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Working with Hands from Uber Works

2020 brought a variety of topics concerning gig workers in the US to light. From addressing unemployment for independent contractors to the House of Representatives introducing the P.R.O Act, Covid-19 is changing the conversation for the classification of gig workers. Florida introduced Uber Work, Uber’s new on-demand staffing business, in December 2019 to launch in its second city ever, Miami. Since March put a strain on the need for gig-based workers in the right-to-work state, I only recently had the pleasure of working alongside people utilizing this new app.

Some background information

One of the many struggles with event logistics during this time has been maintaining labor lists. Florida has fewer restrictions for venues drawing the attention of companies with events that don’t entirely rely on a live audience. Broadcast events like award shows have been navigating how to keep crews safe while still creating impressive rigs. Labor companies are eager to work and make promises to fill large calls, maybe biting off a little more than they can chew. Infrequent work has forced talented and knowledgeable hands to leave the industry temporarily to find steady day-work to make ends meet or leave entirely to transfer their skills to jobs less affected by the pandemic. You can’t always take off of work to take a few days of 8-hour calls.

It’s been interesting. When there’s one large event in my market at a time, I see the same friendly faces repeatedly regardless of which company is filling the call. You can almost work full-time under multiple companies. But it’s a little more complicated for those companies when there’s more than one event and as we’ve gotten further away from March 2020. Two different companies needing to fill 100+ calls can become very difficult very fast. Everyone is going to take the sweeter deal first.

What company is giving more days? How many hours a day? Who provides the better rate? Is there Covid testing? Parking? Hotel? Food?

What happens to the labor company that gets shorted by people being unavailable?

This is where one company that I was working for turned to Uber Works. A major selling point for this app is that people can take shifts for jobs that are entry-level and require very little previous skills. I can say with confidence, that is not the live entertainment industry. This job took place in a good-sized arena in Downtown Miami. I would never consider a fast-paced arena environment to be entry-level. We were already multiple days into this gig building the staging, raising video walls, flying line array, and lighting truss out. It’s an active work zone so I figured the crew of about 20 people would be coming in with tools and their own personal protective equipment. Most had no tools and just wore ankle-high boots (couldn’t say if they were safety toes). PPE was provided by the labor company but many of these workers would misplace their gear and it would be returned to supervisors by the end of the day.

Uber Works’ flagship city was Chicago. Miami has a very different logistical landscape when employing people. I’m not sure the company truly thought out some of the challenges different cities may have. English isn’t necessarily the default language for our work environment. Our crew is diverse and we tackled issues the company didn’t consider head-on with multiple translations for safety meetings, giving directions, and assisting anywhere we could. Uber Works didn’t consider possible accommodations they’d need to make to have this crew integrate smoothly. Language barriers become more apparent as things get more technical. Not every crew lead was bilingual. I found it challenging to try to explain signal flow to someone who has never seen XLR before. I was grasping at words to explain stage directions when they’ve never been on a stage before. This was taking on-the-job training to new levels.

It became very clear that while this technically solved the problem of not having enough hands, it came at a high price. How can I get frustrated with someone who was basically set up to fail?

The people from Uber Works who agreed to take on this difficult challenge were some of the sweetest, eager, willing to work people. They were pleasant to be around, they were patient and willing to learn, they tried to be aware of their surroundings in a possibly dangerous environment. I found that they shared some solidarity within their own group sharing a difficult experience and worked well as a team. I appreciated their enthusiasm but I personally can’t agree with ever having Uber Works on my job site ever again. Uber Works has a lot of kinks they need to fix and it’s not a solution for our industry.

For Uber Works to willingly send untrained people into an arena was reckless. There are inherent dangers to our field in dealing with heights, power, heavy machinery, and large loads. To add possible room for miscommunication exponentially increases that risk. These were people risking their lives to make ends meet during a pandemic where jobs are scarce and they were going in with their eyes closed.

The wonderful people who make up our industry are not easily replaced by someone deemed “unskilled” by a large corporation. We have a wealth of knowledge that is often built up from years of experience and dedication to our craft. I’m hoping in the future labor companies will be more willing to split bids with other companies in order to properly fill calls for clients. I’m also hoping companies like Uber Works don’t continue to devalue our labor. You can’t penny and dime our skillsets or take a commission on an hourly rate. A low-balling bid war during this time wouldn’t just set back rates; it would push so many more away from an industry that they love.

The gig was chaotic, but I think that says more about the companies who agreed to these terms than the working hands.

