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Georgia Snudden – Live Sound Engineer for Cirque du Soleil

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

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

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

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

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

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

Career Start

How did you get your start? 

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

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

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

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

What did you learn interning or on your early gigs?  

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

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

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

Career Now

What is a typical day like?  

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

Monday: Travel / rest

Tuesday: Load In

Wednesday: Premier

Thursday: Shows

Friday: More shows

Saturday: Even more shows

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

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

How do you stay organized and focused?  

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

What do you enjoy the most about your job?  

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

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

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

What do you like least?  

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

If you tour, what do you like best?  

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

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

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

What do you like least? 

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

What is your favorite day off activity? 

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

What are your long term goals  

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

What if any obstacles or barriers have you faced?  

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

How have you dealt with them?  

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

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

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

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

Must have skills?  

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

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

Favorite gear?

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

Socials:  

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

Linkedin:

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

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

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

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

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

You’ll Learn Gear Inside and Out

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

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

You’ll Become an Expert Troubleshooter

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

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

You’ll Earn the Respect of Your Peers

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

You’ll Make Connections That Lead to Gigs

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

The Shop is a Stepping Stone to Bigger Gigs

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

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

You’ll Gain Confidence in a Low-Stress Environment

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

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

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

Your Environment will Cue Motivation

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

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

Final Thoughts

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

Join SoundGirls at USITT 2025!

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

SoundGirls Schedule – Friday, March 7

Let us know what sessions you will be attending here

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

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

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

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

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

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

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

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

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

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

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

You can view the sessions here.

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

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

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

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

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

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

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

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

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

Ringing It Out

Part One: Strategies and Standard Operating Procedures for Festival-Style Monitors

Introduction

After immersing myself in the fast-paced world of live sound from a young age, I’m taking a step back this winter to refine strategies and establish best practices for delivering consistent sonic success moving forward. This SOP is intended to streamline workflows and help achieve reliable, high-quality monitor mixes in festival-style settings. It condenses years of hard-earned experience into actionable steps to ensure artists have the monitor support they need to perform at their best.

Kiesza at Calgary’s Olympic Plaza on August 30th, 2023

The Non-Negotiables

Proven Equipment:

Comprehensive Event Information

Venue and Stage Details:

Pre-Production Logistics

Console Prep

Familiarize yourself with the desk ahead of time. Lay out buses, sends, and channel layouts for efficiency.

Ringing Out Wedges

Setup and Workflow

Identify Feedback Frequencies

Feedback Management SOP

  1. Gradually increase the mix fader on Wedge One until feedback starts.
  2. Identify the ringing frequency using the RTA and your ears, then call it out.
  3. Apply a 3dB or more cut on the closest band of the graphic EQ.
  4. Repeat this process 2-3 times until multiple frequencies ring simultaneously, achieving an optimal balance.
  5. Save (or document if on analog gear) EQ settings in case adjustments need to be revisited during the performance.
  6. Be prepared to make aggressive EQ cuts for performers who cup the mic or move around frequently.
  7. Sometime you will have to prioritize a feedback-free environment over perfect tone, adjusting in real time as needed.

Optimizing for the Room

Save the Start Scene

Save a “ready-to-go” scene if you can that includes:

Conclusion

By focusing on preparation, communication, and precision, this SOP will help you deliver consistent, high-quality monitor mixes, even under festival-level pressure. Remember: your ears, clear communication, solid preparation, and a calm demeanour are the ultimate tools in your kit. Let’s make 2025 the year of flawless stage sound and sonic excellence!

Thanks

I would like to express my gratitude to Darrell Smith, Fred Boehli, Kiesza, UVS and SoundGirls.

New Beginnings – Changing Audio Disciplines

Audio is a beautiful medium. There are so many things you can do within it, so many different paths your career can take. Sometimes, even if your passion for audio is as strong as it always has been, you can become disillusioned with your chosen discipline. This is what happened to me over the last couple of years.

If you’ve read any of my previous blogs for SoundGirls, you’ll have noticed that my discipline has been radio and podcast production. To recap, I spent several years working in broadcasting after obtaining my Master’s degree in Radio Production, and after going freelance during the pandemic, I started producing and editing podcasts. I also made a couple of radio documentaries which were both shortlisted in their respective categories at the New York Festivals Radio Awards (in 2021 and 2024).

