Join Us

Empowering the Next Generation of Women in Audio

Join Us

Stay Passionate

 Resources to Get Started with a Life-Long Practice of Professional Development

Do you remember your first audio project?  Do you remember how excited (or scared) you were about it?  For the vast majority of folks working in audio production, we fell into this industry out of passion.  It’s a labor of love; long hours and thankless sessions can happen, but we are there to answer the call because we know that we can make things sound the very best we possibly can make them sound.

That initial spark of emotion when we start out drives us all to be better engineers and artists; You have got to keep that spark! In an industry that is always evolving, it is crucial to keep learning, figuring out what is next on the horizon. Our field is really exciting, and actually digging into the various resources available can keep you pumped about your job.

Over the years I have gathered a ton of resources. This is by no means an exhaustive list, but it can get you started on your own professional development journey.

Organizations

Joining an organization not only provides a curated array of resources but is also a way into a community. One of the best ways to learn is from others in your field. Most of the organizations below have membership fees (though some are free), and there are student and early career options available.

SoundGirls 

Obviously! Becoming a member is free. https://soundgirls.org/membership/ 

WAM (Women’s Audio Mission)

Based on San Fransisco, the Women’s Audio Mission holds classes for marginalized genders in audio. Some are in person, and they have remote options as well. They also provide career counseling and work experience.
https://womensaudiomission.org/get-involved/become-a-member/

OmniSound Project

OmniSound Project provides a ton of courses. I took their “Approaching a Mix” intensive a few months ago. They have fantastic workshops as well, and they also do 1:1 lessons. Membership is free to people who belong to marginalized genders.
https://www.omnisoundproject.com/membership.html

TSDCA (Theatrical Sound Designers and Composers Association)

The TSDCA was founded as a response when the Tonys removed Sound Design as a category in 2014. Although the Tonys have since reinstated the awards for Sound Design, the TSCDA continues to be a resource for those working in theatrical sound design, composing, and audio engineering.

https://tsdca.org/application/

AES (Audio Engineering Society)

The Audio Engineering Society is the largest community of audio experts and was created by the industry, for the industry, to inspire and educate the technology and practice of audio. Becoming a member gives you access to 20,000+ of research papers and discounts on their conferences — a must for keeping up with industry technology and standards!
https://aes2.org/aes-membership-overview/

MPSE (Motion Picture Sound Editors)

The premier organization for sound editing professionals. It is dedicated to educating the public as well as the entertainment industry about the artistic merit of sound editing.

https://www.mpse.org/join-us

GANG (Game Audio Network Guild)  

An organization for those working in-game audio. https://www.audiogang.org/why-join/

TEA (Themed Entertainment Association) 

A place for professionals working in and students of themed entertainment to connect. Think theme parks, exhibits, immersive theater, experiential pop-ups.
https://www.teaconnect.org/Members/Join-TEA/index.cfm

Conferences

SoundGirls 

SoundGirls will be hosting their first virtual conference on December 4th and 5th, 2021. There will be a wide array of panels that cover all the different fields of audio.
https://soundgirls.org/event/soundgirls-virtual-conference/

AES (Audio Engineering Society)

I am always blown away by the wide range of panels at AES conferences. I will say that there is often a lot of panels that cover the music industry.
https://aes2.org/events-calendar/aes-fall-online-2021/

NAB (National Association of Broadcasters)

A must if you work in Radio, Television, Streaming, Sports, or Podcasts.
https://nabshow.com/2022/

GameSoundCon

Takes place every year in Los Angeles. It is a great way to learn about Game Audio, see some products at vendors’ tables and meet people working in the field.
https://www.gamesoundcon.com/

GDC  (Game Developer’s Conference)

If you want to work in games, try meeting non-audio people. Those are the folks that will hire you! GDC takes place every year in San Fransisco.
https://gdconf.com/

SIGGRAPH (Special Interest Group on Computer Graphics and Interactive Techniques)

A conference about computer graphics and interactive techniques. From what i have heard, there are often VR projects being presented.  https://www.siggraph.org/

LDI (Lighting Design International)

LDI is a lighting convention, but they usually have a small section with audio vendors and demo speaker systems. Besides, it is good to meet folks working in other parts of the industry.  https://www.ldishow.com/

NAMM (National Association of Music Merchants)

NAMM is a great place to start for anyone working in any part of audio, however, it is geared mostly towards the music industry. Held every year in Anaheim, CA. https://www.namm.org/

CES (Consumer Electronics Show)

A great way to learn and get updated on consumer technology trends and the interests of our audiences. https://www.ces.tech/

ComicCon

Another option is to meet people working in other fields, that could potentially hire you. And, it is essential to consume media and have an understanding of storytelling so that you can best support them with sound. No links here because there is one in most major U.S. cities. (The OG ComicCon is held annually in San Diego.) Look for the one closest to you!