SoundGirls Grab Bags

SoundGirls is redesigning our website and in anticipation will be designing new merchandise. We are putting all our merch on sale and offering grab bags (while supplies last)

Grab Bags are $20 plus shipping.  SoundGirls Grab Bags may include T-shirts, The Girls Guide to Doing Sound, Buttons, Lanyards, Notepads, Gig Bags, Canvas Totes, and other surprises. This is while Supplies Last. Please fill out this form and we will bill you through Paypal. Grab Bags will be shipped after the payment is made.

Reserve your Grab Bag Here

Nitrosonic Studios: Women-Owned and Operated Studio and Audio School

 

Nitrosonic Studios was founded in 2005 by producer Brian Pulito, with a mission to provide the best recording experience possible at an affordable price. Since then, Nitrosonic has grown and expanded into one of the region’s top destination studios. In late 2018. Engineers April Edwards and Danielle Barkman were handed the reins, and along with studio musician and friend Leah Arrington, they have taken Nitrosonic to all new highs.

Boasting newly constructed studios at a convenient downtown location in Lexington, Kentucky with state-of-the-art recording gear, three professionally tuned drum kits, and a 50’x20’ live room, Nitrosonic boasts an impressive scene. It is also a one-stop-shop, with engineers specializing in recording, mixing, and mastering all under one roof. In fact, this year, they launched an Audio Engineering School with programs in each specialization in collaboration with some of the country’s most well-regarded engineers. Each education program is also offered virtually as well are the Studios’ mixing and mastering services.

We were able to catch up with both April and Danielle.

As a child, what did you imagine your career would be?

April: I wasn’t sure what I wanted as a career, but I knew I wanted to be great at whatever it was. I was always drawn to music and I took piano, guitar, violin, and vocal lessons as a child. My mother played the flute and various forms of hand percussion and she took me to a lot of Drum Circles and Operas when I was a kid. From a very young age, I was told that I had a great ear; I feel like I was destined to become an audio engineer.

Danielle: Drummer or audio person of some sort. I grew up in a musical family, most everyone played something. Drummers everywhere lol. Also Engineers. I relieved seeing a medium format console turn down and rebuilt in the dining room table when I was very young, I was drawn to it even then… all the knobs and faders were so attractive. That, or maybe grow up and join the muppets, but they were pretty musical too, so I guess I would’ve ended up in music either way.

What is your approach to recording a session? Any particular routine you’ve set for yourself to make the process smoother along the way from recording to mastering? 

We try to prepare as much as possible before the session even starts. We make input lists for ourselves and monitoring lists for the musicians, so everyone is on the same page and there is no confusion. We have bands drop their gear off the night before so we can have it miked and ready for soundcheck when they walk in for the session. We spend a lot of time on preproduction planning; this includes figuring out where we want the instruments and players to live, where to place our Airhush Gobos, which Earthworks Audio microphones we’re going to use, and how, which Unison Preamps we want to run through and more!

We are constantly striving to “get it right at the mic” because it makes every phase after recording that much easier and more enjoyable if you do. Instead of spending time trying to fix things in the mix and master, we get to be creative and have fun! While recording as a team, April is already thinking about the Mix and Danielle is already thinking about the Master, and we make decisions together that help us achieve the best results in those next stages.

Additionally, a big part of this job is playing “psychologist”. You have to learn what makes your clients tick and how to get the best performances out of people. We make sure our clients are comfortable, having fun, and “vibing” in our studio, because people perform way better that way. We make sure bands take breaks when they need to, stay hydrated, and don’t get “hangry”. It makes our job much easier when the musicians are happy and relaxed!

Let’s talk gear. Your studio is LUNA and Universal Audio equipped. Can you explain what the LUNA system is and when you first worked with UA? 

The Luna Recording System by Universal Audio is inspired by an analog workflow and allows us to record with sub-2-millisecond latency from input to output. We have access to the industry’s most iconic and coveted equipment through UA’s plugins, extensions, and Unison preamps, with end-to-end emulations that precisely model the colors and behaviors of this gear that we can now use totally in the box. Nitrosonic Studios used UA gear and plugins long before we took over, but we became immersed in the UA world when we purchased our Apollo interfaces a couple of years ago and discovered LUNA last year. We fell in love with LUNA right away. It’s amazing how specific we can now be about the sounds we capture; we have access to the gear that’s found in the world’s most notorious recording studios but without the hefty price tags, and we can pick and choose what we want to sound like on any given day for any type of session. Some of our favorite features include the Neve and API Summing extensions, the Studer and Ampex Tape extensions, and the juicy list of Unison preamps and channel strips at our disposal including the Neve 88RS, the API Vision Channel Strip and the UA 610-B.

