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Department Heads,  Please Don’t Forget Your Sound Mixer

 

This year, I had the privilege of being back on a set during a time where set work still isn’t prevalent. Was I scared? Yes. A pandemic is still going on. But, this is the first film in a long time where I wasn’t a part of the sound department. Post or set! This was also the first feature I had ever worked on. A daunting task to be a part of the assistant director’s department as well! I learned some things about being back on a set. That included how much I could help the sound department when problems arose.

One of the main things I learned? The Sound Department is still overlooked (both post and set). Yes, a film is a visual medium but bad visuals don’t take you out of the moment as much as bad sound does.

I recently had a meeting with some department heads from the film and gave my own insight (what little I have) about the sound department and what they can change for their next feature. Our sound mixer wasn’t invited to the location scouts. Something I did not know until halfway through filming. He was just as new to each location as I was! Which meant he wasn’t always prepared for what sounds and problems the locations would bring. A noisy/echo-y locker room which most definitely will be looped later. Many consistent sounds at locations that couldn’t be turned off at all or weren’t thought of on the location scouts. When at the post-filming meeting, the department heads were genuinely surprised that a sound person should be brought on scouts or even thought of. I know I’ve had my share of location managers tell me “Don’t worry! The location is super silent!” only to get there and there’s a loud water boiler that can’t be turned off, chickens and roosters galore in the backyard, etc. I’ve even had weird high-pitched noises from set recordings that no one knew what it was and I was asked in post to fix it. Always better to fix it on set than in post. BUT, I do understand that some locations you just have to deal with. Could be due to budgets or any other number of reasons. I get it. It’s better to know what those problems are before even filming so you can save everyone the headaches or what could happen.

Why the emphasis to try and work with your sound person and get a clean recording instead of just fixing it in Post?

Well, you also want to preserve the actor’s performance as much as possible. Sometimes bringing them in for an ADR session won’t always give you back the performance they had on set. Since I worked as an assistant director on this feature, it was also my duty to help our sound mixer with whatever problems had arisen. That should always be the case with sound mixers. Different departments should be working together since a sound mixer or their team can’t fix or do everything by themselves. Another department sound mixers should work with are costume designers. Our sound mixer and costume designer didn’t have the time to chat with each other so they had to wire up actors without any prior knowledge of any problems that could have been fixed. I always had a production assistant ready to go on a run for things such as batteries or moleskin for the sound mixer. Though, we did work night shoots which also need to factor into production. Not a lot of places are open in those wee hours of the night. That means things need to be bought earlier or you’d have to wait till the next day and that can’t help anyone.

A simple way to start noticing the sound at a location is to stand in the middle of a room or area, close your eyes and listen to all that is around you. The refrigerator, the a/c blowing inside or the unit outside, walk around and hear how loud your footsteps will be on set, etc. Also, check to see what the power situation will be for different departments. A set I was on required us to run cables through windows which meant those windows had to stay open. Not ideal for sound at all. This also means you have to make sure all movement must be halted from other departments that are near set and that can be a tricky task when you’re limited by budget and time. Another thing is to allow the sound mixer to get that room tone in each place that is filmed. It doesn’t take long but it can be so helpful in the long run.

I can go on about things to be thought of when you, as a sound mixer, have to work with on a set. But, I truly hope that other departments can accommodate or help as much as they can because it’ll help. Let the other departments know that you’re not trying to be ‘fussy’ or the like. You’re trying to get the best sound possible for them. Support one another! I have no idea when this almost ‘anti sound mentality came into play on set but, we all need to work and support one another, or else the final product of a film won’t be as good as it could possibly be. We’re all working together to bring multiple peoples’ ideas to life and we genuinely want that final product to be the best it can be. So other departments, please work with and not against your sound team. It may just save you some money and headache later.

For a very detailed article about this topic.

Check out: “An Open Letter From Your Sound Department

 

Depression, Anxiety, and Hope from a Roadie In The Age of Covid

Dear Everyone, you are not alone.

 

**TRIGGER WARNING: This blog contains personal content surrounding issues of mental health including depression and anxiety, and the Covid-19 pandemic. Reader discretion is advised.**

The alarm on my phone went off at 6:30 a.m.

I rolled out of my bunk, carefully trying to make as little noise as possible as I gathered my backpack, clothes, and tool bag before exiting the bus.

The morning air felt cool against my face as I looked around me trying to orient myself in the direction of the loading dock to the arena. Were we in New York? Ohio? Pennsylvania? In the morning before coffee, those details were difficult to remember.

Passed the elephant door, the arena sprawled out before me, empty and suspensefully silent. I looked up with a mixed sense of awe and critical analysis as I noted the three tiers of the arena, the red seats forming distinct geometrical shapes between each section. As I made my way out to the middle of the deceivingly large room, I looked toward the ground in hopes of finding that tell-tale button marking the middle of the room, if I was lucky.

As I set up my tripod, I heard the footsteps of the rigging team as they began stretching out their yellow measuring tapes across the cement floor. The clapping of their feet echoed in the room and soon the sound of their voices calling out distances joined the chorus in the reverb tails.

I turned on my laser and pulled out my notepad, the pen tucked in my hair as I aimed for the first measurement.

Then I woke up.

Up above me, all I could see was the white air-tile of the basement ceiling while the mini-fridge hummed in the corner of the room.

