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Micrófonos USB

5 recomendaciones menores a $200

By SoundGirl Maria Fernanda

En la búsqueda de profesionalizar nuestro contenido, nos encontramos con una inmensa cantidad de información. Artículos, videos e infinidad de opiniones. Que en consecuencia nos dejan con muchas dudas. las cuales nos hacen recurrir a mas artículos, videos y por supuestos muchas mas opiniones.

Un caso muy claro es cuando decidimos comenzar con nuestro ¨homestudio¨, seguramente vamos a encontrar muchas similitudes en la información general que podamos encontrar. Ejemplo: (que nos recomienden interfaces de audio, auriculares, micrófonos, una computadora, monitores etc.) pero, algo que sucede con mucha frecuencia. es que, estos no suelen ser de la misma marca, tipo o precio. Y he ahí donde deriva la gran variedad. Que en algún momento nos ha cruzado con los micrófonos de conexión USB.

La polémica que gira entorno a estos micrófonos en su mayoría suele ser por falta de conocimiento en los mismos. Las frecuentes dudas como, ¿son tan buenos como uno de conexión XLR? ¿es acaso un micrófono que puede entregarme un sonido profesional? Entre otras. Las respuestas incorrectas a estas dudas pueden orillarnos a una decisión premeditada y poco acertada.  Para comenzar a resolver estas dudas primero tenemos que saber como funciona un Micrófono de conexión USB

¿Cómo funcionan?

Hagamos una pequeña comparación, para conectar un micrófono con conexión XLR a nuestra computadora y poder grabar en el DAW, necesitamos de una interfaz de audio o mezcladora. Esta es la que permite que nuestra entrada de audio osea, la que vamos a grabar sea reconocida por el lenguaje de la computadora.

En cambio, el micrófono USB tiene una conexión directa a la computadora,

Esto quiere decir que por si solo es capaz de decodificar el audio que ingresa a esta. En otras palabras, es como si el micrófono tuviese una interfaz de audio interna.

Ahora, con una tarjeta de audio interna en el micrófono la calidad de audio dependerá únicamente de este, ya no de una interfaz externa como en el caso de los micrófonos con conexión XLR. Para poder identificar que tan bueno en comparación sean estos micrófonos USB dependerá de muchos factores, así es. Los hay de todo tipo de calidad tanto amateurs como profesionales. Esta brecha penderá de cosas como, materiales de construcción. Su interfaz interna, calidad del transductor y demás características especificas que tienen para ofrecer cada uno de ellos.

Como con la mayoría de los micrófonos lo importante no es elegir el mas costoso, o el que tenga mas adicciones. Lo correcto es saber interpretar sus características y de esta manera podamos escoger el que mas nos conviene para la actividad que vamos a realizar.

A continuación, te mostrare 5 recomendaciones que he elegido de micrófonos con conexión USB. Especificando sus características para que se pueda crear un cuadro comparativo y seas capaz de elegir el mas indicado. Los hay de muchos precios, pero he decidido abarcar un rango para todo publico.

Recomendaciones de micrófonos USB

Las características que se mencionaran en cada una de las opciones son las siguientes:

-Precio, Tipo de conexión, Transductor, Patrón o Patrones polares, Salida para auriculares y Soporte, lo que hace diferente a este Micrófono 

Blue Yeti

 

 

Este micrófono es considerado la mejor opción en relación calidad y precio. Ideal para streaming, conferencias y grabaciones domesticas.

 

Audio Technica – AT2020+

 

Este micrófono es ideal para comenzar con grabaciones domesticas de gran calidad, así como para podcast y otras aplicaciones.

Blue Snowball

Es ideal para transmisiones, video conferencias, podcast, grabar ideas para demos musicales.

 

 

Audio Technica – ATR 2100 X USB

 

 

Un micrófono robusto, que lo hace ideal para su uso en exteriores también. También es el indicado si lo que queres es reducir ruido de fondo

Samson GO Mic

 

Un micrófono ideal para grabar entrevistas fuera y dentro de casa, por su tamaño es considerado el Micrófono del viajero. Listo para llevarlo siempre con nosotros.

 

Un micrófono USB es una gran y sencilla manera de comenzar a hacer que nuestro audio sea profesional. No tengan mas dudas ni miedos al querer adquirir uno, son versátiles, económicos y muy confiables. Así que ya es tiempo, vayan por el suyo.

USB Microphones

 

Five Recommendations Under $200

By: SoundGirl Maria Fernanda

In the search to professionalize our content, we find an immense amount of information. Articles, videos, and countless opinions. That consequently leaves us with many doubts. which make us resort to more articles, videos and of course many more opinions.

A very clear case is when we decide to start with our “home studio”, surely, we will find many similarities in the general information that we can find. Example: (recommend audio interfaces, headphones, microphones, a computer, monitors, etc.) but,  something that happens very often. is that, these are not usually of the same brand, type, or price. And that’s where the great variety derives. That at some point has crossed us with the USB connection microphones.

The controversy that revolves around these microphones is mostly usually due to a lack of knowledge in them. The frequent doubts like, are they as good as one of  XLRconnection? Is it a microphone that can give me a professional sound? Among others. Incorrect answers to these doubts can lead us to a premeditated and unwise decision. Pto start solving these doubts first we must know how a USB connection microphone works

How do they work?

Let’s make a small comparison, to connect a microphone with an XLR connection to our computer and be able to record in the DAW, we need an audio interface or mixer. This is the one that allows our audio input, the one we are going to record, to be recognized by the language of the computer.

Instead, the USB microphone has a direct connection to the computer,

This means that by itself it can decode the audio that enters it. In other words, it’s as if the microphone has an internal audio interface.

Now, with an internal audio card in the microphone the audio quality will depend solely on it, no longer on an external interface as in the case of microphones with XLR connection. To be able to identify how good in comparison these USB microphones are will depend on many factors, that’s right. There are all kinds of quality both amateurs and professionals. This gap will hang on things like building materials. Its internal interface, quality of the transducer, and other specific features that each of them have to offer.

With most microphones, the important thing is not to choose the most expensive, or the one with the most addictions. The right thing is to know how to interpret its characteristics, and, in this way, we can choose the one that best suits us for the activity we are going to carry out.