Indiecade

Held annually in Los Angeles, Indiecade is THE gathering for independent game developers. There are board games and LARPs too! https://www.indiecade.com/
On the video game note: also check out Meetups, Global Game Jam, and search for hackathons in your area. Hackathons typically take place over a weekend, and the goal is to build a game. Global Game Jam is pretty much an epic hackathon that takes place annually in multiple cities at the same time. It is a great way to practice sound design while meeting other people. Search for a chapter near you: https://globalgamejam.org/

Blogs 

SoundGirls
So many topics! https://soundgirls.org/contributors/

A Sound Effect 

A wealth of resources about how sound has been made for many different movies, games, shows, and attractions, as well as a place to buy a lot of sound effects.

https://www.asoundeffect.com/

iZotope

A great resource to learn about iZotope products, as well as mixing tips.

https://www.izotope.com/en/learn.html

Pro Tools Expert 

A blog for Pro Tools users. https://www.pro-tools-expert.com/

TheaterArtLife

Blogs about all of the departments in theatre. https://www.theatreartlife.com/

April Tucker’s Blog (Post Production Sound)

April Tucker’s awesome log about post-production. Send along the blogs for filmmakers to your director and editor friends too! https://apriltucker.com/blog/

Podcasts

Available wherever you listen to podcasts.

SoundGirls 

Interviews with kick*** women in audio.

A Sound Effect

A wide variety of topics from how sounds were made for certain films, television shows and games, to hot tips about working in audio (like protecting your ears).

Twenty Thousand Hertz

A podcast about how everyday sounds were made, from washing machines to UI sounds to car sounds. And so much more.

Sound Business

Akash Thakkar’s podcast where he interviews people making a killer living in music and sound.

Tonebenders 

One of my favorites. Interviews with people working in post-production and game audio and how they tackled sound design for certain projects.

Courses 

LinkedIn Learning

I could list what courses are good— but this list would be 20 pages long. Just look up what you want to learn and LinkedIn Learning probably has it. (Hot tip: Many public libraries have a LinkedIn Learning account.)

OmniSound Project

As mentioned before, OmniSound Project holds intensives, workshops, and 1:1s for a wide array of topics and they have a very welcoming community. The website is linked about, but I highly recommend following them on Instagram to keep up to date with their class offerings: https://www.instagram.com/omnisoundproject/?hl=en

The Production Academy

Offers courses in wireless audio, mixing fundamentals, show power, and stage.

https://www.theproductionacademy.com/courses

Sound Design Live 

Courses about all things regarding live sound, from system optimization to mixing to RF coordination. https://school.sounddesignlive.com/

Ear Training

SoundGym https://www.soundgym.co/

iZotope Pro Audio Essentials https://pae.izotope.com/

Forums 

Production Expert
Saved me many times. https://premium.production-expert.com/

Reddit
Too many options to link. Whatever part of audio you work in, there is a Reddit Forum for it.

Facebook
Same deal as Reddit — if you have an interest in a specific realm of audio, there is a Facebook group for it. Also search for local chapters. (i.e., LA Sound Mixers.) Start with the SoundGirls and Hey Audio Student Facebook groups.

Certifications

WWISE

Middleware for game audio. (How you get audio into a game engine.) Common at AAA studios.

https://www.audiokinetic.com/products/wwise/

DANTE
Live sound networking protocol, with three different levels. Levels 1 and 2 are great even just to begin to learn IT technology.

https://www.audinate.com/learning/training-certification/dante-certification-program

QSYS

Show control software for installations, attractions, and even places like airports, restaurants, and conference rooms. It can do a LOT. Note that it is only for Windows.
https://training.qsc.com/

Shure’s RF Certification Course 

Master RF coordination so you have the knowledge to handle any wireless microphone situation that comes your way with this three-course certification: https://www.shure.com/en-US/support/shure-audio-institute/certification/rf-certification

Wrapping up

I hope this list is motivating! Beyond staying on top of the technology and process, constant professional development can motivate you and make you an awesome person to work with — because you will feel excited and intellectually stimulated! It is worth the investment of time and money to keep the spark ignited and to stay on top of your game.