For a few seconds, or maybe it was a full minute, I had absolutely no idea where I was.

I wanted to scream.

I lay in bed for what could have been 15 minutes or an hour, telling myself I had to get out of bed. I couldn’t just lay here. I had to do something. Get up. Get UP.

Eventually, I made my way upstairs and put on a pot of water for coffee. When I opened my phone and opened Facebook, I saw a status update from a friend about a friend of a friend who had passed away. My heart sank. I remembered doing a load-in with that person. Years ago, at a corporate event in another city, in another lifetime. They didn’t post details on what had happened to them. Frankly, it wasn’t anyone’s business, but the family and those closest to them. Yet my heart felt heavy.

Six months ago, or maybe more, time had ceased to have any tangible meaning at this point, I had been sitting in a restaurant in Northern California when the artists told the whole tour that we were all going home. Tomorrow. Like a series of ill-fated dominoes, events were canceling one-by-one across the country and across the world. Before I knew it, I was back in my storage unit at my best friend’s house, trying to shove aside the boxes I had packed up 4 or 5 months earlier to make room for an inflatable mattress so I had somewhere to sleep. I hadn’t really expected to be “home” yet so I hadn’t really come up with a plan as to what I was going to do.

Maybe I’ll go camping for the next month or so. Try to get some time to think. I loved nature and being out in the trees always made me feel better about everything, so maybe that was the thing to do. Every day I looked at the local newspaper’s report of the number of Covid-19 cases in California. It started out in the double digits. The next day it was in the triple digits. Then it grew again. And again. Every day the numbers grew bigger and notices of business closing and areas being restricted filled the pages and notifications across the Internet.

Fast-forward and the next thing I knew, I was packing all my possessions into a U-Haul trailer and driving across the country to be with my sister in Illinois. She had my baby niece a little over a year ago, so I figured the best use of my time would be to spend time with my family while I could.

I was somewhere driving across Kansas when the reality of what was happening hit me. As someone who loved making lists and planning out everything from their packing lists to their hopes and dreams in life, I—for once—literally had no idea what I was doing. This seemed like the best idea I could think of at the time.

Fast-forward and I was sitting on the phone in the basement of my sister’s house in the room she had graciously fabricated for me out of sectioned-off tapestries. I looked at the timestamp on my phone for how long I had been on hold with the Unemployment Office. Two hours and thirty minutes. It took twenty calls in a row to try and get through to someone at the California Employment Development Department. At the three-hour mark, the line disconnected. I just looked down at my phone.

I remember one Christmas when I was with my dad’s side of the family at dinner, I tried to explain what I do to them.

“So you are a DJ, then?” my aunt asked enthusiastically, believing that she had finally gotten it right.

“No,” I said.

“Do you play with the band?” my uncle asked.

“No, I’m the person who tries to make sure everyone in the audience can hear the band,” I tried to laugh.

Everyone laughed that sort of half-laugh when you try to pretend you get the joke, but you don’t actually get it.

Across my social media feeds, friends, colleagues, acquaintances, and everyone in between, were all sharing updates of how they had to get “real jobs”, how they couldn’t get through to unemployment or their state had completely failed to get them any unemployment at all, how they were angry, desperate, and how they needed to feed their families. Leaders in the industry grew from the motivation of trying to speak out on behalf of the live events industry to the government, pleading for financial relief for businesses, venues, individuals, and more, and my feeds flooded with initiatives and campaigns for awareness of the plight of the live events industry.

Yet when I talked to people who were not in the industry, they seemed to have no idea that the live events sector had been affected at all. Worse yet, I realized more and more that so few people had any idea of what people in the live events industry actually do. Organizations struggled to get news channels to do exposés on the subject, and perhaps it was because there were so many people across every sector of every industry that were struggling. In one conversation with a friend, I had explained that there were nearly 100 people on a tour that I had worked on between the production, tech crew, artist’s tech crew, everyone. They couldn’t believe so many people were working behind the scenes at one concert.

Yet the more I talked about my job and the more time that passed, the more I felt like I was talking about a dream. This fear grew inside me that there was no end in sight to all this and the stories started to repeat themselves and it started to feel like these were stories of what had been, not what was. It was becoming increasingly difficult to concentrate when talking to people about “regular” things in our daily lives because it was not work. Talking about the weather was not talking about rigging plots or truckloads, so my brain just refused to focus on it. Yet I couldn’t stop thinking about the industry: watching webinars, learning new things because I just wanted so desperately to go back to my career that I fabricated schedules and deadlines around other obligations to feel like work was still there.

Then the thought that underpinned all this rose up like a monster from the sea:

Who am I without my job?

I read an article Dave Grohl wrote [1] about performing and playing music on-stage for people, how there was nothing like that feeling in the whole world. I think he hit on something that, in effect, is really indescribable to anyone who has not worked in the live events world. There was a feeling unlike any other of standing in a room with tens of thousands of people screaming at deafening levels. There was a feeling unlike any other of standing alone in a room listening to a PA and crafting it to sound the way you wanted it to. There was a feeling unlike any other of hearing motors running in the morning while pulling a snake across an arena floor. There was a feeling unlike any other of complete, utter exhaustion riding a bus in the morning to the next load-in after doing 4, 5, 6, however many gigs in a row. I tried to explain these feelings to my friends and family who listened with compassion, but I couldn’t help but feel that sometimes they were just pretending to get the joke.