Next, I will show you 5 recommendations that I have chosen from microphones with USB connection.   Specifying its characteristics so that you can create a comparative table and be able to choose the most suitable. There are many prices, but I have decided to cover a range for all audiences.

USB Microphone Recommendations

The features that will be mentioned in each of the options are the following:

-Price, Connection Type, Transducer, Pattern or Polar Patterns, Headphone Output, and Supported (reinforced), which makes this Microphone different

Blue Yeti

This microphone is considered the best option in value for money. Ideal for streaming, conferences, and home recordings.

Audio Technica – AT2020+

This microphone is ideal for getting started with high-quality home recordings, as well as for podcasts and other applications.

Blue Snowball

It is ideal for broadcasts, video conferences, podcasts, recording ideas for music demos.

Audio Technica – ATR 2100 X USB

A robust microphone, which makes it ideal for outdoor use as well. It is also the right one if you want to reduce background noise

Samson GO Mic

An ideal microphone to record interviews outside and inside the house, due to its size, it is considered the Traveler’s Microphone. Ready to always take it with us.

A USB microphone is a great and simple way to start making our audio professional. Do not have more doubts or fears when you want to acquire one, they are versatile, economical, and very reliables. So it’s about time, go for yours.

Events and Training

Find All Upcoming SoundGirls Events Here

AES – The Equity Learning SeriesAES is committed to addressing the issues of equity, diversity and inclusion in order to support the interests and pursuits of audio engineers of all identities.

The Equity Learning Series provides AES members with the chance to learn about important issues facing underrepresented communities, especially in the world of audio engineering, in an inclusive, group setting. AES is committed to addressing these issues in order to support the interests and pursuits of audio engineers of all identities. Facilitating learning, open discussion and understanding of the issues through this series is one way we seek to do this work..

AES members receive a 30% Discount on Women in Audio through AES’s agreement with Focal Press/Routledge.

Nonmembers can receive a 20% discount at womeninaudio.com using the discount code FLY21 (which will give the user 20% off of any title on Routledge.com until 12/31/2021). Register Here

Omni Sound Project – Signal Gain Conference

November 6th

Omni Sound Project invites you to join us for Signal Gain, our annual virtual conference, presented in partnership with Rupert Neve Designs, Spitfire Audio, BABY Audio, and DistroKid.

As a participant, you’ll enjoy a full day of discovery within a welcoming, encouraging community. Signal Gain is a celebration of the year we’ve had together, accomplishing our shared goal of welcoming marginalized genders into the world of audio. Whether you’re newly curious about audio engineering or a seasoned professional, this conference will provide an opportunity to enrich your skills and knowledge base in a nurturing online atmosphere.

Signal Gain will be held online on Saturday, November 6th from noon to 5 pm CST and will consist of three live sessions and pre-recorded “speed” sessions between the live sessions.

This year, we will also be hosting Free Week prior to the Signal Gain conference, presented in partnership with Reverb, Source Elements, and Spitfire Audio LABS.

ADC21

ADC is an annual event celebrating all audio development technologies, from music applications and game audio to audio processing and embedded systems. ADC’s mission is to help attendees acquire and develop new skills, and build a network that will support their career development. It is also aimed at showcasing academic research and facilitating collaborations between research and industry.

November 15 & 16 In-Person, November 19 Online

Event Safety Alliance Summit

A hybrid in-person and virtual three-day event that will take place December 1-3, 2021 on the campus of Rock Lititz in Lititz, PA, sponsored by Take1 Insurance and Intact Specialty Insurance. (Go here for more information and to register.)

Allen & Heath Launches Mini Masterclass Series

Wednesdays, 9:00 a.m. PST

Make sure to check out the free ‘Mini Masterclass’ sessions offered by Allen & Heath.  Two tracks are currently running. Feel free to pick and choose any or all of the sessions that grab your interest. Installation Inspiration features veteran engineer and design consultant Samantha Potter. Monitor Mix Mastery is presented by the go-to monitor engineer and production manager Mike Bangs. See you in class! https://americanmusicandsound.com/allen-heath-mini-masterclasses

Insights in Sound

Fridays

Join host Daniel Liston Keller for a series of in-depth and irreverent conversations with people behind the scenes, behind the technology, and behind the music. From musicians and producers to touring pros, sound designers, inventors, and more. Previous episodes, including Pablo Wheeler, Jeri Palumbo, Harmoni Kelley, and Michael Beinhorn here: https://youtube.com/playlist?list=PLELP8j3P2xz8tzRSqycOMtxrUWMvNzvvA

Nobody Likes Networking

For anyone who is looking for new work during these challenging times, Mike Dias — the Executive Director of IEMITO, the In-Ear Monitor Trade Organization — has a new monthly column in Pro Sound News focusing on networking skills. Now more than ever we need to be able to lean on second and third-tier relationships for opportunities. And if that sentence makes you uncomfortable — you’re not alone. No one likes making small talk and asking for favors. No one is a natural-born networker. But it is a skill that anyone can learn. If you want more concrete steps than what’s available in the Pro Sound News article, Mike has published many of his past networking talks and notes from his upcoming book at his Nobody Likes Networking site for free.

DiGiCo

Exclusive online DiGiCo Workshops: YOU choose the subject! We are running several online Clinic Workshops where you get to decide what we talk about! Each session is a private one-on-one workshop with a member of the DiGiCo team. So, book now and tell us what you want to know!