To Freelance or Not to Freelance

I see this question come up so many times that I decided to dedicate my final blog of 2021 to it. I will preface that I still don’t have the answer to this question, but I’ve now done both freelance and full-time jobs. I hope that sharing my experiences with you, will help you make informed decisions and what is best for you and yours.

 

 

I’ve been going back and forth about this question for the better part of a decade. Before I had kids. Before I was officially married.

I wrote this email to a music producer who I looked up to in 2012.

I needed to get a woman’s perspective on careers, and kids, etc because I’m panicking a little bit about the future. The past few months have actually been pretty good for me in terms of freelance, at the end of the month, I always make rent, bills, etc.  My issue is that every once in a while I will have a panic attack about what comes next and the fact that I can’t save, and that I can’t start paying my loans, and saving for kids, retirement, etc.  I know that as a female all that stuff starts to creep up, but at the moment I have some decisions to make and am trying to weigh my options.   I’ve been interviewing for a job that isn’t exactly the one I wanted, but it’s a foot in the door, and hoping to move up.  It moves away from audio work- and more sales and marketing, but at least it’s within an audio company.  It’s full-time and benefits, which with the hours, it would still allow me to work on most of the side-projects I do.  I know this would mean moving away from all the things I’ve worked so hard for, and studied, and spent so much time on.  But it’s stable, and I feel like right now I need that, but I’m still kind of freaking out because I don’t know if it means I’m giving up on everything else I’ve tried doing.  

From your point of view, having worked in the industry and having kids, can you shed some light?

If you’ve ever felt like me in that email, then continue to read on. I’ll backtrack here and tell you how I got to the point of writing that email. I WAS EXHAUSTED. Freelancing is great in that it provides flexibility – being your own boss. Making your own schedule. Deciding what projects you want to work on.

The issues come up in that you find yourself saying YES to everything because you don’t know when the next job is going to come. And if you say NO now or too many times, are these people going to call you for the gig next time? What if you say NO and next month there’s no gigs coming and you could’ve used the overworking last month? Burnout is a real and huge problem when freelancing.

Other problems, keeping track of your finances, your expenses, 1099s, what you can write off at tax time… the list goes on and on. But needless to say, when I wrote that email, I was dead. I was done. I wanted none of that life anymore.

 

Grace Row is a music producer in NYC. She worked at Sony Classical in its heyday before it shut down, and became the audio producer for the Metropolitan Opera. She also has 2 kids and has made her way through this insane city. She was the recipient of the above email. And every once in a while, I find myself coming back to that email because it was some of the best advice I’ve received in life.

So I’m going to share her advice with you and break it down as I give you a look at how things turned out with the decisions I’ve made thus far.

You can take the job and decide that it isn’t for you in a year.  What stability does is make your priorities clear, and once the kids come, they do become your priority.

I did take that job, and honestly, I think I lasted less than 6 months. I was miserable. I did enjoy getting a stable paycheck, but it was the job itself that I couldn’t get behind. (It also didn’t help that the job was poorly compensated). I missed engineering too much, and at the time, we didn’t have kids so no big. I tried. ALSO, big LOL thinking that with a 40-hour workweek, I would have energy or time to do side projects. By taking a stable job, the whole point was to stop the burnout – no more “extra” projects.

I went back to freelancing for another 2 years before I got my foot in the door as a freelancer for NPR which led to a freelance gig at Bloomberg. By 2015, we were now talking about kids. And the question about getting a full-time, stable job came up again. Not to mention my accountant that year asked me something that still sticks with me. “You’re losing money in this field, why are you still doing it?” Welp… Loving your job is important, but that’s a topic for another day. Back to Bloomberg and the full-time job that landed in my lap, another not ideal scenario because it was Hong Kong hours, Sun-Thurs, but a job nonetheless.

And so I found myself coming back to Grace’s email.

If stability is what you crave, then there is nothing wrong with exploring achieving that right now.  You might have peace of mind to discover other passions you didn’t know you possessed.

Peace of mind is such, such, I repeat such a huge deal. If you are constantly stressed about money, rent, and life, it is so hard to be creative. Maybe some people thrive off of that, but I personally can’t. I can’t even read a good book when I’m anxious. When I took the Bloomberg gig, it was the first time I was making decent money and had zero stress about paying bills. It was like a huge weight was lifted. I didn’t have to track finances. It was the first year my taxes were SUPER easy. Wow, just one W2! WHAT IS THIS LIFE?!?!