“Sounds glamorous!” I can’t tell you how often people have said that to me on learning what it is I do (or have done). Everything I’ve made and every project I’ve worked on has been the result of hard work and dedication. But there’s a whole other side that most people haven’t seen, like the financial struggles and uncertainty that come with freelancing, the constant competing for jobs and fighting for acceptable rates of pay, and the long list of rejected funding applications and project proposals. Nobody ever said this industry would be easy, and plenty of people manage to stick it out despite wondering: “Why did I ever want to do this?” But others can’t, and I was one of them.

Don’t get me wrong, I loved a lot of it. I’ve always seen myself as a storyteller and I don’t for a moment regret any of the ideas I had that came to fruition. But the time came when I started to think there had to be more out there for me to do. For example, I really missed that live sound environment. Even though it still took place in a studio, one of my favourite things to do had always been to get my hands on the faders of a mixing console. That’s where I originally saw my career in radio going, but it didn’t quite end up that way (though not for lack of trying).

At some point I started to think more about branching out into theatre and live events. It’s ironic that this happened during a time when the entire industry was shut down due to a global pandemic, with little idea of when (or if) things would be the same again. But I made a promise to myself to explore the idea further when the picture was clearer.

Sure enough, Guildhall School of Music & Drama in London advertised an intensive three-day short course in theatre sound engineering in summer 2023, intended as an introduction to the different roles within a theatre sound department and a chance to learn some of the basics. I went, and loved it. I learned about mic fitting and a little bit of Dante networking and got to practise using a Yamaha console. I was also so excited by the drama school environment and decided to look into it some more.

That’s when I realised how expensive most drama schools can be, especially if you’ve already gained higher education qualifications as I had. It was also tough to find courses that focused completely on sound (rather than technical theatre generally) and wouldn’t mean investing another three years of my life in education. I put the idea on the back-burner for a while. In January 2024, I was lucky to get the chance to shadow the sound department on The Rocky Horror Show when it came to Dublin on tour. I had an amazing few days, and afterwards I asked several members of the team for advice on getting a foot in the door. They all recommended trying to find depping work. I contacted every theatre and venue I could think of, with no luck at all. Unfortunately the industry in Ireland is incredibly small so I knew I’d have to find a way to move back to the UK if I wanted to stand a real chance.

That’s when I stumbled upon a brand new, year-long professional diploma starting in September at the Bristol Institute of Performing Arts. While not a sound course per se, it was one of three pathways available along with lighting design and stage management. All you had to do was select your preferred pathway during the application process. It was also much more affordable than the other educational options I’d come across, and could give me the hands-on experience I needed in one year rather than three. I applied, interviewed and was accepted.

And now here I am, living in the beautiful historic city of Bath in south-west England, commuting the short distance to Bristol by train and immersing myself in an area of sound that is new to me, yet allows me to draw on the fundamentals I’m already well acquainted with (signal flow, for example, or — when it comes to sound design — working with DAWs). I’ve already designed and mixed one show and am about to start on another; all of which I’ll be blogging about my experiences of as the year goes on.

Some people have questioned why I felt the need to undertake a course like this when I “already know everything about sound”. First things first, nobody knows everything about sound. There are just too many different disciplines within it and no one can master all of them (even one is enough for most). And it’s not just about sound; I’m learning about how theatre works as a whole, how different departments work together, how technicians and performers communicate with each other and what it takes to bring a show to life. Beyond that, I’m making contacts I would not have had the chance to otherwise. I’m also learning more about myself in the process; discovering strengths I didn’t know I had and encountering new challenges.

Would I call it a career change? Yes and no. I’m still a SoundGirl either way, but crossing over into another discipline will hopefully expand the opportunities that are available to me.

Mastering the New Workplace: The Art of Being a Sponge 

As a 22 year old female who is growing in this industry everyday, I have been told on multiple occasions how important it is to be a “sponge” in a new workplace. What does this mean? And why does everyone say it?

Well, it means to:

  1. Soak up as much knowledge as possible.
  2. Observe keenly.
  3. Adapt to the environment quickly.

I completely understand how nerve racking this feels. Its hard to find the balance between being helpful and not being in the way. So how do we change our mindset so that it focuses on growing in this field?

BE CURIOUS! it’s so crucial to approach every interaction and task as an opportunity to learn. Show your genuine interest in your colleagues and the production. Volunteer on things that will immerse yourself in the team’s workflow. I have also found that it is really helpful to familiarize yourself with all of the gear before the gig, if possible. And if you are unsure about a piece of gear, ask someone to explain its function and application. Ask thoughtful questions in quieter moments about why certain decisions are made.