Book here: http://bit.ly/digicoclinics

Mixing Music Live

Concert Sound Engineer and SoundGirls Co-Founder Michelle Sabolchick-Pettinato shares her knowledge and experience from 30 years in the industry. Offering two online courses: Mixing Music Live and intro to live sound and mixing and LISTEN! a guide to EQ and Critical Listening. A discount is available to members of SoundGirls. Both courses include great info and lessons via her blog and newsletter. https://www.mixingmusiclive.com

HARMAN Live Workshop Series

HARMAN is thrilled to invite leading Front of House Engineers, Lighting Designers, Technicians and other knowledge experts in the industry to share workshops of their secret methods, tips and tricks.

https://pro.harman.com/lp/learning-sessions

SSL Live Sound Training Program

For the ultimate immersive learning experience, SSL offers its Live Certified training — a six-hour intensive online video course led by Live Product Specialist and live sound veteran Fernando Guzeman. Currently, SSL is offering certified training courses in both English and Spanish during June.

https://www.solidstatelogic.com/ssllivetraining

The Production Academy

Hosts weekly webinars The Pandemic Sessions.

https://www.theproductionacademy.com/pandemic-sessions

Post-New York Alliance – Post Break

You can watch past episodes here A weekly series produced by the PNYA Education Committee explores post-production in New York State. Each week, a different topic will be discussed with a variety of professionals. https://www.postnewyork.org/blogpost/1859636/Post-Break

Color of Music Collective

Hosts free virtual panels on a weekly basis that amplify People of Color and LGBTQ voices in the music industry. You can sign up for their newsletter to see when the next panel is.: https://www.colorofmusiccollective.com

Omni Sound Project

Dedicated to being the most accessible point of entry to the music and audio industries. We strive to provide affordable opportunities for learning to under-represented communities as well as spotlight the talents of female and non-gender-conforming audio professionals. All genders are invited to attend our online educational events. Find all events and to register at https://www.omnisoundproject.com/

Part of the Main

Has launched a series of affordable theatre training workshops from QLab and Lighting Programming into Theatre Marketing and PR. They are offering 20 funded bursary spaces to Black artists. Learn more bit.ly/partofthegrid

Intro to SoundGrid Studio: Online Webinars

Join us for personal small-group webinars about the new Waves SoundGrid Studio for real-time audio processing in the studio. Get a personal overview of how SoundGrid Studio can benefit you for:

These are limited-availability sessions with Waves Studio Specialist Ryan Monette, who will provide answers to any questions you might have.

https://www.waves.com/events/soundgrid-studio-online-2020?utm_source

Andrew Scheps Talks To Awesome People

There are a lot of awesome people in the world, and they all have amazing stories to tell. Getting them to tell their stories on camera is not only fun and educational for all of us, but it helps document some of the absolutely incredible things that have happened in the brief history of recorded music. Join Andrew and his guests for a deep dive into what makes them, and the people around them, tick..

Every Monday 2:30 PM EST, 6:30 PM GMT.

https://www.puremix.net/live/andrew-talks-to-awesome-people.html

I’m with The Crew

A very personal look at human nature and the adaptability required to get through this unprecedented time. Shining a light on the importance of understanding and managing the holistic-self in order to find the strength to take action.

Hosted by Misty Roberts & Jim Digby, Produced by Shelby Carol Cude, guided by mental health professionals Taryn Longo and Dave Sherman with weekly special guests, this live-webinar provides an opportunity to gain greater insight and control over how we respond to these times and manifest the resilience to survive and start again when that time comes.

The webinar takes place at 11:00 a.m. PDT every Friday.

https://showmakersymposium.com/im-with-the-crew

Robert Scovill – The Lab

An online, interactive session focused on pro audio called “The Lab”. This 90-minute session is a completely open forum with much of the topic matter being driven by attendees. Robert has a complete console, recorders and small networked PA system set up in an attempt to address and investigate most challenges. Admittedly the focus is geared more toward console, processing and mixing out of practicality as much as anything. Attendees are encouraged to share their screen and their challenges regardless of console type.

First three Mondays of every month. 1:30 p.m.

It is first come first served with a room limit of 300.

Sign up at https://www.robertscovill.com/ under News and Events.

Pooch & Rabold on YouTube

Pooch and Rabold have over 50 years of experience between them as Front of House live sound engineers.   They work for artists like Bruno Mars, Justin Bieber, Kenny Chesney, Iron Maiden, Jay-Z, Alicia Keys, Linkin Park, Motley Crue, Guns N Roses, Widespread Panic, and many others.  They have traveled the earth looking for the best steakhouses in all but a handful of countries.   Rabold and Pooch share all of their knowledge in this very informal series of videos where you get to be a “fly on the wall,” while two of the most respected live sound engineers talk freely about audio.

https://www.youtube.com/channel/UCjx5xSFzwXd43XL4cZDeCag

Robert Scovill – The Back Lounge

An online social group called “The Back Lounge”. Here industry people of all types; production people, i.e. road managers, production managers, backline, audio and lighting pros, company owners and personnel, HOW staff etc. all gather to discuss the state and future of the industry and share guidance and resources on financial assistance strategies and any other topic that suits the discussion.

First three Fridays of every month. 4:20 p.m. PDT

This is first come first served with a room limit of 300.

https://www.robertscovill.com/

Sennheiser Academy Online Webinars

Sennheiser is pleased to announce a series of webinars for our customers and partners. Join us online in the coming weeks to learn about a wide range of topics, from RF and microphone basics to roundtable discussions with sound engineers, as well as a chance to put your questions to our application engineering team.

https://en-us.sennheiser.com/webinars

Updates & Resources

For COVID-19 updates and resources, check out the NAMM. In addition, NAMM is offering a variety of webinars and sessions to help understand alternatives and tips to coping with this new dynamic.

https://www.namm.org/covid-19

Club Cubase

Join Club Cubase Google livestreams every Tuesday and Friday, as Greg Ondo answers all of your questions.

https://www.facebook.com/47279836044/posts/10157291784976045/?d=n

Show Makers Symposium

The Show Makers Symposium is a place for us to gather, learn and give back. During these uncertain times, we will shine as much light as possible toward the end of the tunnel and provide as many resources as available for growth and mental resilience.

https://showmakersymposium.com/#missionstatement

Event Safety Alliance

The Event Safety Alliance® (ESA) is dedicated to promoting “life safety first” throughout all phases of event production and execution. We strive to eliminate the knowledge barrier that often contributes to unsafe conditions and behaviors through the promotion and teaching of good practices and the development of training and planning resources.