But, that job came with its serious issues and setbacks, and the stress didn’t help us trying to get pregnant. I stuck through it for a year and some change until I finally called it quits and then landed the engineering job at Latino USA which was with NPR at the time. Finally, this job was a breath of fresh air. Comfortable hours, worthwhile and meaningful work, nice people, stable pay – and yup, I got pregnant fairly quickly. Mat leave, benefits, give me all of it. I now realized how important and meaningful stability was for me. STABILITY > FREELANCE.

I wasn’t looking to leave that job, but the Spotify EQL gig was an opportunity I couldn’t say no to. I had now been working full-time for four years and while going back to freelance was scary, I had to take a chance. I would be stable for 6-months during the residency, but afterward, my husband and I decided I would give freelance a shot for another 6-months to see how it went. It’s been 2 years since EQL ended, and I guess it’s been going ok. I’ve learned to be better about my financial records. I have a lot of excels to track my expenses. At the end of the year, I tally it all up to give to my accountant.

But freelancing with kids can be a blessing and a curse. On one hand, you have the flexibility to do things at the drop of a hat, pick-ups, drop-offs, doctor’s appointments, etc. On the other, you’re back to saying yes to a lot and you may miss stuff. I got called for a gig on my son’s 2nd birthday. At the time, I convinced myself that he would go to bed and wouldn’t remember anyway, but I would remember. Plus long hours mean a lot of missed bedtimes. And that often has a way of sneaking back up on me.

What I always say about women balancing their work and family is that it’s very rare to have it all concurrently, but likely you’ll have it all at various points in your life.  I had a great run at Sony with producing and the life and money it brought us, but once the kids were in school, the traveling and guilt of not being with my family really took their toll.

Guilt. Mom guilt sucks. It has its way of making you feel horrible, yet it’s the guilt you impose on yourself – no one else gives you that guilt trip. It’s hard, and it definitely changes things. No matter how much you tell yourself you’re being too hard on yourself, that pressure is very difficult to manage. Can you find ways to cope and get past the guilt? Yes, of course. It also may not be a huge deal for some parents. But, will I personally miss another birthday? Unless it’s the biggest and most important gig on the planet, then I probably won’t accept. Because like it says above, “you’ll have it all at various points in your life.” No reason to make things harder when there may be another opportunity later.

 

Now that I now have two kids to support (with my spouse), the topic is once again on the table. Do you know how expensive daycare is? It’s insane. And while we have one year before our oldest hits public school, we are in the meantime paying for two kids’ childcare.

I was fortunate during the pandemic to become part-time staff back with Futuro Media (home to Latino USA where I was before). Part-time stability has been a great hybrid for me personally. I know I’m getting X amount a month, but I have dedicated hours a week to take on other projects that I wouldn’t be able to do if I was full-time at one place. Some months I bring in a lot of extra, some months it’s not as much. I’m also lucky that my partner has a full-time job.

In the end, part of the reason freelancing is always so appealing is it lets you explore and work in lots of different areas. But as I’ve mentioned several times in this post – stability is important. I always joke that podcasting pays for my music habit. And I love podcasting. I love sound design. I love producing. But the stability that comes from those checks let me have the brain space to take on other projects. So should you take a full-time job or keep freelancing? It kind of depends on what kind of lifestyle you want to lead. Nothing in life is super permanent (except death) so you can always try things out; see how it goes. Like my guru said when I was still figuring things out.

This is the time to explore other opportunities.  You’ll meet great people – that’s important too.  You can always come back to freelancing – You’ll know if it isn’t right

 

Using Localization Cues in Immersive Mixing

Whether you’re mixing for film in 5.1 surround or Dolby Atmos, it’s important to consider a key element of human auditory perception: localization. Localization is the process by which we identify the source of a sound. We may not realize it, but each time we sit down to watch a movie or TV show, our brains are keeping track of where the sound elements are coming from or headed towards, like spaceships flying overhead, or an army of horses charging in the distance. It is part of the mixer’s role to blend the auditory environment of a show so that listeners can accurately process the location of sounds without distraction or confusion. Here are some psycho-acoustical cues to consider when mixing spatial audio.

ILDs and ITDs, What’s The Difference?

