Empowering the Next Generation of Women in Audio

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Letter to the FCC to Preserve the UHF Band for Live Events

Are you a participant in live event production? Yes? Then do every segment in our industry a favor and use the template to lobby the FCC to preserve the UHF band for live entertainment usage. It takes 5 minutes to do this and is VITALLY important.

 

[on your letterhead if you have letterhead]

 

[date]

Ms. Marlene H. Dortch, Secretary

Federal Communications Commission

45 L Street NE

Washington, DC 20554

 

Re: MB Docket No. 15–146; GN Docket No. 12– 268; Report No. 3169; FRS 17596

Dear Ms. Dortch:

(state who you are — e.g. I am an audio engineer artist who uses wireless microphones and monitors) state that you support the designation of one channel in the UHF TV band for use by wireless microphones as originally planned by the FCC due to the importance of UHF TV band spectrum for wireless microphone use, and specifically support the Sennheiser and Shure Petitions for Reconsideration filed in January 2021).

(optional: state anything else you would like to add)

Respectfully submitted,

(your signature — typed is OK)

(your name and title)

(your address and phone if not on letterhead)

[To File:

Email your letter to joe.ciaudelli@sennheiser.com with a note “please file with the FCC on my behalf”

OR

To file electronically directly with the FCC:

Go to https://www.fcc.gov/ecfs/filings

Enter proceeding numbers 15-146 (hit “ENTER”) and 12-268

Fill out the form.

Choose “Comment” for Type of Filing.

Upload your document

Click “Continue to Review Screen”

Review and Click “Submit”]

 

How Do We Value Musical Equipment

Value, Quality, Price, and Branding

Recently, a friend of mine excitedly shared photos of their newest guitar purchase; an attractively restored Fender Telecaster. As we chatted, my friend elaborated that it was a Mexican model and that the staff in the shop had cheekily encouraged her to try the American-made alternatives (priced much higher). I reminisced about snobby attitudes I’d also encountered over the last ten happy years with my vintage strat, and started thinking how do we value a brand’s reputation, quality, and price point when it comes to musical instruments and equipment? I wondered if the criteria might be more relevant than ever before, following the financial uncertainty of the pandemic era and its effect on those in the Arts.

In pre-Covid times I’d noted the pleasant surprise that peers and friends would take from a quick dabble or closer inspection of my old strat, and conversely, those who would instantly disregard it when finding out its origins. While urban legend continues to hold onto the narrative that the American models play better, sound better, are built better and are priced accordingly, the definitive truth is less clear. Kyle Smitchens from Guitar-Muse spoke with Fender to pose these questions and find out. He explains:

While the electric guitar is absolutely not my area of expertise, I’d experienced the same issues and debates in the classical guitar world. As a student of the instrument, it was taught as gospel that Spanish-made guitars were of the highest quality and price, and Chinese-made guitars were to be avoided at all costs: rumours of badly manufactured, mass production factory lines with no QA prevailed. Unbelievably, it wasn’t until I’d been working for several years that I actually encountered a guitar shop that stocked a Chinese-made classical guitar for me to try out myself – and I loved it.

In music, these attitudes seem to span across the board – from music notation software to DAWs, and everything in between, many believe only the most expensive and well-used brand names are the real industry standard. We know the psychology of selling makes people skeptical in general of anything that seems under-priced or ‘too good to be true’, and are wary of the ‘buy cheap, buy twice’ philosophy, but we also trust that word of mouth is the most effective method of sharing good products. We ask one another what gear we are using, source recommendations, and share with our friends our latest finds and surprising bargains. There have been various ‘unbranded’ and reasonably priced products over the years that nowadays I couldn’t live without thanks to peers, friends, and knowledgeable internet strangers.

Behringer came to exist because the founder, Uli Behringer was a struggling musician and sound engineer back in 1989 – at this time, he couldn’t afford the necessary equipment for his own studio. He started by creating products for himself, but this soon grew into a business. Behringer’s philosophy is “to deliver life-changing products at prices everyone can afford.”