CHILL. It has taken my fair share of gigs to learn how crucial it is to stay calm under pressure. Watch how others handle sudden issues and take notes. Offer help when it is needed or simply shadow the troubleshooting process. Being able to resolve problems effectively will ensure smooth operations and prevent issues from happening in the future. This will ultimately increase your confidence in yourself and others, building the core trust that is needed for a strong production team.

MASTER THE INTANGIBLES! Besides the technical details, you must learn the intangibles! Notice the informal norms like when and where decisions are made, recognize the way the A1s, music A2s, Production A2, Monitor techs, System techs, etc collaborate with one another, observe how a crew talks to the talent. Learn the dynamics and integrate quickly. Even being proactive in a production meeting with a friendly introduction can go a long way.

SEEK FEEDBACK. Asking for feedback and embracing the outcome gracefully is an amazing skill to have and will help you improve. Reflecting has always been a key part of the load out for me. Analyze what worked and recognize what could improve. It’s important to evaluate your progress and assess what you’ve learned and identify the gaps. Everyone has room for improvement.

OWN YOUR EXPERTISE. Lastly, be confident! You deserve to be here as much as everyone else does. Focus on your own qualifications and what you bring to the table. Advocate for yourself and ensure that your contributions are recognized. I believe that authenticity fosters respect and using the inevitable challenges to strengthen your skills will make you that much more resilient.

I also want to acknowledge how easier said than done all of these things are. It’s hard to be assertive, quick, and confident in an environment where you are uncomfortable. It is hard to bypass the nerves and jump headfirst. It’s terrifying to walk into an uneasy position, but that is where transformation happens.

Leaning into discomfort will lead to incredible opportunities you may not have found by playing it safe. It’s important to remind yourself that you can only do your best, stay calm, and simply be a sponge! Every show is a chance to refine your skills and become a better technician. By maintaining a learning mindset, you can carve out your place and thrive in any workplace. Respect will grow from your knowledge, collaboration, and authenticity. So in the beginning, soak it all up, baby!

Fielding Feedback

Sound is a department that a lot of people don’t understand, but everyone has an opinion about it. Learning how to navigate notes, complaints, and feedback (the people kind, not the speaker kind!) is a skill that’s imperative for your sanity in this career. So how do you deal with them?

Let’s start with the creative team. Obviously, whatever notes or feedback you get from your design team you should take and implement. It’s their job to fine tune the mix and tech is an excellent time to pick their brain so you can learn why they’ve made certain decisions, and then you yourself can make more informed choices when they’re no longer in the room.

Getting notes isn’t a bad thing. Sometimes it feels like it’s an inherently negative experience because people are telling you all the things you did wrong during the show, but it’s better if you can frame it as improving so you can level up your skills or your show.

Unfortunately, that’s not to say you won’t run in to people who are insensitive or even deliberately harsh when giving notes. I had an A1 who would give me notes one day then, on another day, give me additional feedback that seemed to contradict what he had said before. Another time, when I was learning the mix, the notes I got from the A1 was that “it was bad” and I “needed to do better.” Which felt like it was intended to knock me down a peg and make me feel insecure.

If notes don’t make sense, ask them to clarify. If what they’re saying feels cruel, that’s harder to unpack. In my example, I wish I’d had the wherewithal to ask my A1 to be more specific so I had actionable items to work on instead of a sense of general, unhelpful disapproval. Sometimes it’s simple as starting a conversation about how their tone is coming across, but that’s not always the case. If you don’t think you can have a productive dialogue with the person noting you, but do feel comfortable talking to someone else on the team, go to them and ask for advice.

If you’re an A1 noting your A2, it’s good to remember that in many cases, mixing is not necessarily something they consider their primary job. Some career A2s enjoy mixing, but others do it because it’s an expectation of the job and still get nervous at the console.

The most important thing is to be specific with your notes. Don’t just say it was bad, talk about what happened and the best way to fix it. (Again, harsh language like that is asking for confidence issues and potentially creating bad blood in your department.)

Acknowledge mistakes, but don’t harp on them if the mixer already knows. Missed pick ups are a fairly obvious thing, so I usually say something like “you missed that line, but you already know that.” That way they know I was paying attention, but we’re not spending extra time when the solution is to not miss it in the future.

If there are repeat problems, ask for feedback. What seems to be tripping them up? Helping someone’s mix improve is a two-way street.