Days, weeks, months floated by and the more time passed, the more I felt like I was floating in a dream. This was a bad dream that I would wake up from. It had to be. Then when I came to reality and realized that this was not a dream, that this was where I was in my life now, it felt like my brain and the entire fabric of my being was splitting in two. It was not unbeknownst to me how fortunate I was with my sister taking me in. Every morning I tried to say 5 things I was grateful for to keep my spirits up and my sister was always one of them.

The painful irony was that I had stopped going to therapy in January 2020 because I felt I had gotten to an OK point in my life where I was good for now. I had gotten where I needed to for the time being and I could shelve all the other stuff for now until I had time to address them. Then suddenly I had all the time in the world and while shut down in quarantine, all those things in my brain I told myself I would deal with later…Well, now I had no other choice than to deal with them, and really this all intersected with the question at hand of who was I without my job.

And I don’t think I was alone

The thing people don’t tell you about working in the industry is the social toll it takes on your life and soul. The things you give up and the parts of yourself you give up to make it a full-time gig. Yet there is this mentality of toughing it through because there are 3,000 other people waiting in line to take your spot and if you falter for even just one step, you could be gone and replaced just as easily. Organizations focusing on mental health in the industry started to arise from the pandemic because, in fact, it wasn’t just me. There are many people who struggle to find that balance of life and work let alone when there is a global health crisis at hand. All this should make one feel less alone, and to some extent it does. The truth is that the journey towards finding yourself is, as you would imagine, something each person has to do for themself. And my reality was that despite all the sacrifices needed for this job, all I wanted to do was run back to it as fast as I could.

Without my work, it felt like a huge hole was missing from my entire being. That sense of being in a dream pervaded my every waking moment and even in my dreams, I dreamt of work to the point where I had to take sleeping aids just so I would stop thinking about it in my dreams too. I found myself at this strange place in my life where I reunited myself with hobbies that I previously cast aside for touring life and trying to appreciate what happiness they could offer. More webinars and industry discussions popped up about “pivoting” into new industries or fields and in some of these, you could physically see the pain in the interviewees’ faces as they tried to discuss how they had made their way in another field.

One day I was playing with my baby niece and I told her we had to stop playing to go do something, but we would come back to playing later. She just looked at me in utter bewilderment and said, “No! No! No!” Then I remembered that small children have no concept of “now” versus “later”. Everything literally is in the “now” for them. It struck me as something very profound that my niece lived completely in the moment. Everything was a move from one activity to the next, always moving forward. So with much effort and pushback against every fiber of my future-thinking self, I just stopped trying to think of anything further than the next day ahead of me. Just move one foot in front of the other and be grateful every day that I am here in what’s happening at this moment.

Now with the vaccination programs here in the United States and the rumblings of movement trickling across the grapevine, it feels like for the first time in more than a year that there is hope on the horizon. There is a part of me that is so desperate for it to be true and part of me that is suspiciously wary of it being true. Like seeing the carrot on the ground, but being very aware of the fact there is a string attached to it that can easily pull the carrot away from you once more.

There is a hard road ahead and a trepidatious one, at that. Yet after months and months of complete uncertainty, there is something to be said about having hope that things will return to a new type of “normal”. Because “normal” would imply that we would return to how things were before 2020. I believe that there is good change and reflection that came in the pause of the pandemic that we should not revert back from: a collective reflection on who we are, whether we wanted to address it to ourselves or not.

What will happen from this point moving forward is anyone’s gamble, but I always like to think that growth doesn’t come from being comfortable. So with one foot in front of the other, we move forward into this next phase of time. And like another phrase that seems to come up over and over again, “Well, we will cross that bridge when we come to it.”

References:

[1]https://www.theatlantic.com/culture/archive/2020/05/dave-grohl-irreplaceable-thrill-rock-show/611113/

Ready for the Road?

 

I’ve been on the road for the better part of a decade, so I’ll easily admit that I’m biased in favor of tour life, but it’s fascinating to hear what other people think my work is like. Mostly they see the glamour of a life that some only dream of being paid to travel across the country or even the world. They’re less enamored when they hear what my work schedule actually entails and that I’m not some carefree nomad having adventures and playing pretend every night. Still, I bet most would give it a go if they ever got the chance.

So what does the reality of touring look like? Well, let’s start with the least appealing side of it and get that out of the way

Time and Stress

Since tours only make money when they’re actively on the road, the ideal is to be booked constantly. Most shows have a few weeks scattered throughout the schedule that aren’t booked and the actors, musicians, and crew are laid off. To a 9-5 worker, “layoff” is a horrible word, but on tour, it’s synonymous with a scheduled, short, unpaid vacation, and you’re still working 45-50 weeks out of the year. However, that means there’s limited time off to see friends and family back home or just to recharge, and it can be difficult to get time off for events like weddings, graduations, or even family emergencies.

Then you have your day-to-day work schedule. On a whim, I calculated how many days I’ve had off in an average year on tour. That qualifies as a day not in the theatre, not traveling to the next venue, nothing work-related. My average was 70-75 days off per year over seven years on the road. To put it in 9-5 terms, if you just count weekends that’s two days off a week, multiplied by 52 weeks, most people get 104 days off in a year, not even looking at holidays or vacation time.

