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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

Maxime Brunet FOH Engineer, Tour Manager, & Road Warrior

 

Maxime Brunet is a freelance live sound engineer, primarily mixing FOH & tour management. She also works in music venues as both a FOH & monitor engineer. She has been working in live sound for ten years and touring for six. She has toured with a variety of artists over the years, including Wolf Parade, Chloe Lilac, Operators, TR/ST, Kilo Kish, Marika Hackman, & Dilly Dally.

Early Career – DIY Punk, Radio, & Trial By Fire

Growing up in Ottawa, Canada, Maxime played in DIY punk bands, promoted shows, & attended as many concerts as she could. She started her professional audio journey when interning at a community radio station in high school. After completing her internship, she was offered a position as the production coordinator: she recorded ads and station IDs, as well as helped volunteers edit interviews, and trained them on how to use the recording equipment and DAW. She developed an interest in mixing and began recording and mixing her own bands, in which she played bass & sang.

Maxime attended the University of Ottawa, where she studied political science. During her undergrad, she started shadowing live sound engineers around town. Eventually, she was hired at Café Dekcuf/Mavericks, a popular two-story venue. It was ‘trial by fire;’ she recounts learning something new every shift and really having to work on understanding how to fight feedback, properly run a soundcheck, and learning how to mix. Though she had already toured as a musician, she really wanted to try her hand at being a touring tech. She asked bands who said they liked working with her to take her on tour. In 2014, her hard work led her to tour North America & Europe with the noise metal band KENmode.

In late 2014 she moved to Toronto, where she got a job at The Mod Club, a 650 capacity local venue. This position was instrumental in helping her to hone her abilities. For the first time, she was working in a venue where there were 2 engineers on her shift – FOH & monitors. She found & worked with a community of inspiring audio techs in Toronto, who pushed each other to increase their skills, shared job postings, & looked out for each other. This was the first time she really felt like she was part of an audio community.

Perseverance & Breaking the ‘Grumpy Sound Guy’ Stereotype

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

I learned perseverance through mixing my first shows – my mixes certainly didn’t sound great at first, but I realized that if I didn’t keep working at increasing my skills I’d never get anywhere in this field. Audio is a long-term job, we’re all continuously learning new skills and improving.

❖ What did you learn while interning or on your early gigs?

Sometimes it’s not about being the most skilled, it’s about how you work and relate to the people you’re working with. I certainly wasn’t the most technically skilled mixer when I started working in venues, but I genuinely cared about the sound the artist wanted to achieve and tried to develop relationships with the musicians instead of just demanding they turn down their amp. I realized from working alongside one too many “grumpy sound guys” that I would get further if I was nice to the artists, promoters, & crowd.

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

I’ve had many mentors, and they’ve all been instrumental in helping me achieve success in this field. From Slo’ Tom at Zaphods teaching me the ropes, to Ben at Mavericks answering all my questions and helping me improve my mixing skills, to Keeks in Toronto pushing me into the professional touring world, I’ve had a lot of support and I am very grateful.

Current Career & Adapting to a Post-Covid World

❖ What is a typical day like for you on the job?

As a touring tech, waking up in a hotel, answering emails before we start our daily drive, loading into the venue, making sure hospitality has arrived, soundchecking, making sure the band is comfortable, making sure the show runs on time, mixing the show, settling the show, loading out, & getting everyone settled for the night in the hotel.

❖ How do you stay organized and focused?

I use apps like Mastertour to upload day sheets and Google Drive to keep documents remotely – it’s always important to have important documents (insurance, passports, etc) on a cloud. I upload as much information as I can before the tour starts; as a tour manager, it’s important to be organized and know what each day looks like ahead of time in order to plan drive times, etc.

❖ What do you like best about touring?

Mixing in a different city every night. I am a person who loves daily challenges, I don’t love routine (though there is a certain routine to load in and shows).

❖ What do you like least?

The long hours & being away from friends and family. I’ve made a lot of great friends touring, but it can be difficult to miss events that family and friends can attend (for example I am always working Friday nights, which is often when people who work 9-5 host parties).

❖ What is your favorite day off activity?

Exploring new cities, eating local food (particularly sweets!), having a good coffee, and catching up on some reading. I also love sending postcards.

❖ What are your long-term goals?

I’d like to get back into studio mixing. I recently purchased an audio interface again and a pair of studio monitors, I’d love to mix friend’s musical projects. When touring comes back, I’d also love to get back on the road – I miss it so much!