I’ve sadly witnessed a large number of my peers selling instruments, musical equipment, and gear throughout the last year since coronavirus took hold. It’s highlighted the financial struggles that were present before the industry shut down, that of course musicians and engineers will always need the right equipment to be able to work, and the cost quickly adds up. As well as being expensive, musical instruments and setups are often judged, so there is a distinct need for gear that’s reputable, reliable, sounds great, that also leaves enough change to grab some chips on the way home from the gig. While nobody wants substandard, cheap, nasty gear that doesn’t perform, the questions have to be asked: Is it not somewhat paradoxical to respect the Fender brand and reputation, yet view a huge number of their products as inferior? Shouldn’t Behringer be a little more celebrated for putting their philosophy into practice? Does a reasonably priced product automatically equate to a substandard performance? And shouldn’t instruments be judged by how they feel, play, and sound rather than where they were manufactured?

I hope as the world emerges from a gig-less and financially tough year, that we will be able to openly share the best bargains in our kit more freely, with a little less stigma than before. If something performs to a high level (or the adequate level we require and can afford), then surely we should enjoy that. Returning to work is likely to be an adjustment for those across the music and entertainment industry. If we can lighten the financial strain of replacing or upgrading necessary equipment by researching our product needs differently, perhaps this will help us all get back to working, creating and making noise once again, without breaking the bank.

The Importance of Field Recording

Throughout the past few years, I’ve been networking with people in the sound community. I’ve met and spoken with so many amazing people in the film, television, and video game industry who have been nothing less than helpful and hopeful. One tip that gets brought up the most is sound libraries. Any sound designer knows those sound libraries are very important to have. That includes the ones you’ve recorded and the ones you’ve bought. Of course, not buying all the sound libraries at once but little by little over time.

An important part of your journey as a sound designer is also learning to record sounds, yourself. You don’t even need the fanciest or most expensive equipment in the world to do it. I, myself, own a Zoom H1, Zoom H4n, and Zoom H6 with a Sennheiser MKH 416. Learning to work with what you have is also a valuable skill. Of course, you’re not going to have access to everything you want to record for a film. But, a good practice is recording things around your home. I try to go on a walk every day and carry a Zoom H1 in a fanny pack. You never know what interesting sound you’ll find out in the world of your neighborhood. Plus, the sunshine and air are great for your mental health and overall health. Stepping away from your computer is a nice reset from work, too. If you can record it at a higher sample rate, you have so much more freedom to work with the audio versus what you get in a library. But, be prepared to have enough hard drive space to hold all the sounds you want. This also can be helpful in learning how to clean up the audio. Not everything you record out in the field will be clean and this can be a helpful experience with that.

If you’re into ASMR videos on YouTube like myself, there are interesting sounds in just tapping a glass or candle holder. Watching other people record sounds is also helpful on your sonic journey. I didn’t know cactus needles can sound like rain falling! Watching others record different sounds can help give you ideas and maybe, that’s the sound you’ve been looking for on a project you’ve been working on. We had some storms and wind a month ago here in Sacramento so I opted to record some rain on my metal awning and some wind through my window for wind howls. Always be careful and make sure your equipment is safe as well. You wouldn’t want rain getting into it. For wind, a good windscreen or blimp are great options to capture wind better.

Field recording shouldn’t feel like a chore or job, either. You never know what kind of sounds are near you or right outside your house. Just the other day I recorded my weekly garbage pickup. The truck has some nice squeaky brakes as well. Always be aware of what’s around, always keep listening, and don’t be afraid to experiment. So go out there and explore your world sonically!

 

 

Ask the Experts – Career Development – Resumes, Impostor Syndrome, Networking

ASK THE EXPERTS –  Career Development – Resumes, Impostor Syndrome, Networking, Interviewing, and More

With Live Events starting to be announced many working in this sector are finding that they need to re-establish their networks, freelance work, and are having to re-interview for jobs, tours, and gigs. We thought it would be a good idea to talk with some people in our industry that are in hiring positions and discuss how to handle submitting and updating your resumes, re-establishing your networks, preparing for interviews, and overcoming Impostor Syndrome.

This is your opportunity to ask Industry Leaders Meegan Holmes, Jim Yakabuski, Whitney Olpin, Samantha Potter, Dawn Birr and Tina Morris your questions.