Nitrosonic Studios became woman-owned and operated in 2018 before the studio moved to its current location. Can you tell us more about how you decided to take the reins and what you envision for Nitrosonic? 

In 2016, April started as an intern while enrolled in audio engineering school with The Recording Connection. About a year later, the previous owner moved out of state and handed her the reins as lead engineer and studio manager. At the time, Nitrosonic also offered band rehearsal space, which is how Leah Arrington (now the third owner of Nitrosonic) discovered the studio. Leah and her band The Slick Floors recorded an EP with April, and she happily returned with her other band Metric Soul to record a project, which is how Danielle discovered the studio. Danielle is the drummer for Metric Soul, and since the session, she’s stuck and stayed, first acting as a session drummer, assistant manager, and April’s right-hand woman. On the winter solstice of 2018, the former owner approached us and asked if we wanted to buy the studio and we eagerly accepted his offer. We then approached Leah with the opportunity of being the third owner of Nitrosonic Studios, and without hesitation, she jumped on board. Now, not only is Nitrosonic owned by three women but we also employees two women, Abigail Buettner (Studio Manager) and Amanda Aday (Creative Director). We decided to buy the studio because the choices we faced were to either continue doing what we love or get a normal job, and we weren’t about to do that.

Our vision for Nitrosonic Studios was to take it from being a small local studio to a known destination studio that bands and artists from around the world travel to record in. We are located in the thriving NoLi district in Lexington, KY, and have partnered with several businesses and Air BnB’s around the neighborhood to help accommodate the needs of traveling musicians. Before COVID hit, we were partnering with local venues to help promote our services to the acts that were coming through Lexington on their tours, and because of that, we’ve gotten to work with some amazing touring bands such as The Mike Dillon Band and Vintage Pistol. We are trying to utilize our studio as a vehicle to be able to work with the best in the industry; this doesn’t just include musicians but other engineers as well. Over the past couple of years, we have networked and built working relationships with some of the most incredible audio engineers including David Dominguez (Weezer, Guns N’ Roses, Sublime), IRKO (Pitbull, Jay Z, Snoop Dogg), and Drew Mazurek (The Neville Brothers, Bonnie Raitt, Linkin Park). Another goal of ours is to recruit more women into this field because we are seriously underrepresented and the music industry would benefit greatly from having more women audio engineers and producers because let’s face it, we’re good at what we do!

Congratulations on Nitrosonic’s Audio Engineering School. Tell us more about how the school developed and what programs are available to students. 

Thank you! We are so excited about this endeavor. We realized we wanted to start teaching audio engineering because we would love to inspire more females to choose this field, but also because we realized how expensive audio engineering school can be and how outdated some of the course material is. We wanted to give a fresh and modern perspective while demonstrating how we use some of the newest and best technology on the market. There is so much random information available online that it’s sometimes hard to weed out what’s good and bad advice when it comes to audio, and so we wanted to streamline the learning process for people, so they only get the information they want and need to better themselves as engineers. Because we record, mix and master in-house, we’re able to teach people how to best execute each process in order to set themselves up for success in the next phase.

Due to the current climate, in-person learning just wasn’t a viable option, and so we created a totally online, live, and interactive program with classes on Recording, Mixing and Mastering. The classes are each four weeks long with intensive instruction for beginner to intermediate students. We are also excited about the growing list of special guest instructors that will be making appearances throughout our classes including David Dominguez, IRKO, Drew Mazurek and Maria Caridad Espinosa.

In addition to the classes, we’re also now offering one-on-one professional consulting services in recording, mixing, mastering, sound treatment and more!

Danielle, you’re also a drummer. Can you talk about how being a percussionist relates to engineering? 

Danielle: I feel it gives me a great connection to audio engineering. Possibly because drums area sonic assault and take up so much of the frequency spectrum, we are subconsciously aware of what is going on in all these areas. I’m not honestly sure myself, but I know that if I can get a killer kick drum sound, I can therefore get a killer bass guitar sound because of similarities in the frequency and attack, release, etc. this is true on up from the toms to the snare to the cymbals. Years of dealing with drums in live PA settings really does train your brain to deal fast and effectively.

What kind of music did you grow up on? Was there a band that made you want to work in the field? 

April: I grew up listening to The Grateful Dead, and every summer my parents and I would hit several Dead shows. It was quite a colorful childhood I had!  I actually got into the field of audio engineering as a singer/songwriter; I wanted more control of my music because I had a couple of bad experiences with engineers who either didn’t deliver the quality I was looking for or didn’t deliver at all. I intended to learn how to record and mix for selfish reasons but I fell in love with working with other artists and bands, even more so than being an artist myself.