Because we primarily listen binaurally or, with two ears, much of localization comes from interaural level and time differences. Interaural level differences depend on the variations in sound pressure from the source to each ear, while interaural time differences occur when a sound source does not arrive at each ear at the same time. These are subtle differences, but the size and shape of our heads impacts how these cues differ between high and low frequencies. Higher frequencies with shorter wavelengths can move around our heads to reach our ears, causing differences in sound pressure levels between each ear, and allowing us to determine the source’s location. However, lower frequencies with larger wavelengths are not impacted by our heads in the same way, so we depend on interaural time differences to locate low frequencies instead. Although levels and panning are great tools for replicating our perception of high frequencies in space, mixers can take advantage of these cues with mixing low end too, which we usually experience as engulfing the space around us. A simple adjustment to a low-end element with a short 15-40 millisecond delay can make a subtle change to that element’s location, and offer more space for simultaneous elements like dialogue.

Here is a visualization of how high and low frequencies are impacted by the head.

Here is a visualization of how high and low frequencies are impacted by the head.

Flying High

While a lot of auditory perception occurs inside the ear and brain, the outer ear has its own way of affecting our ability to locate sounds. For humans and many animals, the pinna defines the ridges of the human ear that are visible to the eye. Although pinnae are shaped differently for each individual, the function remains the same: it acts as a high-pass filter that tells the listener how high a sound is above them. When mixing sound elements in an immersive environment to seem like they are above the head, emphasizing any frequencies above 8000 Hz with an EQ or high-shelf can more accurately emulate how we experience elevation in the real world. Making these adjustments along with panning the elevation can make a bird really feel like it’s chirping above us in a scene.

See how the pinna acts as a “filter” for high frequencies arriving laterally versus elevated.

See how the pinna acts as a “filter” for high frequencies arriving laterally versus elevated.

The Cone of Confusion

A psycho-acoustical limitation to avoid occurs at the “cone of confusion,” an imaginary cone causing two sound sources that are equidistant to both ears to become more difficult to locate. In a mix, it is important to consider this when two sounds might be coming from different locations at the same time and distance. While it’s an easy mistake to make, there are a handful of steps to overcome the cone of confusion and designate one sound element as being farther away, including a simple change in level, using a low-pass filter to dull more present frequencies in one sound, or adjusting the pre-delay to differ between the two sounds.

This demonstrates where problems can occur when locating two equidistant sound sources.

This demonstrates where problems can occur when locating two equidistant sound sources.

With these considerations, mixers can maintain the integrity of our auditory perception and make a film’s sound feel even more immersive.

Written by Zanne Hanna
Office Manager, Boom Box Post

This blog originally was published on Boom Box Post

Where Did All This Work Come From?

Work has ramped up the last couple of months and everyone I have ever worked with is calling me. I can have three different people asking me about the same day at one time. Meanwhile, the bar at the venue hasn’t got enough staff and the kitchen is missing a head chef. Where is everyone? The politicians in the UK are hoping that we now will start to see the positive effects of Brexit. They think: less immigration from Europe equals better paid UK citizens. Wrong! There are reports all over the nation on missing staff in different sectors, there’s talk of food shortages in the near future and now there’s an energy crisis in all of Europe! Crazy effects of the messy world we live in. Don’t get me started on shipping! I bought a guitar for my fiancé in April from my friend at Gretch and we are STILL waiting!

I know of musicians that have left the UK to make it easier to tour Europe, I know of technicians that have left too and I know people who during the pandemic were forced to sell their equipment and work in another sector. No wonder why there are missing people. Not only because of Brexit but also because of the pandemic. My colleague, who also is a guitarist, is working in rehearsal studios, at our venue and is now also touring. I am working at four different venues and recording podcasts. My close friend became the head sound engineer at a big hotel in London during 2020 and is really struggling to find and keep technicians. They keep getting offered even better jobs!

We are all working harder than we have before. I have 24 gigs in October with very little downtime. I had to move some stuff around and get some deps in for the lower-paid jobs, which is a great way to pay it forward! I love that I can help others to get more work.  A guy who went to the same college as me in Sweden found me on Facebook and asked me about work. BUT, that was last year and I told him he’s crazy to come over when there’s lockdowns and NO work and NOTHING is open! He did it anyway, and when we opened back up, I saw his feed on Instagram and asked him where he was. Back in Sweden, he answered! I kinda wish he’d come back now and give me a hand, or that we could switch lives and I could live in the countryside and run with my dog on fields instead.