May 8, 2021 -11 AM – 1 PM PDT / 2 PM – 4PM EDT

Register and Post Questions

Meegan Holmes

Meegan HolmesGlobal Sales 8th Day Sound

Meegan has worked in live sound for over 25 years doing everything from system teching to mixing monitors and FOH. She is now in Global Sales for one of the largest sound system providers in the world, 8th Day Sound/Clair Global – Los Angeles

Samantha Potter

 Samantha Potter is an audio engineer and an editor for ProSoundWeb with a passion for writing and educating. Additionally, she serves as the “Install Empress” for Allen & Heath USA, helping to merge the live sound solutions we all love into the commercial and install space.
Growing up as a musician, Samantha found her way to live sound by way of the studio, proving that bassists make the best sound engineers. The host of Church Sound Podcast and a co-director and leader instructor for Church Sound University, Samantha can often be found teaching, writing, and hosting discussions on various live-sound topics.

Whitney Olpin

Whitney has been the Monitor Engineer for Melody Gardot, Lauryn Hill, Fitz, and The Tantrums, Sublime with Rome, Marian Hill, X-Ambassadors, and Walk the Moon. She also mixes monitors at the iHeartRadio Theater in Burbank. Whitney (pre-pandemic) was a production manager for Live Nation clubs and theaters in Los Angeles.

 

Jim Yakabuski Director of Audio U.S.  Solotech

With nearly 40 years as a professional sound reinforcement engineer, Jim started out mixing as club bands in western Canada in the early 1980s. He soon transitioned to a role as a concert staff engineer at dB Sound and the rest is history. Even with a packed schedule of writing pro audiobooks, penning articles for top industry magazines, mixing Peter Frampton, Journey, Avril Lavigne, Van Halen, Gwen Stefani, Matchbox 20 and basically any huge name band you can think of — Jim always has time to talk about the latest mix techniques, the coolest gear, and fun audio tips and tricks.

 

Dawn Birr – Sennheiser

Dawn Birr began her career in the audio industry in 2000, joining Sennheiser fresh out of college.  She started as a temporary receptionist and began to learn her way around and through the company.  Shortly afterward she moved into Customer Service and began learning how the customers and company worked.  Thanks to a nurturing company culture and strong role models who encouraged her to learn as much as possible, Dawn was promoted over the years to Neumann Product Manager, Professional RF Product Manager, VP of Sales for U.S. Installed Sound, Global Commercial Manager for Audio Recording, Channel Manager for the Americas for Pro Audio, and most recently to Global Customer and Markets Insights Manager, Pro Audio.  She completed her MBA in 2005 and is an advisory board member for The Women’s International Music Network and a proud SoundGirl.

Tina Morris – Studi Manager The Village

Tina Morris started her career in music as a guitar and Music Production/Engineering student at Berklee College of Music in Boston. Immediately after college, she started her professional career at Sound Techniques giving her a head start as an engineer and studio tech and working with some of the best in the business. After years of gigging with her band as a heavy metal guitarist, working as a freelance engineer for NPR, Q Division Studios, and The Blue Man Group she decided to move to LA with her husband. After moving she landed the position of head evening tech for The Village Studios.  Continuing to impress employers and clients alike with her expertise, Tina’s hard work was rewarded with a promotion to her current position as Studio Manager of The Village. Now the proud mother of her son Jackson, age 10, Tina still manages to balance her role of manager and mom.


Additional Resources

Before applying for jobs or internships – take some time to clean up your resumes and social media –

Tips for resumes and social media

Industry Directories – Get Yourself Listed

 

 

 

 

 

Mixing with Vanessa Silberman

Mixing tips with Vanessa Silberman presented by SoundGirls, Female Frequency, and A Diamond Heart Production

Thursday, May 6th – 6 PM EDT / 3 PM PDT

Join us for this exclusive webinar on mixing tips with Songwriter, Recording Producer, Engineer & Label Owner Vanessa Silberman.

Vanessa will walk us through a recording session and give tips on mixing using 2 DAWS: Pro Tools & Logic. You’ll get tips on everything from stemming files to Editing, EQ, Compression, Panning and much more.

Register and Post Questions

About Vanessa Silberman:
Vanessa Silberman is an international touring singer, guitarist and songwriter from Brooklyn, NY (via Los Angeles, CA). She is also a record producer, engineer, an independent A&R and runs an artist development Label called A Diamond Heart Production.