(Touring data based on my 2019 year on tour with Miss Saigon, then Mean Girls.)

Plus, 40-hour work is the norm, but on the road, you’re looking at anywhere from a 60 – 80 hour workweek depending on how often you have to load in and out.

Moving on to stress

Somedays tour feels like holding 10 pounds of crazy and staring at a 5-pound bag, trying to formulate a plan that gets everything in. Each show and every venue have quirks and your job is to figure out how to work with or around them. Sometimes it’s easy: in Cleveland, there’s only space for the actual show deck onstage, so the local crew knows that amp racks typically go in an alcove in the house. Other times it takes some finagling: in DC, the Les Mis speaker towers weighed about 3000 lbs all together, but the structure the motor was attached to could only support 2000 lbs, so I calculated a way to build most of the tower, then slide the rest into place so we didn’t exceed the weight limit and still kept most of the build on the motor instead of overtaxing our manpower.

But, if you think that sounds stressful, those are the times when things went pretty well and we were able to come up with a solution that still accomplished the design. There are times you simply can’t do what you’ve planned: in Hartford, we had to get a mid-load in delivery of truss when the measurements we’d had for the rigging points were wrong. We found out partway into the day that the points were simply too far apart to safely fly the smaller truss we carried. Or something malfunctions right before the show is ready to start and you have a stage manager watching you, giving play-by-play commentary to the SM at the call desk as you attempt to suss out the problem, knowing the curtain is waiting on your troubleshooting skills.

These stressors can take a toll on your mental and emotional well-being, which affects your physical health. Fast and unhealthy food is much easier to access on the road, and the post-show default is to head to the nearest bar with your crew to unwind from the day and socialize. As an introvert, I had to learn to pay better attention to what I needed socially: some days it was respecting my need to relax, other times it was noticing that I’d lacked social interaction and, despite the habitual ease of just heading back to the hotel, I’d actually prefer to be out with the crew.

Mostly what it comes down to is fatigue. It takes a concerted effort to take care of yourself on the road: finding or choosing healthy foods, making time to exercise, checking in with yourself. Sometimes you don’t have the energy to deal with that after a long day of work, and your well-being falls to the wayside.

All that being said, touring sounds really appealing right? Well, let’s take a look at what’s kept me on the road for so long.

Experience

One huge benefit is experience. That same stress that fell into the Con column has equal footing in the Pro side by virtue of the adage “what doesn’t kill you makes you stronger.” Every load in and out, you’re handed new challenges to solve and, by the sheer repetition of it, you learn how to analyze situations faster and build a log of potential fixes you’ve tried before.

Plus, it’s all hands-on practice. You can talk about the theory as much as you want, but it will never be as beneficial as putting a contingency plan into action.

Along with problem-solving, you also (hopefully) gain people skills: just like analyzing situations, you also learn how to read people. Part of your job is learning if you can hand a project off to the house head and let them direct the crew, or if you’ll have to check in constantly to make sure it gets done. It’s noticing someone who’s willing to work, but is new and needs detailed directions, yet is too nervous to say they don’t understand. There are times you have to light a (figurative) fire to get a languorous crew moving, but others where you can joke and enjoy chatting and they’ll still get the job done.

The Pay

A large appeal of touring is the money. On the road, the company will provide you with accommodations or per diem for food and housing, so the majority of your survival expenses are taken care of. With that covered, it frees up the majority of your salary to pay down credit card debt, mortgages, or student loans, while simultaneously having some money to save or use for a guilt-free splurge. Personally, having the opportunity to up my savings percentage paved the way for me to discover the financial independence community, which is worth exploring no matter where you are in your financial journey. (Check out this list of FI blogs, or two of my favorites: JL Collins or Afford Anything)

The People

Last, but absolutely not least, are the people. Your crew and coworkers become family. Often boisterous and sometimes dysfunctional, you’ll find some of your best life-long friends on the road. When you’re together day in and day out, you help each other solve problems, pull off incredible under-the-wire show saves, or make it through a crappy day that you can laugh about afterward. Stagehands are the best kind of people I know to take lemons and turn it into an epic comedy of errors, and there are always new stories whenever you end up in the same city again to catch up.

Touring is life where the amp is always turned to 11

The lows are confidence-shattering and lonely, but the highs are soul-affirming and leave you with the feeling that there’s nowhere else you’d rather be.

I’m the first to tell anyone that they should absolutely tour if they have any desire to do it, but I’m also the first to say that it isn’t for everyone. I’ve learned that I’m built to tour. Even when I wasn’t sure if I was any good at sound, I still knew I loved touring: stressful situations are puzzles to solve and most days I thrive on the challenge, plus my family has always been understanding that I have very tight constraints on my schedule. The pros of touring outweigh the cons by a mile for me, however, even I (and my knees) know that the day I look towards getting off the road isn’t all that far down the line. For others, life on the road just isn’t appealing from the get-go: I know people who are amazing at their job but hate the lifestyle, the stress, and the mental and physical toll it takes.

It’s always important to take stock of how you honestly feel and refrain from talking yourself into signing up for another tour if the cons outweigh the pros. It’s not worth making yourself (and everyone you work with) miserable if you hate your life day in and day out.

But if you do like it, pack those suitcases and get ready for an adventure. I know I wouldn’t trade the experience for anything!