Like now, for example, I am sitting here, at the last minute, writing this piece when really I should already be in bed. I had a nine-piece on my little stage tonight and a fight broke out in the audience. I was shocked. I have never witnessed something so violent. So basically, a tough and strange gig.

I think my lesson here is, rest when you can because you never know when there will be staff shortages and you have to work harder than you have ever done before.

A Sense of Community

 

A couple of weekends ago I was at the Ohana Music Festival here in Southern California with Sleater-Kinney. First, being able to wake up in my own bed, have breakfast, drive to the gig and be back home in bed not long after 10 pm was truly amazing! However, the thing that I’ve been reminiscing on most was the number of people I ran into that I knew. This used to happen back in the UK but once I moved to LA, I was almost starting from scratch. Of course, this is not the first time this has happened but after such a long time away from touring, it really meant more.

When we tour, we are away from our friends and family for potentially really long periods. The people you tour with and the people you meet can become really good friends. You can also lose touch with your old non-touring friends. Instead of being sad about this, I think of it as just something that happens through life. An evolution. And anyway, it’s really just the same as your friends back home, except that when your non-touring friends go to the pub to meet up, we are maybe doing it at a festival in Germany!

It can be difficult missing all those weddings and events your friends have, but you have to look at it as how wonderful it is to be able to have friends all around the world and meet up with them in random places. Let’s keep the positive spin on things, it’s difficult enough out there!

For me, the rest of the year will be focused on family and life at home. I’ve been at home a lot, I know, but I think 2022 will be crazy busy, so I am enjoying what is left of 2021 whilst we iron out all the COVID kinks. It’s going to be great to get back out there and hit the road running (in my case it’s usually literally!)

A nod to those I spent some time with at Ohana:

Karrie “our fearless leader” Keyes, no explanation necessary, with Pearl Jam

Greg Bogart whom I met on the P!nk tour who was with the all-star band (phew, that was a lot of rockstars on one stage!)

Lauren Sego festival LD whom I toured with on Tegan and Sara, the hardest working crew member I know

Kate Lee system tech for Rat Sound Systems, shadowed me for the day during a Vance Joy show in LA, so much enthusiasm, positive attitude, and amazing work ethic

If the goal in life is to surround yourself with the people you want to be like, this is an A+ list.

Also, note I’ve included a photo of myself and my buddy Rachel Ryan who is a badass sound engineer. This is not from Ohana but from Sao Paulo, Brazil. I did not take a single photo at Ohana, I was too busy enjoying the day, but this also shows how awesome this industry is; to be able to run into friends in Brazil! Ironically we were meant to be working together the previous weekend at Ohana. One day we will work together Rachel!!

SoundGirls Facebook Group

If you haven’t joined SoundGirls Facebook Group, this would be a perfect time to do so. With over 9,000 members and counting, our Facebook Group is a great way to learn more knowledge, network and find job listings. Here are a few commonly asked questions amongst the Facebook group highest responses.

“I am going on my first tour. What are some pro tips and general tour bus rules?”

  1. Backpack/daypack: including; laptop, chargers, water bottle, headphones, stuff you’ll need all day, also a packable rain jacket ’cause you never know.
  2. Big suitcase: This bag lives in the bay of the bus. You only get it out on days off to replenish #3 below.
  3. Shower bag – enough changes of clothes to get you through until the next day off, shower shoes/flip flips/thongs, PJs, toiletries. This bag lives in a junk bunk or the back lounge (or your bunk if neither of those is available).

Some great articles to check out: 

Practical Advice For Your First Tour

The Bus Rules 

What’s In Your Go Bag?

“Where can I find a great pair of black work clothes/pants?”

Finding comfortable work pants is a common issue women face in our industry and in our day-to-day style.

Let’s Go Shopping! 

Women’s Workwear

Amazon Black Leggings 

Tactical Women Workwear

Carhartt Women’s Pants

Abisko Women’s Pants

“How can I get thicker skin in the industry?”

“Oftentimes when we experience negativity from someone, it has more to do with them than you. You could be doing everything right to the best of your abilities and still get hounded. The best thing to do is to try to not absorb that energy, breathe deep, and keep moving.” – Willa Snow

“Rise above and know that it’s a reflection of them, not you, which allows you to stay on your own side of the street. I get tired of hearing “man up” said to anyone in this industry who is sensitive.”  – K.C

“I’ve been in this industry for 12 years. The key is not to let it get in your way, even if that means sometimes having to take a walk to chill. Also, don’t confuse getting thick skin with being abused; learn to set boundaries and stand your ground.” – L.M.