As an artist her music has often been compared to the raw bare bones rock ‘n roll of Nirvana along with the appeal and vocal qualities of Lana Del Ray and authenticity of classic artists such as Patti Smith and Neil Young. But more recently with the release of her latest single ‘My Love’ she’s incorporated more samples, beats and synths akin to artists such as Chvrches, Phantogram and Sylvan Esso.

Widely known for having a very strong DIY ethic and wearing many different hats in the music business —in the past Vanessa has worked for heavy hitter’s in the music business such as Producer / Songwriter Dr. Luke as well as for many companies and places ranging from the Foo Fighter’s Studio 606 to Epitaph Records. Vanessa has also Engineered for everyone from Tony Visconti (David Bowie, T Rex) to Kimbra & Harper Simon. She is also a Recording Academy Grammy Member, the co-chair of the New York Chapter of Soundgirls, an advisor to the Florence Belsky Charitable Foundation and assists California Women’s Music often co-hosting their virtual music festivals.

vanessasilbermanofficial.com
adiamondheartproduction.com

Female Frequency
Female Frequency is a community dedicated to empowering female, transgender & non-binary artists through the creation of music that is entirely female generated.

The first Female Frequency EP made entirely by women is available here–>
femalefrequency.bandcamp.com
femalefrequency.com

 

Starting A Show

In any normal year, early spring is when the staffing process begins for tours going out in the fall. You probably won’t have a contract in hand yet, but your resume has gone off to designers and production companies, or (if you’re currently on tour) you’ve had a conversation with your design team or production manager about the shows going into production, and what they might have in mind for you.

However, there are still months before you’ll hit the shop to build a new show, and longer until you’re in the venue to tech it. So spring and summer become the perfect time to start learning a new show so you can give yourself a running start. Right now, conversations center around maybes: someone has your resume on their desk; they’d like to inquire about your availability for a possible project; we’d like to see if you might be a good fit. That sort of language. At this point, nothing is for certain, but I’ll start in on some cursory research for the show I’m under consideration for. This mostly involves cyber stalking the show: searching YouTube for Tony Award or press event performances, Googling pictures of the production, and listening to the most recent cast album or recording of the show.

On Official Offer

Conversations use more concrete terms: yes, we’d like you to do the show; we’re sending your resume to the production manager; you should hear from this person soon, etc. At this point, the show’s soundtrack becomes the new underscore of my life. I cannot stress enough how important it is to listen to the show. Replicating the sound of it is your job, so the more familiar you are with it, the better. Plus, knowing what’s happening gives you a solid foundation to start tech and make intelligent mixing choices.

Finally, once I have an official offer I can start my formal prep. At this point I ask for a packet of information from the designers or production consisting of: a script (preferably a mixing script if it isn’t a brand new show), any audio recording that might be available, and a console file (again, this is if there’s a version of the show currently running).

The Script

The script is the basis for most of my paperwork. The audio recording hopefully gives me the full show to listen to, including dialogue. The console file lets me dive into the structure of the physical show as well as providing details about programming that might not be clear in the script.

From the script, I’ll build an initial set of paperwork starting with my own mixing script. Even if I get a complete, annotated mix script, I will always make my own for two reasons:

#1. I like my formatting. I have a system with color-coded notes that is easy for me to read, and I can put page breaks in convenient places. Plus, re-entering cues and notes means that I know exactly where each one goes.

#2. It’s another opportunity to get the show in my head. I always re-type the script which forces me to go over every single word of the show. Usually multiple times with annotations and proofreading.

In conjunction with the script, I’ll do some additional paperwork and make a spreadsheet to document (or for a new show, create) DCA assignments. This has the basic information of how many console scenes are in the show, what the name of each DCA fader is in each scene, and which specific mics are assigned on a given fader (if it’s not obvious, such as faders labeled chorus, altos, or one-off solo lines). This helps while annotating my script if I have a question where a cue needs to go or who’s in what scene, and becomes a quick reference for programming the console when I get to tech.

This is where the console file can come in handy. Most consoles have an offline editor that you can use to open it on your computer and look around to see how the show is laid out. When I’m building paperwork, I’ll double-check the file if I have questions about who exactly is singing which part in a scene.

Practice

Once I have an annotated script, my basic paperwork, and the audio recording, I’ll start to put the mix into practice. I use two methods, one that requires my practice board and another I can do pretty much anywhere.