All that being said, if you think your creatives can be harsh critics, I’d like to introduce you to your audience.

There’s a Cracked article by Jason Pargin that I love. I’ve had it saved as my browser homepage for probably the last five or so years (probably more). The premise of the article is a “New Year New Me” feel, but with a side of smack-you-upside-the-head realism. It asks what you can DO. Not if you’re a nice person or have a lack of faults, but what skills do you have?

It’s well worth the read.

It makes a point that when you make something, people will feel the need to comment on, criticize, and critique it. When you put something creative into the world you are inviting that world to tell you how you’ve done it wrong. Cue the audience. Those who’ve never attempted to do it (and have no idea what goes into it) are sure they could do it better and all those Karens will happily tell you that your work is simply not up to snuff. After more than a decade at the console, I’ve met plenty of them.

When I was on Saigon, I had one man stand by FOH and tell me that the show sounded bad and just kept repeating that until I had exhausted my usual polite responses, hit the end of my patience, and finally told him he was being rude. To which he responded “I’m not rude, I’m telling you it’s bad” and huffed off.

In another venue we had a 45 minutes show hold for automation which resulted in four pages of audience complaints which ranged from “I can’t believe they still had intermission after we already had to wait for 45 minutes” to “we held for so long and the sound wasn’t fixed when they restarted.”

On Les Mis, I had someone tell me that he’s seen the show 25 times and he knew how it was supposed to sound.

I’ve forgotten the venue but there was an online review that I kept a screenshot of because I couldn’t help but laugh at the perfect example of what we struggle with every day:

Credit is usually given to the actors. Criticism is usually given to the crew. The sounds they heard that were indeed too clear and strong to come from a mere mortal since it was in reality coming from a sound system that created both the “out of body experience” and the times they had trouble with the lyrics.

Pro Tip: don’t go fishing for reviews. People like to criticize and complain much more than they like to compliment (again, reference the Cracked article’s point).

In one theatre I was warned by the house head that the venue gave out free drink tickets to mollify people who complained, so shows always got a lot of complaints because patrons knew they’d get the tickets.

On Outsiders I had a man come up to tell me that the show sounded atrocious.

We’d also had a couple complaints over a few shows that the speaker in front of them (a side fill) wasn’t working. I double checked and it was, but they were reacting to the fact that it was delayed in such a way that you placed the sound as coming from the stage instead of sourcing to that particular speaker.

Sometimes you’ll have a person come up and complain and someone else right behind them will overhear and tell you they could hear everything perfectly fine.

Some are trying to be helpful and alert you of a potential problem. Some want to talk to your manager. Some just want to be right. Others might have hearing issues that they don’t even know about. I’ve worked in theatres with seating capacities from 1,000 to 4,000 and it’s nearly impossible to make every single one of those people happy.

Most of the time, dealing with complaints in the moment is fairly easy. I’ll usually ask them where they’re sitting and tell them that we’ll look into the problem.

The belligerent ones and the Karens are the outliers. If anyone won’t take a simple answer, send them to House Management and say those employees can better deal with their feedback.

My general rule for complaints is: 

One person puts me on alert: there might be something wrong, but it’s doesn’t require immediate action.

Two complaints will put me on guard: I might need to do something, so let’s make some cursory looks at potential reasons for a problem.

Three or more means that something likely is wrong and I need to actively look into making a change.

The logistics of dealing with complaints is usually simple, the bigger issue is that it’s very easy for them to get under your skin. Now that someone has told you something’s wrong, you start to second guess what you’re doing and how it sounds.

Unfortunately, there’s no easy way to develop a thick skin so you can mix through negative feedback, but it’s almost an essential for mixers.

When in doubt, circle back to your team. If you’re in the same city as your designer, ask them to come back and note (or if they’ve already gotten feedback from other people who’ve been by to note the show). If you’re on tour, ask someone who’s been out to listen recently (PSM, resident director, conductor) if things still sound consistent, or ask if they can come out to listen at some point. Get out in the house yourself while the A2 is mixing (if there’s time in the backstage track). You can learn a lot about how everything comes together when you’re able to get out from FOH and walk around the balconies and the sides and hear how the mix translates to the other areas of the theatre.

At the end of the day, you were hired because they trusted you to do your job. Notes are meant to help you do the best job you can, and audience members will keep you humble. Treat everyone with respect (unless they fail to respect you in turn), and keep trying to learn.

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