a docu-play of Laramie, Wyoming following the death of Matthew Shepard.  As with most community theatres, New Bern Civic Theatre (NBCT) plans their yearly schedule one to two years in advance.  Therefore they had no way of knowing how poignant the themes of hate crimes, stochastic violence, and religion would be to the present.  The Laramie Project was created as its subject matter was occurring in 1998 and 1999, and it is staged to resemble a documentary to emphasize the reality of its content.  The minimal cast plays multiple roles of Moisés Kaufman, the Tectonic Theatre Project, and the citizens of Laramie, Wyoming.  Actors stay on stage, changing costumes to show the change in characters, and the overall design is made to focus on the spoken word, rather than spectacle.  In addition, there are news reports, re-enactments, and courtroom scenes that break up the monologues and interviews.  This is not an easy play to watch, especially when you are working on the light board, and must sit through multiple viewings of weighty emotions and hate speech.  It was all I could do to keep silent night after night, and I always had a box of tissues handy.

It is odd enough that a rural North Carolina town would stage such a play, not only for the politics, but for the three-act length, and the fact that straight dramatic plays are dry to a casual tourist town.  In fact, the next play in the schedule was Monty Python’s Spamalot and it was already sold out during The Laramie Project’s run.  The director of NBCT’s production, Siobhan Brewer, knew this was a dream project and that every chance to bring this play to the different corners of rural America was critical.  I felt that the stars aligned for Brewer and made it a perfect production.  The cast and crew had a diverse collection of allies and folk from across the LGBTQ+ spectrum.  There was a deep emotional connection to the material that enhanced every performance.  Additionally one cast member had direct ties to the Matthew Shepard case and to Laramie.  On the first Sunday matinee, there was a post-showing discussion with a correctional officer who was in Wyoming in 1998.

Each showing filled about half the seats, however the audience was ready to learn and be changed by the show.  The reviews were reflective and avoided the superlatives that a more entertaining production would earn.  Surprisingly the only disruptions were an occasional snorer, and not any of the vocal conservative activists who reside in the area.  To give you an idea of the climate of rural Eastern North Carolina, there are several town hall regulars who decry the “lack of bibles” in school libraries, and the Gadsden flag decorates many lawns.  My theory on how this production slipped under the radar was that the local pride organization had sponsored the show.  Therefore, only those who were interested in supporting New Bern Pride attended the show.  Secondly, The Laramie Project and Matthew Shepard are not in the forefront of today’s news.  Matthew Shepard’s story is not on any of the major banned book lists in recent years, and Laramie has been quietly out of the news for many years.  With these lessons in mind, other theatres who want to support their communities can do so without drawing the ire of violent detractors.  It is what brings me hope.  H-O-P-E, hope.

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