Using my practice board (a set of faders that don’t control anything which you can find versions on casecraft.com, er3designs.com, or I, personally, have a custom board made by Scott Kuker), I’ll grab my script and the recording and move through the mix of the show. I’ll go over difficult transitions or fast sections multiple times to start developing some muscle memory, and if I’m having trouble, I’ll play around and see if there’s a more efficient way to mix the scene. That might be adjusting the DCA programming or changing which hand covers which faders. On Les Mis and Saigon, those shows are almost entirely sung-through, and there’s always music. So I used my right hand on the orchestra faders for the majority of the show and did the vocal choreography with my left hand. Practicing for those two shows involved figuring out where I needed both hands for vocals and should switch my right hand from covering the orchestra faders to assisting with dialogue. Mean Girls on the other hand has dialogue scenes with no underscoring, so I spent more time using both hands-on vocal faders and then shifting back over to the band for songs.

The second method I use is something I call pointing through the show. I can practice with this technique anywhere with just a piece of paper (the aforementioned DCA breakdown paperwork), and the audio recording of the show. For this, I’ll listen to the show, pointing along on the paper to who’s mic should be up at the moment. This tests how well I’ve memorized the show because there’s no way to hide if I can’t point to who’s talking. Then I’ll go over any problem scenes with my script. Most often these are dialogue scenes where it’s constantly switching between several different people or scenes with a lot of one-liners. Pretty much anything that might cause you to skip around on the faders if there’s no good way to do typewriter programming.

I started practicing this way because I got into the habit early in my career of working to get off the book as soon as possible. Pointing through the show gives me a head start on memorizing the show and I can usually put my script away a couple of weeks after tech. I find I pay better attention to how the show is sounding when I don’t have my head in my script. Other people prefer the security of having the script in front of them to reference, even if they don’t necessarily need it. It’s purely a personal preference, but you should always make sure you are comfortable and confident that you truly have the show memorized before you completely put your script away.

*    *    *

But what happens when you don’t have all this time to learn a show? The prep process I’ve outlined can take weeks or even months. What happens if you get thrown into a show at the last minute or won’t even get a script until a couple of days before tech? Or what if it’s a short run where you just can’t justify months of preparation?

In this case, I do some basic preparation but focus on making the notes in my script are clear since I’ll likely be sight-reading it in tech. I won’t retype my entire script, but instead use the limited prep time to make sure annotations and notes are easy to follow and my fader or DCA layout is as logical and simple as possible. If I have time to physically practice, I’ll focus on the complicated parts to make sure they’re efficient. I’ll always make and print out a DCA breakdown so I have a quick reference for programming the console.

Every bit of preparation helps, no matter how much or little time I have, and I’ve never met a designer that wasn’t happy to give me whatever they could to help me learn the show. So don’t be afraid to ask for materials, your designer will appreciate your initiative and everyone (yourself included!) will love it when you’re self-sufficient in tech.

Sonarworks Raffle

Sonarworks is providing one complete edition for speaker and headphones calibration software delivering consistently accurate studio reference sound.

Complete edition for Speakers & Headphones with measurement mic $299

2 licences for Headphones $99

Everyone is eligible to try out the software – They are offering a 21-day free trial here

SoundGirls will be raffling off these items on April 23, 2021. This raffle is available to all members of SoundGirls, if you are not a member you can register for free here

Enter Raffle Here

In less than 20 minutes you can calibrate your existing studio speakers with a SoundID Reference measurement microphone and calibrate your existing headphones with more than 280 headphone calibration profiles already included in the software as ready-to-use presets. With an applied calibration profile the software sets the frequency response target to be completely flat across all audible frequencies so you can make music that sounds great everywhere. You can also now make custom adjustments to the target curve in real-time with the new custom target feature.

With accurate studio reference sound, you can seamlessly switch between speakers, headphones, and rooms. Finally, ensure continuity of your workflow regardless of distance, gear, or set-up.


About Sonarworks

Sonarworks is an award-winning audio technology innovator delivering an individually perfected sound experience to every music creator and lover. Sonarworks started off in the professional audio space in 2012. Its patented technologies are now used in more than 70,000 studios globally, including many Grammy-Award-winning engineers recording A-list stars (like Lady Gaga, Madonna, Rihanna, Adele, Coldplay, and more). After conducting the biggest consumer sound preference research ever, Sonarworks now is on the mission to put personal sound front row and center for every music listener worldwide. With its industry-leading SoundID audio personalization technology Sonarworks offers category excellence for data-driven machine learning technology integration into consumer electronics devices and music database platforms.