https://www.eventsafetyalliance.org/

Learn with Dave Rat

Learn new tips for pro audio engineers and sound techs on Dave Rat’s YouTube Channel. Dave mixed FOH sound for Red Hot Chili Peppers for 27 years, Rage Against the Machine, Blink 182, Soundgarden, Foo Fighters, The Offspring, and more. When he was 18 years old, he co-founded Rat Sound Systems which is the primary sound vendor for Coachella and provides world-class audio sound systems for numerous touring artists including Pearl Jam, Jack Johnson, Pixies, Alt J.. In addition to being president of Rat Sound, Dave has designed speaker systems including the EAW MicroWedge series and Rat SuperSub. The SoundTools.com division of Rat Sound is actively manufacturing and distributing his product designs.

https://www.youtube.com/user/www73171/featured

Wireless Side Chats

Lectrosonics has produced the new video series Wireless Side Chats, hosted by VP of Sales and Marketing Karl Winkler. Episode 1 explores the history of early wireless, episode 2 shows how to solve the seven most common wireless mic problems, episode 3 is an in-depth clinic about Lectrosonic wireless designer software, and episode 4 further explores best practices when using wireless.

https://www.youtube.com/playlist?list=PLwnOnolFSN5K2-2QZOwzVq-0ZFYgoPXDH

eMotion LV1 WEBINARS

Join Waves on our special eMotion LV1 Online Webinars series with one of Waves’ top live sound specialists as your guide. The seminars will be conducted as intimate sessions for small groups, involving an overview of eMotion LV1 mixer with a chance for you to ask questions after being given an overview of the layout and main functions and advantages of this product. Check the website for upcoming dates.

https://www.waves.com/events/lv1-online-webinars

Richard Furch – #mixtipwednesday

Now in the third year,  #mixtipwednesday aims to offer quick tips to get you out of the creative ruts and keep you inspired making records and improving your craft. Also, an Instagram Live event, every Wednesday at 6:00 p.m. PDT, mixer Richard Furch (@richardfurchmix) answers your questions and engages the listeners with insights into the craft and business of record mixing.

QSC@Home

QSC@Home is a comprehensive online launch point dedicated to users’ success across a vast range of solutions and applications. Through its “Connect, Learn and Experience” architecture, QSC@Home visitors are treated to unique collection of online training, tutorials, certification, webinars, entertainment and live online support from company experts, all of which is constantly curated and updated. QSC@Home is a valuable tool for everyone from systems contractors, integrators, A/V IT technicians, A/V consultants, musicians, artists, djs, live sound engineers, recording pros, HOW musical directors, cinema technicians, cinema dealers and end-users at all levels of expertise

https://www.qsc.com/qsc-at-home/

Conversations with Sound Artists

The Dolby Institute and the SoundWorks Collection Podcast, now in its 6th season, is putting the spotlight on episodic content, featuring in-depth conversations with the sound artists behind some of the best broadcast and streaming shows. Join the talented artists behind the shows The Mandalorian, Westworld, Mindhunter, Ozark, Locke & Key, and Unorthodox for in-depth discussions about the creative sound choices for these shows.

Learn more:  https://dolbylabs.co/33NNrgw

Wrong End of the Snake

Tuesdays at 2:00 PM EST

Front of House Live Sound Engineer Ken “Pooch” Van Druten, and Monitor Live Sound Engineer Kevin “Tater” McCarthy, team up to host a webinar exploring the sometimes irrational, always spirited relationships between the music industry tribe. Join us each week as Pooch and Tater reflect on decades of highs and lows, professional tips and tricks, and a special industry guest.

https://us02web.zoom.us/webinar/register/WN_R2_ZRFobS3Og41Ax9JeQqQ?

ADAM Academy

An informative video series on the company’s YouTube channel which provides all viewers from entry-level audio students to skilled working professionals with valuable information, tips and tools that they can use to get the best performance from their loudspeaker monitor systems. Recent video topics include: How to Calibrate a Subwoofer; Studio Monitor Placement; Proper Monitor Maintenance & Cleaning; Mixing Rap and Hip Hop Master Class by Brooklyn-based hip hop producer and engineer Paul Womack; Audio Post; How to Mix Acoustic Sessions; How to Mix Live Sessions for Video featuring engineer Eric Bastinelli;  How to Tune Drums; How to Mic Drums; Drum Editing in Pro Tools; Tips for Becoming a Successful Freelance Musician presented by Grammy-nominated bassist Jonathan Maron.

https://www.youtube.com/playlist?list=PLGSZx_3dmWXqXo1-k5GqJtEmU9Uy4Sfye

New Lurssen Mastering YouTube Channel

On this channel with weekly updates, Lurssen Mastering engineers, Gavin Lurssen and Reuben Cohen get you closer to their audio engineering world and share useful tips and insights into the art of mastering.

Lurssen Mastering is a world-renowned multi-Grammy award-winning mastering studio. They have mastered many gold and platinum records and have received several industry awards. In addition to the Grammys earned and proudly displayed by Lurssen Mastering, numerous songs worked on by the team have been nominated for Oscars over the years and several have won this prestigious award.

https://www.youtube.com/channel/UCuSlopV23zOqLzuKpeLKSIQ

 

Scholarships for Asian and Pacific Islander SoundGirls

SoundGirls is proud to announce a grant for Asian & Pacific Islander SoundGirls to attend the SoundGirls Virtual Conference, happening on December 4-5.

Grants are available to Asian and Pacific Islander SoundGirls residing outside of the United States where there is historically less access to educational opportunities in audio. Applications are now open until October 31st and grant recipients will be announced the first week of November.

Apply Here

We believe that diversity and representation are essential to any strategy for social or cultural change, and as music/audio is a driving force in those movements, it is vital for our community to continue to educate and empower all those who pursue a career in sound.

With this, we’re happy to announce that longtime SoundGirl, Jett Galindo, has generously donated five all-access passes to the 2-day virtual conference!

Jett Galindo is a Los Angeles-based Filipino mastering engineer & vinyl cutter who works at The Bakery, who continues to break molds within the audio engineering world, building upon the legacy left behind by her late mentor, mastering legend Doug Sax of The Mastering Lab. She’s worked with a diverse range of artists spanning various media from Barbra Streisand, Matt Bellamy, to Lena Raine (Minecraft OST) and the La La Land OST, just to name a few. She also serves as a contributing writer for various trade publications and organizations (iZotope’s LEARN portal, Women in Sound, SoundGirls, etc.).