 

10 things you need to be successful (and they’re all free!)

We have made it to June! 6 months into 2021, halfway through the post-pandemic year. Things are looking a little brighter, shows are starting to get booked, calls are coming in for work. You might be thinking about getting back on track with finding yourself a job on tour. In my book, I write about the 10 qualities or attributes you need to be successful. Let’s take a look at them.

Being on time

This is huge. You need to respect everyone’s time on the tour. If 10 other people have sacrificed sleep, a coffee, a workout, or whatever else to make sure they’re on time for lobby call, then you’d better make sure you’re on time too! Oh and on time is late, make sure you’re there 15 mins before you’re meant to be. The bus WILL leave without you!

Work ethic

If someone doesn’t want to be on a tour or doesn’t want to be part of a team, they won’t last long. If you have a strong work ethic and make yourself indispensable, you’ll have a long career.

Effort

Make sure you are putting some effort in, try a little harder, it’ll get noticed. Also see point 9.

Body Language

Whether we like it or not, we all judge and are all judged on how we look or stand. Quick first impressions or even people you’ve worked with a long time. This is something totally within your control to change the attitude of the room and the people around you, which in turn will make a more pleasant experience for you too.

Energy

It can be very tiring on tour, and as the above point, it is easy to slip into a negative mindset here and there. If you aim to bring the highest energy every day, you can pick someone else up which is a win all around.

Attitude

It may be a cliche but a positive mental attitude will get you very far in life. It’s difficult out there, don’t get me wrong.. but we can try to improve our mental state with things such as meditation or working out or just making sure we get enough sleep. We can then tackle each day with the best attitude.

Passion

It’s the reason why we’re here. We love what we do. If you stop loving it, maybe try a different path, a different job on tour, but always be passionate about what you do. As the saying goes “If you do what you love, you’ll never work a day in your life”.

Being coachable

Even having a lifetime of experience doesn’t mean you know everything. Be open to learning from others.

Doing extra/going the extra mile

This will always get noticed and come back to you down the road. Remember why you’re doing your job, remember the sacrifices that got you to where you are now. Keep working harder and pushing harder and you will reap the rewards.

Being prepared

As they say, “By failing to prepare, you are preparing to fail”. Know what you are doing, where you’re supposed to be, what’s happening tomorrow, the week ahead. Be on top of things. Carry a notepad, make notes, set reminders, whatever you need to do.

You see, you don’t need to be an expert at your job to start with, you just need the right attitude and to arm yourself with these attributes and you’ll do just fine.

To read more about breaking into the world of touring, check out my book on Amazon here: https://www.amazon.com/Girl-Road-Touring-Female-Perspective/dp/B084QGRKVW

Julie Kathyrn aka I Am Snow Angel

Location
New York

How did you become a producer/sound engineer?
I stumbled into audio production by accident. After being a singer-songwriter for several years, I ventured into making my own demos with the goal of improving my songwriting arrangements. Once I began producing my own tracks, I realized that I love producing more than any other aspect of making music. I threw myself into learning everything I could about production, engineering, mixing, and sound design. Eventually, I was able to develop my own sound and build a career that blends my artistry and production skills.

What advice would you give students either going into school or just graduating about getting a job in this industry?
Keep an open mind and see where your creativity leads you! And be patient — it might take a few tries to find your niche, but you’ll get there.

What are the major qualities required to be a good sound engineer in your opinion?
Detail-oriented, empathetic, flexible and open-minded.

What is your recording/producing philosophy?
Keep an open mind and be willing to try anything. Also, I try not to get attached to any one idea. And stay organized! I keep my sessions and files well-organized and easy to navigate, which frees up space for creativity.

What producers/engineers inspire/inspired you?
Imogen Heap, Grimes, Missy Elliot and Suzanne Ciani

BRITANNIA ROW PRODUCTIONS TRAINING LAUNCHES ONLINE COURSES

Britannia Row Productions Training (BRPT) today launches its Live Sound Fundamentals and Live Sound Intermediate educational courses online with 145 newly produced video lectures at www.britanniarowtraining.com

Created after receiving an Arts Council England Culture Recovery Grant, the new online delivery platform offers video lectures, course notes, quizzes and optional exams together with learner support that the live sound specialist hopes will generate a more accessible gateway into the professional audio industry.

BRPT Managing Director, Mike Lowe, states: “We anticipated having to wait for some semblance of post-pandemic normality before continuing our programmes in live sound, however, being awarded a Culture Recovery Grant was an amazing development. It has provided work and much-needed income for the sound engineers, technicians, camera ops, video directors and editors who have produced our online courses.”

 

The coming months could see the return of largescale festivals and concerts in the UK, yet this will bring about challenges. The live industry as a whole faces concerns over retaining skilled workers to meet future demands.

Lowe continues: “In any normal year, a certain amount of production workers will retire or slow down. This ‘shrinkage’ has been exacerbated during the pandemic as many workers have now retrained and left the industry indefinitely. By the time the industry will be able to secure consistent work, the stream of young people coming in through education or carving out early career experience will have been broken by two years.

“It is our hope that the BRPT online courses will provide a solution to the potential looming shortage of young people with the right skills and knowledge the events industry will need to re-enter the live sound industry. For people considering a career in concert and event audio, there has never been a better time to invest in acquiring the necessary skills and knowledge.”