Recourses: 

Psychology Today: Getting Thicked Skinned

Tiny Buddha: Dealing with Criticism

Managing Highly Sensitive People

“How do you find a Mentor?”

SoundGirls offers an amazing mentorship program connecting SoundGirls across the Globe to meet, gain industry insight and education. You can find information for mentorship here. The right mentoring relationship can be a powerful tool for professional growth, leading to networking, new jobs, and or a promotion. Here are a few tips when choosing a mentor.

  1. Know your goals. Create short-term and long-term career goals using the SMART: Specific, measurable, achievable, relevant, and timebound.
  2. Let the relationship evolve organically. Mentoring should feel organic and grow over time based on mutual respect and trust.
  3. Commit to the process. Mentorship is like any other relationship that requires patience, communication, and growth. Trust the process!

Resources 

NPR: The Right Mentor Can Change Your Career

How to Find a Mentor

 

The Podcaster’s Audio Handbook

Gives Women and Queer People the Tools to Tell Their  Own Stories 

Corey Marie Green wants to see more women and queer people telling their own stories through the medium of podcasting. As one of the approximately five percent of audio engineers who identifies as a woman, she’s only too aware of how intimidating it can be to enter male-dominated spaces to access the audio engineering information that is necessary to create a quality podcast. With The Podcaster’s Audio Handbook she has created a valuable resource that empowers women and queer people to take control of the technical side of podcasting.

At one time technical and scientific knowledge was considered purely rational and so divorced from other areas of life, resulting in a legacy of boring and inaccessible technical resources. The Podcaster’s Audio Handbook is the opposite of this – it’s both entertaining and accessible. Corey Marie Green has located audio engineering information within her experiences as a radio journalist. Women and queer readers will see themselves represented through every aspect of the book. She has written the book in plain English and illustrated her main points with cartoons. She also includes audio examples so that readers can learn to diagnose and repair common audio issues. The end result is a technical resource that caters to multiple types of learners and is inclusive to women and queer people regardless of their level of prior experience.

“I wish I had this book when I first started podcasting! Who knew you could learn so much about how to sound great, and still be entertained along the way? Corey has created an easy-to-follow yet not at all patronising guide to all aspects of the art, delivered alongside amusing anecdotes and fun illustrations. After following her expert guidance I’ve changed the way I do things, even as a reasonably seasoned producer. Every new podcaster stands to gain a distinct advantage  with this fantastic resource.” – Sarah Steel, creator of the award-winning podcast Let’s Talk About  Sects 

 

The Podcaster’s Audio Handbook will be out through Apress on the 1st of November 2021. For interviews contact Corey at contact@transducer-audio.com or 0438006092. For more  information please visit www.transducer-audio.com/book

Mind Your Language

 

How improving what you say can change your mindset and reputation

 

I’m a big fan of cognitive behavioural therapy. I think everyone should learn about it, whether they’re in need of therapy or not because it explains so much about how we think and how to control our mindset. One of the main insights I have taken away from it is that when we’re tired, stressed out, or even bored our brains revisit the same thoughts and memories that we already think about the most. These are our most well-worn neural pathways, so represent the path of least resistance when we don’t have the energy to think of something new. This of course causes a feedback loop, so the type of thoughts we default to quickly become a habit.

The things we say out loud feed into this too, helping to form our self-image as well as others’ opinion of us. If we say negative things all the time, we might embody the “grumpy sound guy,” but if we try to see the upside to every situation we might actually find it, and become known as someone who can raise morale in challenging circumstances. It is also far more professional to remain polite and positive instead of complaining all the time. I know this sounds dangerously like a recommendation to bottle everything up and fake a positive mental attitude. I don’t think that’s healthy, and problems should be addressed. However, some approaches are more constructive than others, and you would be surprised by how helpful it can be to tweak your language just a bit. For example, a friend once told me that any time she wants to say “F*ck them”, she says “Bless them” instead. Not only is this more acceptable to say in front of others, it helps you to remember that the other person is only human, and they might have issues that they’re dealing with that you are unaware of. It also gives control of the situation back to the speaker: you aren’t letting the other person’s actions get to you, you’re showing compassion for them and then moving on.