We thank Jett for continuing to contribute her efforts and energy as a leader in the audio community, helping to open a world of opportunities to young women everywhere.

 Tips for Tech

My last blog covered tips for touring, but before you truly hit the road, you have to get through tech. Which is hectic and stressful as you try to combine speakers, lights, sets, and props into an actual show.

The tech period is a progression of the show that slowly adds elements into the mix

First is load in with just the crew. Everything comes in from the various shops (lighting, sound, scenic) and you put it all together physically for the first time. Once things are mostly set up, lighting gets a day or two to focus (the rest of the crew will work on projects offstage or at FOH) and sound gets quiet time to tune the system, usually without any other crew in the building (love them dearly, but let’s face it, carps are always better at being unseen than unheard). Next is dry tech where the SM and the crew run through lighting transitions, scene changes, and automation moves without the actors, working through timing and how the SM will call the show. Then the actors leave the rehearsal studio to join the crew at the venue for cast onstage, teching the show with all elements except hair, wardrobe, and the orchestra. After a few days of that, the musicians get settled in the pit and are added to rehearsal for the last few days. Finally, you have the final dress rehearsals with all elements, including hair and wardrobe before you officially open!

It’s a grueling schedule with a lot that has to happen in a short amount of time. I’ve had some tech periods where I worked almost every day from 8 am to midnight for a month straight without a day off. I’ve done others where we had a practically luxurious 8-5 schedule with the rare treat of getting to see the sunset for a week or so before the actors got to the theatre.

Somehow, everything eventually comes together, but opening night seems like it’s very far away when you stand on an empty stage and hear the roll doors of the loading dock clatter open. Even then, opening night is a milestone, not the endgame. Your goal throughout all of load in and tech is to learn the show, learn the system, and get it ready to take on the road.

 

Assume that you won’t remember anything, so document everything

This is the one time where it’s okay to be glued to your phone as you take pictures of how speaker carts or cases pack, how cases line up in the truck, or mic placement in the pit (especially things like drums and percussion that can easily have twenty to thirty mics to set up).

When I take reference photos, I’ll try to get close-ups on things like speaker rigging and mic placements, but also have wider shots where you can see the entire drum kit, the full stage, or where the cluster truss hangs in the space, etc. Details are always good, but having photos of the big picture help establish context. I only take reference photos in tech for specific items, but I’ll take archive photos in every venue I go to: of the layout of the audience, my FOH set up, how I installed the system, where racks lived backstage, etc. When I go back to a theatre on a different tour, I have the photos from the last time I was there as a reference to jog my memory when I’m figuring out my plan for load-in.

 

Keep in mind that tech is the most time you have to spend with the design team

Once the tour’s out, someone from design might stop by for a day or two in a major market (LA, Chicago, DC, etc) or, if the show plans to run for several years, there may be plans to make regular checkups (say every 6 or 9 months), but that’s about it. So make sure to take advantage of the opportunity to get to know your designer. If you’re like me, making a point to spend time with someone for professional reasons feels disingenuous and presumptuous, something akin to greasy schmoozing rather than sincere conversation. It helps me to frame it as a genuine effort to build a relationship rather than a mercenary pursuit of future jobs. Plus, your designers also want to get to know you, not only to see if you’re someone who can take care of this show now, but if you’re someone they might want to work with in the future. I ended up moving from Les Mis to Saigon because I was a known entity to the design team. They felt more comfortable having me pass Les Mis, a show that was already up and running, off to another A1 and move over to Saigon so they didn’t have to gamble with bringing on someone unknown to start a show.

How you interact with your crew during tech will set up the tone for the rest of the tour

Especially with your A2. The A2 is backstage during tech while the rest of the sound team is at FOH, so make a point to include them when you can, usually during meal breaks and post-tech at the bar. This is something that might seem obvious, but that’s not always the case, which I, unfortunately, found out when I spent one tech as an A2 being routinely forgotten by the associate designer and production audio. That show was seven years ago, but the fact that I was made to feel inconsequential by design and unsupported by my A1 left a lasting impression. Now, if I have the opportunity to socialize with design, I try to make a point to invite my A2 or make sure they know where we’ll be for a meal break. That means the A2 has the opportunity for face time with the design team and hopefully conveys that I, as the A1, respect and appreciate their work and view us as part of a team.

Another overlooked aspect of tech is music

Usually, you have a keyboard in the house while the actors are on stage, then the full orchestra joins for the last couple days. However, several days before that, they’re somewhere in the theatre rehearsing (the lobby, a rehearsal room, etc). Whenever you have a moment, go and just listen: it’s one of the few times you have to hear what they sound like on their own. For the rest of the tour, you’re focusing on how they sound through the system or how they’re blending with the cast in the mix, or how inconveniently loud they are in the lobby during load-in while you’re trying to time the room. I’ll try to peek in for a moment during cast breaks onstage, even if it’s just listening to the MD give notes and work through a passage. Few people know the music better than the MD, and hearing how they explain things to the other musicians can give you a better understanding and appreciation of the music.

Finally, a few practical tips

Tech is stressful and tiring, but it can also be fun. You’re meeting new people, taking on new challenges, and getting to mix a new show for the very first time. Enjoy the thrill and get some sleep when you can!

Sound Editing with Music in Mind

Before audio post-production was even a possibility, composers would incorporate the emotion and the action of what they saw on the screen into their musical scores. They played the role of sound effects editor and composer, with a technique referred to as “Mickey-Mousing” where the composer would exaggerate a character’s movements with specific orchestration and musical motifs. Now that sound FX editors have taken this role in post-production, Mickey-Mousing is less common, so it’s key for sound effects editors to make cuts that work with the music in the overall mix for a film or tv show. Here are some considerations and tips that our team shared on their approach to sound editing with music in mind.