The online courses are designed to prepare students to go into entry-level jobs and begin to gain practical experience with sound rental companies and music venues.

A positive element of digital learning is its accessibility to a wider range of students.

While the industry enters recovery, students can set their own pace and fit the courses in around any current work or lifestyle, regardless of their location.

“Many of BRPT’s previous alumni are from global territories, and as the digital realm takes hold, the financial savings for travel to and accommodation around London is significant. Plus, visa issues are eradicated, and the courses remain Covid-safe. Our courses can be done in a matter of weeks or can be studied over many months, and the online lectures can be played on repeat until the learner feels confident in the subject matter, which is delivered in English.”

BRPT is also keen to welcome a new wave of live events workers.

Unlike the array of talent seen on stage, the live event production industry has always had a very high proportion of white cisgender workers. Due to this, we know that underrepresented communities struggle to envision working in and becoming a part of the backstage industry. It’s our desire to help bring about change and encourage a much more diverse workforce going forwards.

At BRPT we have long welcomed and encouraged a range of students to join our audio courses and feel strongly about inclusivity going forwards. The industry is nowhere near as reflective of the talent we know is out there within minority groups, the LGBTQ+ community, women, POC, and gender non-conforming workers. If you are from an under-represented group, have a passion for live audio, music, and events, and the desire to bring about change in this industry and beyond, BRPT would love to welcome you onboard for this online training.

We encourage any interested parties to start their journey and become the leaders of tomorrow. The industry cannot progress and the world cannot change for the better without you finding your place in the job roles you may discover you excel in.”

More information on the courses can be found at:

www.britanniarowtraining.com

 

Make Room for Mental Health

 

 

Summer is almost here. For some of us, this means we are one step closer to a long-anticipated return to our work. For others, it means learning that gigs we thought would be there when things reopened will not be. For a lot of us, it’s a mix of both.

I am working my first load-out post-vaccination this week, and I know for me, it has been an odd transition back. It’s relearning to do this work both physically and mentally. It’s bringing everything we have learned during this time away back with us, and redefining what we think of as “normal.” Because it turns out that what we called “normal” in the Before Times was kind of a mess, and for my part, I was barely holding it together and had no idea.

By a coincidence of timing, May is Mental Health Awareness Month, and I’ve had a lot of chances these past weeks to reckon with my feelings about reopening, diversifying our workforce, and eliminating toxic practices in every way that I can. For me, the first step of this is just to give each other a lot more space to be ourselves and bring our whole selves to what we do. We are human beings, and just as our bodies need food and rest, our emotional systems need care and attention. For too long we have learned to shut our emotions in or leave them at the door for the sake of the gig, when in fact this is the OPPOSITE of what we should be doing. Theatre is a business that prides itself on being a community, and communities take care of themselves and the people within them. That is what a healthy workplace is all about.

There are a lot of resources out there that are tailored to helping those of us working behind the scenes to focus on our mental health better. The “I’m with the crew” conversations are a great place to start.

 

Last Tuesday, I had the opportunity to take a course in Mental Health First Aid training that was offered by Behind The Scenes, a nonprofit focused on helping entertainment industry professionals who need financial assistance due to an injury. In the past years, they have expanded their resources to include guides on ways to talk to your coworkers about mental health and resources on where to seek treatment for yourself or a loved one. The course I took taught us how to spot when someone may be having a mental health issue at work, and how to use the ALGEE method (Assess/Approach/Assist, Listen, Give Info, Encourage professional help, Encourage self-help) for rendering aid to a colleague who has begun behaving in ways that are, to use a term from theatre, “out of character” for them. While we tend to shrug off things like being late, looking tired, unkempt clothing, or not meeting work deadlines, in some people these behaviors can be early signs of a worsening mental health or substance abuse issue.

While I thought that this course was going to be much more technical and difficult, a lot of it was just about listening. Simple as that. Learning to listen without judgment to people, and without forcing them, encourage ways that they might seek additional help. As a society, we are not in the habit of answering the question “How are you?” with anything other than “good…” but what if we did? Maybe even this small act of showing vulnerability would help to open others up to what we are going through and create a safe space where we can discuss our issues and feel less alone. Listening patiently and without judgment is the key to making those safe spaces, and especially in this age of social media, we need to say once and for all that it is okay to not be okay some of the time.

This brings us to the next step in Mental Health First Aid: giving reassurance and, where applicable, encouraging the person in need to seek more help, possibly through therapy or with a Certified Peer Specialist (someone who is trained and shares the lived experience of the people they help, similar to a sponsor in a Twelve Step Program). The idea of going to therapy is so stigmatized, especially here in the US. And of course, for a lot of freelance folks, there can also be a massive cost barrier, or it can be hard to find someone whose schedule can work with yours. A trained therapist or counselor can give you informed feedback on your situation and teach you ways to cope with the ever-changing world. Especially during lockdown and quarantine, I have seen my old anxieties and nervous habits creep back into my daily life, and one of the things that have helped to keep me sane and organized is my weekly video chats with my therapist. If you are wanting to learn more about this, a great resource is the Entertainment Industry Therapist Finder. They specifically list therapists who either have worked in show biz themselves or specialize in working with clients who are in entertainment.

The Entertainment Industry Therapist Finder is a great resource to find a mental health professional who “gets” what we do!