❖ What are your short-term goals?

Making it through 2020. This year has been quite a challenge,  but I’m grateful to have a strong community of tech friends who checked in and supported each other through these tough times.

❖ What, if any, obstacles or barriers have you faced?

I, fortunately, haven’t faced too much sexism in the field, but I’ve definitely had to explain to club owners that I was qualified to mix or had bands tell the local crew to not make rude comments about me.

❖ How have you dealt with them?

I remind myself that sexism is, unfortunately, a part of modern society and try and brush it off as best as I can. I have a job to do, someone’s rude comment about me being a woman won’t stop me from having a great mix that night. As I was told by a musician: “we hire you because we know you’re great at your job”.  I still think about this comment, and it reminds me there’s a reason I’m mixing on these tours – I am talented.

❖ How has your career been affected by Covid-19, & how have you adapted to the current situation?

As a live engineer, my work disappeared in March for the foreseeable future. As things are very uncertain for the music industry at the moment, I decided to return to school to increase my skills. I am currently a student at Concordia University in the Graduate Certificate in Communication Studies. I am planning on applying to Masters programs in 2021.

❖ Favorite gear?

Digico consoles, Telefunken & Sennheiser microphones. I’m fortunate enough to tour with talented artists: a good band will sound good on ”bad” PAs and lower-end mixing consoles, but it’s nice to have good tools on hand. I always travel with my own vocal mics (my personal favorite is the Telefunken M80); it’s a definite advantage to use a mic with a tighter pickup pattern on loud stages to really make your vocals pop in the mix.

❖ Must have skills in the industry?

Problem-solving and the ability to multitask.

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

Be determined, persevere through those first few rough gigs and keep looking for opportunities. No one is instantly great at their job, we have all had bad gigs. Live audio isn’t the kind of field where jobs will just appear on a website, you need to constantly network and look for the next gig. It will be harder to be taken seriously as a woman and you will face barriers, but I do think that artists and management are starting to understand the value of hiring women.

More on Maxx:

Find More Profiles on The Five Percent

Profiles of Women in Audio

And So It Begins

I got here early. Too early. A boy fell over with his bike and I had time to stay and help. He was confused and in pain, I could relate. I was on my way to the first gig of the year. Six whole months of darkness, despair, and Facebook live. Finally, I was close, my body ached from the tension I obviously have been carrying in anticipation for tonight. Number one worry? The PA. After six months of dusting about, will it turn on? Never have the legendary Half Moon in Putney been quiet for this long since it opened in 1963. Never did the people of southwest London have to wait this long to book a ticket. Never had the regular drinkers stayed this long without a pint from the polished bar and never did the musicians wait this long without a gig.

It’s stand-up tonight and I am introducing the MC. I have written my little intro and I am anxiously waiting for the latecomers to arrive. I have always hated this part, this limbo place, where the background music is playing and everything is ready. I guess I should tell you at this point, the PA works, the lights work and the mixer is turned on. Yey! I take a breath hoping I won’t have that awkward silence. That one is when the audience thinks it’s starting, but it’s just the silence between the song and the next one. Hate when that happens!

The gig starts. I make people cheer twice and off we go. Tonight the audience is mainly older men, maybe because of the headliner, and I can tell they don’t get the first young woman comedian. It is a really difficult and mixed audience. We are capped at 50 people, and if there’s a lot of tables of two.  Normally, we would squeeze in 120 chairs in this old little dark venue. So when she speaks of jeans that break in the crotch because she’s fat, I cackle loudly in the back. I got you and I get you. I chat with her during the break, we give each other a follow on Instagram and a bond was created between us two. Being self-employed in the arts can be lonely and this year has had us lonelier than ever.

A quick break, the main act, and all of a sudden it was over. I’m exhausted! The tension has made my bodywork so hard and I can’t wait to get home. I’m toying with the idea of doing yoga when I get home, but deep down inside, I know I will eat snacks and go to bed.

Tired, I sit here waiting for the punters to finish their drinks, but I don’t have the heart to turn off the music. They are enjoying themselves and ordering more. This will be their first event of the year. Today is the 20th of May, and only days ago the UK lifted its indoor event restrictions. I hereby deem this opening night a success and bite into a couple of days old gas station chicken wrap. My stomach welcomes the familiar taste and reminds me to bring food from home to my next shift. In a bit, I will fade the music out, turn off the amps and get on the bus to take me home.

 

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