Consider the musicality of chosen sound elements for a build

“When designing sound effects of a musical nature, it’s very important to steer clear of anything with a defined pitch. It’s especially important to avoid any chords, whether arpeggiated (like an upward harp gliss) or played together (like a synth chord used as a steady for a magic beam). There is very little chance that you will happen to choose the same key and chord as the score, so most likely, these elements will need to be muted as soon as the music is added to the mix.
To avoid this, I always choose to use inharmonic instruments, such as chimes, cymbal, water-phone, etc., when I want to add a musical element. Their non-integer-multiple harmonics keep them from sounding like any particular pitch, which in turn keeps them from interfering with the tonality of the music. If you absolutely need to use a musical element, always be sure that you have a non-tonal backup element in place. That way, if your star element is muted in the mix, there will be something left to cover the action.”
– Kate Finan, MPSE

 

Here is a depiction of how harmonics work in periodic waveforms heard in music and tonal sound FX.

Here is a depiction of how harmonics work in periodic waveforms heard in music and tonal sound FX.

Think about the role that the score will play in the final mix

“Oftentimes, if the guide track provided to us for our sound effects edit includes music, it’s an indication that it’s an important musical moment in the show. This could be a montage or a song sequence. Knowing that music will take center stage helps us think about the sequence in terms of how sound effects will support the music. This may mean cutting less and focusing on what will cut through in the final mix. Or for a song, we may want to cheat some of our effects so they land on the beat and work seamlessly with the music.”
– Jeff Shiffman, MPSE

Be confident in bold builds when a scene shares heavy sound EFFECTS with the music

“It’s important to cut sound effects that are substantial enough that they’ll cut through in the mix once music is added. A lot of the time, music drives the emotion of the scene and therefore is fairly present in the mix, so if you cut a sound effect that is extremely subtle, it will very likely get lost. Make your choices clear and significant enough to not get buried.”
– Tess Fournier, MPSE

Focus on texture to support tonality

“Try to avoid using sound effects that have a musicality to them. You never know if something with a melody or tune will clash with what is going on in the score. This comes up a lot with things like magic effects, so I always try to go textural and nondescript, rather than musical or tonal.”
– Brad Meyer, MPSE

Notice how you’re using the full frequency spectrum

“During songs or music-driving scenes, make sound effect builds that are a bit more punchy and larger than normal scenes so it can cut through the score better if needed. That way your work won’t be lost in the mix!”
– Ian Howard, Re-Recording Mixer

 

This diagram illustrates the frequency spectrum as it relates to common musical instruments and the qualities that audio editors and mixers use to describe certain frequency ranges.

This diagram illustrates the frequency spectrum as it relates to common musical instruments and the qualities that audio editors and mixers use to describe certain frequency ranges.

Always benefit the progression of the story

“When mixing, remember that it is your job to help create harmony between the sound effects and music coverage.  In some cases, both parties will cover a moment or action in a similar way, and it’s essential to figure out whether music, sound effects, or a combination of the two will best serve the story.
Along the same lines, during songs or key musical moments, you can really enhance a scene by adjusting the sync of certain sound effects to hit on the beats of the music. This is especially powerful during title sequences and music video moments, where the music is driving the story.”
– Jacob Cook, Re-Recording Mixer

The bottom line is that there are multiple ways for sound effects to work with music in any given scene with considerations like atonality, sync, texture, and frequency spectrum. Keeping this in mind allows for a story to shine through action and emotion.

Back On The Road

 

I finally had the chance to get back to touring, albeit a very quick one. A last-minute call to jump onto a tour for a couple of weeks.

The first day was strange, mainly just being at an airport, being around so many people (there were a lot of people at LAX), and being on a plane. I landed to a text telling me the next day’s show was canceled. Good start! We were near the east coast and a tropical storm/hurricane was wreaking havoc. This was the story for most of my time on this tour. A show canceled, two days of rain on mobile stages, a show stopped halfway through the set for lightning strikes followed by the audience being evacuated to safety. And of course the constant threat of COVID/delta variant.

The touring side of it has been pretty smooth with everyone respecting the protocols; testing multiple times during the tour, wearing masks almost all of the time, no guests backstage for the most part (if you were backstage, you had to have a rapid test). We had to wear masks anytime we were indoors and anytime local crew/anyone, not in our bubble was around us. If we were outside and on stage with just our band and crew, we could take the masks off. This seemed to work really well. At times it was pretty rough having to wear a mask in the intense heat and humidity, but I know a lot of people have had to do this for a very long time so it’s a small sacrifice to be able to get back to work.

It’s crazy to think that people still don’t want to wear masks where it’s enforced. It literally affects our livelihoods and their enjoyment of events. If the band or crew catches it, the tour stops, they quarantine and the show does not go on. Everyone should be super grateful for those willing to risk their health to put on a show for the fans. I know I am.

Now I’m back home and back to triathlon training. Two very different worlds! No sudden weather events, no health scares. When all is said and done, however, it was good to be back!

On a side note, if anyone is curious how I transitioned my training whilst on the road (as I am currently in the middle of a rigorous Ironman training plan), I asked my coach what the best thing to do was and she said:

When you are away, it will depend on the facilities and the time you have available. It’s probably not worth trying to do a bad version of your programmed training riding on an old gym bike. It might help you maintain your fitness, but it won’t grow it.

The best approach is to do what you can, but don’t stress about it. Aim to complete your planned runs, and you can add a couple of short easy runs if you have the time (and energy). Add more than that, and on top of all the time on your feet in what sounds like a tough working situation will put you at risk of injury. Adding core strength and flexibility in the gym is likely to be more beneficial.

Don’t worry, you can get back into training properly on your return.

I think flexibility is the key for touring at the moment..do what you can and try to enjoy it. With the COVID protocols, I did a lot of hotel room bodyweight workouts (squats, planks, etc). You really only need a mat/towel and maybe a footrest (see photos!) It’s also been super key to continue to make healthy choices where possible. If it is within your control, choose healthy (smoothies and oatmeal, anyone?), if not, post-show pizza will have to do!! Hey.. sometimes you gotta live a little.

We Need More Arts Workers in Arts Advocacy

 

One of the biggest blessings for me over the pandemic was that I finally had time to get involved in my community. I explored undiscovered neighborhoods, tried lots of restaurants that had always been closed by the time I got home late from my shows, volunteered at a food pantry, and started following local news and politics. As part of this, I became more involved with local arts organizations and in statewide arts advocacy. I attended Zoom meetings to learn how other artists, arts workers, and arts organizations were weathering the storm, and to simply meet others from my city who were working in the creative industries.