Making Sonic Magic from Auditory Illusions

So, if a tree falls in the woods, perhaps it makes infinite sounds

A few years ago, I attended a talk on wave field synthesis, and to say I was captivated feels like a sorry understatement. Wave field synthesis, if you are unfamiliar with it as I was, is a spatial auditory illusion and rendering technique that produces a holophone, or auditory hologram, using many individually driven loudspeakers. The effect is that sounds appear to be coming from a virtual source and a listener’s perception of the source remains the same regardless of their position in the room. Its application in theatrical contexts is very new, but as the techniques and technology slowly become more widely available, the potential for theatrical applications is astounding.

This introduction to wave field synthesis, in addition to being quite exciting, pointed me towards a categorical lack of knowledge about auditory illusions. Since then, I’ve been filling in the gaps and adding these illusions to my sonic toolbox. Now, quite a bit of theatrical sound design could be considered spatial illusions like, for example, when we recreate actual physical phenomena like the doppler effect. Auditory illusions, however, encapsulate many effects extending far beyond this.

Optical illusions have long been the inspiration for and integrated into visual arts. M.C. Esher’s work, for instance, presents the viewer with impossible objects and perceptual confusions. In psychology and neurology, the study of optical illusions has played a large role in understanding the visual perception apparatus. Due to the historical ease of reproducing and distributing visual material, as opposed to auditory material, visual illusions have long been widely encountered, studied, and applied in artistic works. The history of auditory illusions and their use in psychology, music, sound design, and elsewhere is much shorter.

Auditory illusions, much like visual illusions, reveal the deficiencies and oddities of our perceptual processes, but the auditory and visual systems have their own unique attributes. The field of psychoacoustics examines how the brain processes sound, music, and speech. Hearing is not strictly mechanical but involves significant neural processing and is influenced by our anatomy, physiology, and cognition. Researches have even found that how we unconsciously interpret sounds is influenced by our individual environments, backgrounds, and dialects. Auditory illusions provide key information in unpacking our auditory processes for psychologists and neurologists. In artistic applications, auditory illusions provide similar insight into our perceptional processes and illustrate that there is no one true sonic reality.

Dr. Diana Deutsch, a psychologist at the University of California, San Diego is at the forefront of psychoacoustic research and her work has utilized countless auditory illusions and sonic paradoxes. If you want to hear examples and read her work, visit her website here: http://dianadeutsch.com/. Due largely to her research, there has been increasing understanding of the cognitive factors in the auditory system and how it has evolved over time to help us interpret our sonic environments effectively. Psychoacoustic research has been applied in myriad contexts including modeling compression codecs like mp3s, software development, audio system design, drone flying, car manufacturing, and even, terrifyingly, in acoustic weapon development. In the arts, psychoacoustics and auditory illusions have been applied in musical contexts, sound art, film, and theater, though these applications are fairly nascent.

There are a number of types of illusions that can be roughly categorized as spatial illusions, perpetual motion, and non-linear perceptual effects. More auditory illusions continue to be uncovered and understood, so these categories aren’t rigid. Spatial illusions are already a mainstay of theatrical sound design. We frequently manipulate spatialization to make it seem as though sounds are coming from a particular source or direction other than the loudspeaker producing the sound. Holophones can be created in a number of ways including wave field synthesis as I’ve mentioned. Binaural recording is another example of spatial manipulation, reproducing interaural features and anatomical influences of the head and ear. All of these spatial illusions exemplify a distinction between the physical properties of the sound field and the perception of what listeners actually hear.

Unreal sounds created in the inner ear or brain are a part of our daily lives that we typically don’t notice, and there are several auditory illusions that mirror common visual illusions. A Zwicker Tone, for example, is the sonic equivalent of an after image. Illusions of Auditory Continuity show us that when an acoustic sound signal is momentarily cut off and replaced by another sound, listeners perceive the original signal to continue through the interruption. Through the familiar Precedence or Haas Effect, we perceive a singular sonic event when one sound is followed by another with a short delay time, and that we ascribe directionality based on the first arriving sound. While subtle, these are all valuable design techniques.