It might feel weird and fake at first, but practising replacing negative comments with more positive ones can actually reprogramme your thinking until you genuinely mean what you say, and can make you more pleasant to work with! It is also a good idea to include more professional and inclusive phrases until they come naturally to you. It will help you to remain calm and avoid social faux pas while your focus is on other things. This habit takes time and effort, and I’m still working on it myself, but it is worth it to improve your mindset and build your reputation as a great colleague that people want to work with. Here are some helpful swaps to get you started.

“Turn it off and on again” = “Power cycle it”

Turning gear on and off again does often fix the problem, but calling it power cycling makes you seem more professional and helps to justify your day rate as a technician.

“It wasn’t plugged in” = “There was an air gap”

See above.

“I hit it with a hammer” = “I performed percussive maintenance”

Try to avoid hitting audio gear with hammers, but if you must, keep it quiet.

“My boss” = “My client”

If you find yourself complaining about your boss(es) a lot, especially if you’re self-employed, referring to them as your client instead helps to reset your relationship with them and helps you to remember that you’re working with them because you chose to.

“Gents/chaps/boys/fellas/ladies/girls/ladies and gentlemen” = “Everybody/folks/people”

“Soundman/noiseboy” = “tech”

As a woman who often gets referred to as a man both in a group and individually, this is a bugbear of mine. The response when I point it out is always, “Oh, it didn’t occur to me,” but would you ever stand up in a crowded venue and address the audience as all being of one gender? Then why do it with any group, unless you’re in a monastery or something? Just pick one term that can be applied to everyone and stick to it. It helps everybody feel welcome and included, and you don’t end up stumbling over your words when you realise you left someone out halfway through your sentence. If you don’t know someone’s gender, for example discussing a tech role that is yet to be filled, referring to them as “them” covers all your bases. It isn’t political correctness gone mad, it’s the easiest and best option.

“This show is a mess and everyone keeps changing their minds” = “This is an organic, flexible production”

We work in a creative industry and things change all the time. If you learn to expect the unexpected and treat advance information just as a rough guide it will help to keep your stress levels low.

“The engineer is an idiot” = “It’s a PICNIC situation”.

PICNIC: Problem in chair, not in console. This one is a bit too well known to actually get away with using and is just for fun.

“I hated that set” = “The audience loved it!”

The audience’s opinion is the one that matters anyway.

“That’s not my job/I don’t know” = “X can help you with that, let me take you to them”.

It can be tough to tread the fine line between being a team player and doing everyone’s job for them. Introducing the asker to the relevant person on the team shows that you’re happy to help and enables them to find the right person from then on, while you concentrate on your own role.

“It’s f*cked” = “We have an issue that we’re working on, could you give us X minutes?”

We might think it’s obvious that when things are broken we try to fix them, but it does help to let the client know that you are aware of the problem and working on it. Respect their time by giving them a generous estimate of how long it will take to fix so they can do something else in the meantime instead of waiting on you.

“X messed up” = “There’s been an issue, we’re doing xyz to fix it.”

Blaming other people never looks professional and doesn’t help the situation. It doesn’t matter whose fault it is, it only matters what’s being done about it.

“I messed up” = “I messed up”.

Own it. Sometimes it’s prudent not to discuss it in front of a client, but at least be honest and open with your colleagues. It isn’t the mistakes you make, it’s how you deal with them that’s important.

“I’m crap at that” = “That is not one of my strengths/I’m still learning that”.

If you talk yourself down people will believe you. No one is perfect at everything, but you can acknowledge your weaknesses without sounding like someone not worth employing. Seeing skills as things that can be worked on and improved, rather than dictated at birth, is an incredibly powerful trait that is correlated with long-term success. The same goes for commenting on your colleagues’ abilities. We’re all constantly learning and improving. Be kind.

“I’m so stressed out” = “I’m so excited”.

If you’re stressed, it’s because you care. If you’re doing something that’s worth caring about, that’s exciting! Take that nervous energy and adrenaline and see it as a sign that you’re doing something worthwhile.

You don’t need to speak like a corporate slimeball, constantly using overcomplicated euphemisms and cliches, to be seen as professional. In fact, that would be counterproductive. However, there is more power in our words than we realise, and choosing them more considerately can improve our mood, our lives, and our career prospects.

 

SoundGirls Virtual Conference Sponsors!

We want to thank all our sponsors for the SoundGirls Virtual Conference. With our sponsor’s generous support we are able to provide financial assistance and grants to attend.

 

Headline Sponsors

Corporate Sponsors

 

 

Event Supporters

 

 

 

 

 

Supporters

 

X