I found a lot of camaraderie in these Zoom meets and from getting to meet other politically motivated folks in the arts, but I also felt a little out of place. I showed up at my first Connecticut Arts Alliance virtual meeting a few months ago and quickly discovered that I was the only person there who was just an individual, and not from an arts organization of some kind. Additionally (and possibly related), I was overwhelmingly the youngest person on the call at most meetings. And I learned that our perspective, the perspective of actual real-life arts workers, is needed, welcome, and totally missing from these meetings. So, here’s my pitch to all of you to get involved in supporting the arts loudly and proudly in your own communities, states, and countries, especially here in the US, where the arts are both so vital, and so lacking in government support.

First, some background. For those who aren’t aware, every US state has some sort of government body tasked with arts, culture, tourism, and/or some combination of the like. In my state of CT, it’s the CT Office of the Arts. According to their website, the CT Office of the Arts is tasked with creating and distributing grants, running programs and services “that connect people to the arts and help build vital communities across the state,” providing training and professional development opportunities, and serving as a resource hub for the statewide arts community.

In addition, most states have some sort of primary advocacy group that exists to ensure that the state arts office is meeting the needs of the communities it serves. In CT, that’s the Connecticut Arts Alliance (CAA). Funny story, I learned about CAA for the first time, not because of any outreach they did specifically, but because they rented the stage of the theatre where I was mixing full-time to host two of their live events (pre-pandemic, of course) ☺. One was a “Create the Vote” event prior to the 2018 election, then another one to hear reports from a task force formed by then governor-elect Ned Lamont about how to better support arts, culture, and tourism in the state.

Besides these two events, who is CAA and what do they do? To quote their mission statement, “CAA is a statewide non-profit organization that works to build political, financial, and grassroots support to ensure that the arts are a vital part of life for everyone in Connecticut.” The membership includes leaders of regional arts advocacy groups, such as the Arts Council of Greater New Haven, Greater Hartford Arts Council, and more. It also includes members of local arts organizations from every corner of the state, from Thrown Stone Theatre in Ridgefield, all the way to La Grua Center over by the eastern border with Rhode Island. Yes, I know our state is geographically small compared to most, but it’s still a lot of people from a few hours’ drive away from each other, and it’s no small feat getting them all together and on the same page! The CEOs, directors, artistic directors, and curators of the many organizations who belong to CAA represent every facet of the arts, and so too should the artists themselves who are on the committee.

Arts Council of Greater New Haven and Cultural Alliance of Fairfield County are two such local arts organizations in CT. One I was a member of for 2 years, and the other I hope to join soon now that I’ve relocated within the state!

 

I am eager to represent my portion of the arts community, but I can’t do it alone. Nor would it be appropriate for me, a white woman who works primarily out of state, to even pretend that I can articulate the needs of all the art workers in CT. Just like the disparate companies and art-making groups that CAA brings together under its umbrella, we arts workers are not a monolith. What CAA and other statewide arts advocacy groups don’t have enough of, in my opinion, is individuals working “on the front lines” as it were. These groups comprise lots of people who do the hiring and managing, but not enough of the folks who paint the murals, stage-manage the concerts, and of course, mix the musicals 🙂 It’s important that they get the feedback and perspective from the people who stand most directly to benefit from support, both political and financial.

Despite all our differences, there are some key things that many arts workers have in common, which became only more apparent during the pandemic. First, most of us are on the knife’s edge when it comes to economic and employment-related stability most of the time. In my line of work, I don’t always have jobs lined up even a week in advance. So, when all the work dried up at once in March of 2020 and I went to apply for unemployment, I had no way to prove the loss of future income from projects that I hadn’t even signed contracts for yet. Second, many of us work many jobs for many employers to piece together a livelihood and a living. This isn’t necessarily a bad thing, but it means that in the US, the way we work is completely at odds with a social structure that assumes most people have one job that they can expect to keep unless they quit, die, get laid off, or get fired. Our system also assumes that that one job is the source of most people’s healthcare and retirement savings. Outside of union work, my experience in live theatre has been that I must put all these things together for myself. And with the onset of the pandemic, even union workers weren’t safe from hardship, as many of the health plans used by Actors Equity Association, American Federation of Musicians, and IATSE directly tie access to benefits to the number of weeks of union work one works in a calendar year.

And you know what? A lot of people outside our industry don’t know ANY of those facts. So, it’s up to us to inform them so that they can best serve us!

I got a key opportunity to do just that this summer when a group from CAA met with senior aides for each of our 7 federal legislators (2 senators and 5 representatives) as part of National Arts Advocacy Week. We each took a turn talking about how the pandemic had affected us or our organization and then tied that struggle to bills being debated that could directly help our cause if passed. I had never done any sort of lobbying before, and it took some serious prep to figure out how best to spend my allotted 90 seconds making my case. I focused on things that the pandemic response got right, but also where some of those initiatives fell short. For example, I think there is now a more universal understanding among the “muggles” about the existence of the “gig economy” and the “gig worker,” but even that definition falls short of encompassing all of us who work in the arts. I, for example, do not consider myself a gig worker, because even though I work many jobs in a year (my record was 29 in 2019), it’s almost all as a W-2 employee, not a 1099 Independent Contractor. Therefore, while I did qualify for unemployment, having to enter 18 months of work history took me hours, and some of those jobs lasted only a single day!

After the last 18 months, I can truly relate

 

Additionally, I focused my speaking time on requesting funding for government initiatives that would create new opportunities to employ arts workers and grant them better protections at work. For example, Rep. Rosa DeLauro (CT-3) represents the city of New Haven, where the employees of the local concert venue, College Street Music Hall, had just voted to join IATSE 74 but were struggling to get management to agree to a fair contract. So, when I was lobbying her congressional aide, I focused on how the PRO (Protecting the Right to Organize) Act could directly benefit arts workers by strengthening protections for workers in unions and those trying to unionize. This in turn would bring more good-paying union jobs to her district and strengthen the huge role that the performing arts plays in the local economy for the whole city of New Haven.