 

The other word besides “Mental Health” that gets stigmatized in our society is “Trauma.” This came up in a public session I attended as part of the TSDCA Annual Meeting called “Re-entering the Workforce in a Time of Trauma.” It was facilitated by Taryn Longo, who is a trauma therapist and part of the team that puts together the “I’m With The Crew” webinars. The word “trauma” may sound extreme to describe what this past year-and-change without work has been like, but it really is exactly what we’ve experienced. In Mental Health First Aid class, we defined trauma as an event that is physically and emotionally harmful and can have long-term effects in functioning and well-being. By that definition, the entire world population has no doubt lived through a trauma. Between the devastating illness and deaths that have resulted from Covid, the racial justice uprisings that punctuated last spring and summer, and now the anxiety surrounding live events finally reopening, we need to acknowledge the insane time that we have just lived through. We will not be able to heal unless we learn to nurture ourselves and treat our emotional wounds the same way that we would a physical injury, and acknowledging the trauma is the first step to helping us move through those difficult emotions and towards a better state of being.

This is where self-help and self-care comes in. For some people, this mental health strategy can be easier to wrap one’s head around than seeking professional help, and it too can be a great tool for healing! I know that for me, developing a daily routine to deal with not having a show schedule was a huge part of getting through the pandemic. Some of the things that have gotten me through have included committing to a consistent sleep schedule (and getting 8 hours of sleep no matter what!), practicing yoga every morning, meditating (I use the Headspace app), going outside at least once a day, and socializing with my friends on Zoom. The best part is that these coping strategies can still be a part of my day even when theatre jobs do come back! I really do plan to do this, because incorporating self-care into my day just makes me feel better. And when I feel better, I do even better work, I can do a better job of being there for others, and I find that I simply enjoy every aspect of my day more. Even the boring stuff like washing dishes!

The more you can take care of yourself and give yourself the space you need for mental health, the more you will be able to show empathy for others. Modeling this behavior for those around you also plays a big part in destigmatizing talking about mental health and seeking treatment. Just taking a few deep breaths before starting your work for the day can help to ground you and set an example for others that taking care of yourself in public is not just okay, it is welcome without judgment wherever you are. And that can go a long way towards helping others recognize that it’s okay to need help and that seeking help before an issue worsens can lead to more positive mental health outcomes.

As Taryn Longo said in the TSDCA session, “it’s not about making things ‘nice’ or ‘okay’ cause sometimes they’re not okay.” If we can learn to unlock what is going on in our emotional selves, ask for help when we need it, and create a safe place for others to be open about what they are going through as well, we will create a new “typical” workplace that is far less toxic and closed-off than the one we had in March of 2020.

Download the self-care action plan Self-Care Template_R

If you are thinking about suicide, or worried about a friend or loved one, or would like emotional support, the Lifeline Network is available 24/7 across the United States. 

NATIONAL SUICIDE PREVENTION LIFELINE 

1-800-273-TALK (8255) [24/7 Hotline] 1-888-628-9454 (Spanish) 1-800-799-4889 (TTY)
This hotline is available 24 hours a day.

CRISIS TEXT LINE 

Text “MHFA” to 741741 to speak with a compassionate, trained crisis counselor, a volunteer who has been trained to help with problem-solving and will address the caller’s situation.

More Resources

Musicares – https://www.grammy.com/musicares – MusiCares provides a safety net of critical health and welfare services to the music community in three key areas: Mental Health & Addiction Recovery Services, Health Services, and Human Services:

Backline – https://backline.care/ – Backline exists to connect music industry professionals and their families with a trusted network of mental health and wellness providers

The Roadie Clinic – https://www.theroadieclinic.com/ – The Roadie Clinic exists to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle. The Clinic is committed to providing a safe space for roadies and their families to heal while off the road, and to advocate for – and empower them to obtain – a healthy work environment

Mental Health Awareness Month

 

Ask the Experts – FOH Mixing for Live Music

 

What does a FOH Engineer do?

Simply put: Each individual instrument on stage has its own microphone and input, from the lead singer all the way down to the individual drums and cymbals on the drum kit. The FOH Engineer manipulates the levels and equalization of the various instruments and vocals blending them together, adding reverb and effects as needed, to produce a mix of the band which is amplified through the PA system.

The level of creativity and freedom a FOH Engineer has with the mix varies from artist to artist.  Sometimes a band or artist has a clear vision of what they want to sound like live. It is the FOH Engineers’ job to interpret and re-create this via the sound system.  Sometimes a band leaves their sound entirely up to the FOH Engineer.

It is usually up to the FOH Engineer to decide or at least recommend what microphones to use on each instrument and vocal.  On large tours, the FOH Engineer provides a technical spec of what the sound system requirements are. This generally reflects their preferences in microphones, mixing console, outboard gear, plug-ins, PA system, etc… and any other details pertaining to how the system should be set up.