Less subtle are perpetual motion illusions. Pitch and tempo circularity is roughly analogous to the barber pole illusion in which a sound seems to be endlessly ascending or descending or a rhythm seems to be endlessly increasing or decreasing in tempo. Both pitch and tempo circularity encapsulate a number of techniques and effects. The Risset Rhythm and Shepard Tone are complex versions. The Shepard Tone most notably influenced the film score for Dunkirk and created a palpable sense of anxiety. Much like Esher’s impossible stairs, circularity illusions are both unsettling and entrancing, a powerful design technique.

There are a number of speech-related auditory illusions. Most famously, the Laurel/Yanny internet phenomenon of 2018 brought speech interpretation illusions into the spotlight. It also demonstrated the incredible subjectivity of our hearing. Similarly, The McGurk Effect presents a puzzling phenomenon in the interaction of vision and speech. When a visual component of a person mouthing a sound is paired with a different sound, listeners perceive neither of the two sounds, but instead a third sound.

Dr. Deutsch has amassed an immense number of Stereophonic Illusions including Phantom Words, Binaural Beats, the Glissando Illusion, the Octave Illusion, the Scale Illusion, the Tritone Paradox, and more. Her work shows us how differently people perceive the same sounds. When we listen to speech the words we perceive are influenced by our expectations, knowledge, dialect, and culture, in addition to the physical sounds we hear. Much of her work has also demonstrated how left and right-handedness influences how complex sounds are synthesized and localized in our heads. In the Tritone Paradox, utilizing sequentially played Shepard tones a tritone apart, some listeners hear the tone ascending while others hear it descending. The potential for designing sounds in which some of the audience experiences the inverse of what others experience is, to me at least, a riveting notion.

While this is brief overview is the tip of the ever-expanding metaphorical iceberg of auditory illusions, I have found that looking into psychoacoustics and auditory neurology provides incredible design techniques and ideas that are not always at our disposal. The potential here that I’m so excited about, is to create audience experiences that rouse questions about the subjectivity of their perceptions of the world around them. Audiences can leave the theater not believing their ears. It also illuminates a greater need for interdisciplinary collaboration and cooperation between fields that often feel disparate: psychology, neurology, audiology, engineering, music, sound design, etc. In my own work, I have yet to utilize almost any of this material (with the exception of spatialization techniques, of course), but it is leading me to think about designing for the whole head, the ear, the brain, and the mind. I so look forward to the continued integration of auditory illusions in theatrical designs, creating sound magic.

 

 

Mental Health and Attachment

I started this month with some work on the books, a one-off awards show. It was a wonderful feeling to be back at it, while at the same time trying to remind myself that I haven’t forgotten how to re-string a guitar. However, it was short-lived. The crew was cut back due to Covid restrictions and I was back in my sweat pants before I could say load in.

It got me to thinking about how we attach ourselves to our jobs. I started walking taller knowing I was working again, I had a purpose once more. Seeing other people’s posts about feeling a loss of purpose during this lockdown, I’ve been thinking how potentially unhealthy it is that we have such an attachment to our jobs. We are not wholly our jobs. Yes, we may have dedicated years to trying to get the job in the first place, but it does not define us. Just because we have pivoted to driving a delivery van or working in a coffee shop, it doesn’t make us a different person, or at least it shouldn’t. We should focus on our qualities and what we bring to the world that way. Can you deliver a package in the same way you would tend to an artist? Do you take pride in being on time every single day for your shift just like you would need to for a bus call?

You can still be super passionate about your career, but it doesn’t need to be all-consuming. Do you take breaks between tours? Are you able to maintain relationships off the road? As much as we want to believe that people are looking out for us, our artist cares about us, at the end of the day it’s a business. They will no doubt do whatever is best for their business, so you should also think of yourself as a business. Nurture yourself, put yourself first.

What is your identity outside of work? I have been taking this forced time off to start learning to surf. I have always wanted to learn, I have put myself in the best location (Southern California baby!) and now there are no excuses for not having the time. In fact, I am becoming quite knowledgeable on how the waves are during all the seasons (or should I say the one season we have here!).

The one commodity you can never replace is time. Enjoy being handed some time off, or at least having time to do something different.

 

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