IATSE 74 members and supporters holding an informational picket outside College Street Music Hall. Photo courtesy of the Official @IATSE Twitter page.

 

When speaking with an aide to Sen. Chris Murphy, I talked about how the expanded unemployment benefits had kept so many arts workers afloat, and that even with other industries going back to work, we were collectively being left behind because it wasn’t yet safe for our businesses to reopen. Finally, to tailor my message to Sen. Richard Blumenthal, I implored the aide to talk about how eager creatives were to get back to work, and how so many of us had translated our theatre skills so beautifully into jobs such as working for the census, registering folks to vote, or helping with vaccine distribution. We arts workers stand at the ready to be put to work helping the cause, and we have the training to do it well. We just had to put two and two together for those who don’t see that connection.

 

A little blurry, but here we are in action getting ready for our Zoom session with Alison Council, an aide to Sen. Richard Blumenthal! Photo credit Chris Tracy.

 

As we all well know, the arts are an under-appreciated economic driver in this country. In just the state of New York, Broadway shows are a billion-dollar industry. That’s more than the revenue generated by all 9 major NYC sports teams COMBINED! And that number only represents official Broadway ticket sales, it doesn’t even factor in ancillary spending that theatergoers often do, such as eating at restaurants, paying for parking and taxis, or buying souvenirs. Nationwide, a $1 investment in the arts generates a $7 in economic boost. That’s an INCREDIBLE return on investment! Yet, art departments in public schools are being gutted everywhere across the country. Arts workers are notoriously underpaid, exploited, and berated for not “getting a real job” or not being willing to “do it for the love, not the paycheck.” I’m here to tell anyone who will listen that our industry is full of the greatest, smartest, most innovative people and that a career in the arts can lead to a great life and a good-paying job if you work hard enough at it. And without the arts, life just wouldn’t be as rich. So, I hope you’ll be inspired just as I was to get involved in your local arts organization, call your representatives, or donate to groups like CAA that are fighting this fight for new laws, new grants, and a public showing of the importance of the arts at the highest levels of government.

 

Give It Another Go

Giving things a go and trying something new, is one thing, to intentionally put yourself in.  In my last post, I encountered my most stressful job ever, I am going there again today. So I thought it would be interesting to write a before and after, not only for my own record, but maybe it can help you or someone you know.

My heart is pounding like I drank 3 cups of coffee. My stomach has the vibrations of a small earthquake. My whole body is tense and I keep reminding my shoulders to relax. Sometimes I feel paralyzed by fear and can’t move. As if I’m in great danger, except this threat is my job and it’s something I choose to subject myself to all the time. It’s a remnant of our ancestry where the danger was tigers and lions. Now it’s people and their expectations on me. I can’t shake it, it’s found me and won’t let go. I try once again to relax, and when I do, I just feel exhausted. My head is messy and foggy. I stopped drinking coffee ages ago and currently only have an on-and-off relationship with this hot steaming beautiful delight because of the anxiety and hormonal imbalance it brings.

I feel like an addict and I’m having horrible side effects. COME ON LINNEA! It’s ONLY a job!

“You’ve done it for years!” my therapist shouts across the ocean.

“Yes, but… “ I start…. “I wish I could flip a switch and I’ll be my old cool and chill self again.”

Who I think I used to be is irrelevant and not helping me now. Instead, I have to affirm and remind myself: I am not in danger, I am not stressed. It’s an old human survival instinct. The last time you did this job you had a horrible horrible time, but the worst is over, you have done it once and survived… you even got paid to go through it! Now you take that knowledge and you take this focus and you use it to your advantage. You bring extra bits that you might need and anything else that happens isn’t your fault. They have hired you to do your job with your expertise and they asked you back! They don’t know it was the most horrible experience you’ve ever been through. They don’t know about your worries and anxiety.

Ok, let’s also try rational thinking. You know how to be a sound engineer. You know most of the gear you will be using. Although you might not know where things are, that’s their job, to tell you where to find them. You know they are a bit disorganised and that frightens you, but once again, that’s their fault and if things run late because of it, it’s not your fault. Even if anything was your fault, why is that so scary!? You are a problem solver and you are great at it. The last gig you did there had lots of problems and you solved all of them. The gig went great and everyone except you was pleased. You will arrive before you are needed. You will sign in and get the keys, you will pick up equipment that is needed and you will set it up and do the job. The hotel’s system is difficult and if you need help with it, call someone. Ask for help. You have never been scared of asking for help and asking questions, so why the need to be so perfect and independent!?

After I finished writing the above I wrote to my friend who also works there. I asked for help. Ten minutes later I heard back from the music director and I now have all the info I need to do the job. I have calmed down. It’s in the same room I did last time, except this time it’s not a nine-piece band but two speakers talking. It should be simple enough and this guy will be there too. I am calm, I tell myself, but my aching body tells me otherwise. Yes, the crying and paralysis are over, but I am still anxious…

To be continued for when I get back tonight…

I did it! With zero problems! Well, there were two problems, one system problem that wasn’t down to me, just their complicated system. The other was a recording thing. I forgot I had to select the desk instead of the interface! Such an easy thing!!! Almost frustrated by how simple the fix was!

I had been super early, got-a-sandwich-in-a-café-nearby-and

-watched-some-Netflix-early. I knew where everything was, I made several choices, like the size of the speakers, that turned out perfect. Everything went smoothly. This time even I was pleased after it all.

I got on the tube, elevated, with that rush that only comes from a successful gig. It went amazing!

So would I do it again? Yes. Yes, I would. I have already booked a Drag Bingo and a party on the rooftop overlooking London. I can’t wait to come back and continue to kick ass! I repeat, what a rush it is to have a successful gig!

Remember, it’s not a tiger, it’s a gig.

I have an app I dearly recommend called Worry Tree. It’s a simple app with prompts for finding solutions to our worries. You write down your worries, then you can either decide to deal with it now or later, but you have to yourself come up with a solution. Even if the only thing you can think of is three deep breaths. I have the paid subscription which also allows you to fill in what kind of categories your worries fall into, like black and white thinking, catastrophizing, or a fortune teller (the ones I often fall into). So if you suffer from stress, worries or anxiety I highly recommend this one. 

 

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