Join SoundGirls for a webinar on FOH Mixing for Live Music. This is your opportunity to ask questions and get them answered with this expert panel. Moderated by Grace Royse and panelists include Michelle Sabolchick Pettinato, Bryony October, Dana Wachs, Amanda Davis, and Fela Davis

June 30, 2021 – 11 AM – 1 PM PDT / 2 PM – 4 PM EDT

Register and Post Questions

Moderated By Grace Royse

Grace Royse has clocked nearly two decades and thousands of festivals, tours, and live broadcast performances as FOH engineer, Tour manager and production manager. Her experiences span a variety of large-scale events including the US Open, Good Morning America, Ellen, and the Super bowl. Her mixing credits range from Pop to Punk with such artists as Ms. Lauryn Hill, Sublime with Rome, The Offspring, Pennywise, Cypress Hill, 311, Dirtyheads, Kygo & a roster of artists for Sony Music Group and Fat Wreck Chords. With a concentration in production management. “I’ve been on both sides of the event experience; touring with headlining A-level artists globally, as well as hosting artists as the Festivals point person and on-site Production Lead. Understanding the needs of both sides gives me an exceptional operational vantage point.” Grace credits her network of top-performing colleagues, along with a strong sense of purpose, for making every successful project possible. You can catch up with Grace by visiting her website at https://www.gracemusic.biz or on Instagram @gracemusic

Panelist Include

Michelle Sabolchick-Pettinato

Michelle Sabolchick Pettinato began working in live sound in the late 1980s and has spent most of the past 30 years as a full time touring FOH Engineer for major label artists including Elvis Costello, Gwen Stefani, Janet Jackson, Goo Goo Dolls, Melissa Etheridge, Jewel, Kesha, Styx, Mr Big and many more.   Michelle has extensive experience mixing in venues of all shapes and sizes, from clubs to stadiums, as well as major music festivals from Download to Coachella.  She has also supervised and mixed live performances on a wide variety of television from SNL to the Grammys.

Michelle is co-founder of Soundgirls, a Full Sail University Hall of Fame inductee, and creator of MixingMusicLive.com where she teaches an intro to live sound and mixing.  She is an active mentor and coach to those seeking a career in Live Sound and Music Production and is frequently sought out as a panelist and guest speaker for industry conferences and universities.

Bryony October

Bryony October is a Brighton (UK) based FOH sound engineer who has been touring for nearly 25 years. She started mixing FOH sound in her late teens having garnered all her experience and knowledge exclusively on tour off the back of various merchandise selling and backline jobs. With extensive experience mixing live sound often in conjunction with tour/production management she has worked with a huge range of artists across a wide spectrum of musical styles and has mixed FOH sound at every level worldwide.  A very hands-on sound engineer, she is not afraid of getting her hands dirty and is always keen to help bands/artists develop their live sound from source and bring consistency to their sound.

Bryony is currently FOH engineer for multi-platinum selling singer Katie Melua, and the UK’s No.1 female country duo, Ward-Thomas, as well as UK FOH engineer & TM for Natalie Merchant and Lloyd Cole.

Fela Davis

Fela is a graduate of Full Sail University’s Recording Arts Program and inducted into the University’s Hall of Fame 2019 class for her work in audio engineering. Her background as a FOH engineer spans 20 years with her last seven mixing seven-time Grammy award winner Christian McBride’s bands all over the world! She’s currently a writer for Pro Sound News Magazine and co-owner of One of One Productions podcast studio located 5 minutes outside of NYC in Fort Lee, NJ. Her clients include Atlantic Records, SiriusXM, Eboni K. Williams, and more!

Dana Wachs

A Brooklyn-based Audio Engineer, Tour Manager, and Composer/Musician. Dana started her career in music in 1994, as bass player for the Dischord band Holy Rollers, which ignited her interest in live sound, after a national tour supporting 7 Year Bitch. Her first foray into the practice of live sound began after that at the Black Cat DC, and later the infamous 9:30 club.

Dana’s first national tour was as TM/FOH for Peaches supporting Queens of the Stone Age in 2002. Her first International tour quickly followed in 2003 with Cat Power. Since then, touring has kept her on the road 9 to 11 months out of the year with bands such as MGMT, St. Vincent, M.I.A., Grizzly Bear, Foster the People, Nils Frahm, Deerhunter, and Jon Hopkins to name a few.

Outside of touring, Dana composes and performs under the name Vorhees, with two releases on Styles Upon Styles (Brooklyn), and is currently composing her first feature film score.

Amanda Davis

Amanda is a woman of many talents. The Memphis-born, LA-based audio engineer, educator, production manager, singer and musician has learned the ropes from some of the music industry’s best and is using her skills and connections to empower women around the globe.

Amanda has mixed legendary artists Prince and Stevie Wonder and has mixed in some of the world’s most renowned venues and events: The White House; Madison Square Garden; Radio City Music Hall; The Hollywood Bowl; Coachella; The Grammys; The Oscars; Glastonbury Fest; Good Morning America; The Today Show; Montreux Jazz Festival; Saturday Night Live; BET Awards; and American Idol.

 

SoundGirls Scholarships 2021 Now Open

Applications are now open and we have four different scholarships available. The deadline for all scholarship applications is July 30, 2021 at 12:00 AM PDT. The SoundGirls Board will review essays and will notify the winners via email in August 2021.

SoundGirls Ethel Gabriel Scholarship 2021 – Two $500 scholarships will be awarded

SoundGirls Scholarships for 2021  – Four $250 scholarships will be awarded

Leslie Ann Jones Scholarship 2021 – One $250 scholarship will be awarded

Noise Engineering SoundGirls Scholarships – Two $500 scholarships will be awarded

Resources

 

Tips for Applying to Scholarships/Awards

Spelling and Grammar Counseling Available

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