Danielle: A bit of everything. My mom has things like Willie Nelson and Doobie Brothers, my grandmother was from New Orleans and jazz was always a part of life. My cousin is a great drummer and he was throwing funky treats at me like Earth Wind & Fire and Sly & the Family Stone. I had to be different from any of that and went towards punk and metal, looking for thrills in the loud and fast. College and my percussion instructor then reignited my love for jazz and I really focused on my jazz, funk and jam. It was all about the groove and living in the moment from then on. Anything from Galactic and MMW to Steely Dan and Grateful Dead. Now I’m here, and I forgot the question, oh yeah, music and stuff… in terms of inspiring me to want to get into audio I would have to pin it on Pink Floyd – Dark Side of the Moon, Supertramp – Breakfast in America, Soundgarden – Super Unknown, and Tom Waits – Swordfish Trombones as some of the albums that made me realize just how much the studio is an instrument, and really made me want to learn more.

April, when did you feel like you were officially a “mix engineer”? Was there a specific mix you were working on when it clicked for you? 

April: It was more of a gradual awakening. I just kept putting in the work and the hours and I got better with every mix. I would send my mixes off to better, more seasoned mix engineers for any advice and mix notes I could absorb, and I still do that sometimes (but not as often)! I used to need constant affirmation that my mixes sounded good, but with every happy client, I grew more confident and stopped seeking as much outside validation. When my mixes started sounding as good or better than music that was currently charting, I knew I was becoming a legit mix engineer.

Danielle, how did you fall in love with mastering, and why do you think there’s so much mystery surrounding the practice?

Danielle: I was always drawn to mastering even when I was young… even before I knew what it was. It was the mystery of it that drew me in. It’s like fight club, no one wants to talk about it lol. I kept seeing the names of the best mastering engineers on every cassette I got as a kid, and I just knew that for some reason a good mastering engineer was very important to a great album.

There’s something so pleasing and satisfying about taking a beautifully mixed track and getting that extra 1.5-2% of magic to appear. To find a way to make something better, without noticeably changing how it was. It’s like a magic trick when done right, and it can ruin the party vibe when done poorly.

If you could visit yourself as a teenager, what is one piece of advice you would give your former self?

April: Stop chasing boys and chase your dreams! Ha! That would’ve saved me a couple of years.

Danielle: Never believe what anyone tells you is possible, or more importantly, what is impossible. If you want something, go after it. Don’t get discouraged so easily, you can turn that into determination. Be yourself, it’s ok. Really, it’s ok to be yourself, I’m not kidding, just be yourself. If you get really good enough at something like drums or engineering, you can be as goofy, unique and weird as you want to be, and you’ll get away with it. Also, grow bangs, they frame your face better!

Find More Studios, Sound Companies, and Vendors owned and operated by women

Women-Owned Businesses

Reasons to Get a Mentor

And why now is the time to do it

On behalf of SoundGirls, I have been working with Noelle Scaggs from Fitz and the tantrums on her initiative called Diversify The Stage. It aims to bring more people of color, women, and L.G.B.T.Q. individuals into the concert industry through a series of masterclass sessions, mentorships, and internship programs. The middle stage involved placing the students with mentors so I thought I would share some thoughts on having a mentor.

Why do you need a mentor?

So you’re looking to get into the industry but you don’t know where to start, or maybe you have questions about the job(s). These days you can find out a lot of information online for yourself, however, this definitely does not replace having a mentor.

You can type a question into Google such as “how to re-string a guitar” and you will get hundreds of YouTube videos and websites telling you how to do it. You’ll probably become overwhelmed and have more questions than when you started. However, with a mentor, you can have a conversation and ask follow-up questions to your initial question. There is never just one question! There is also never just one answer, but isn’t it best to get an answer from a person who is actually doing the thing you want to do?

How I found my mentor

I wasn’t looking for a mentor, and I have never even said the word mentor to my mentor! He probably doesn’t even realise the role he’s in. The mentor/mentee relationship doesn’t need to be something super specific, you don’t need to have set times to meet each week or month. It’s about having someone you can turn to when you have questions, fears, doubts. Someone who can share your excitement, and hopefully someone who can help you progress in your chosen field.

So how did I find my mentor? I was fortunate enough to get a job in a rehearsal studio in London and during the introductions, I was told one of the staff was a guitar tech for bands on tour. I was immediately in awe as that was exactly what I wanted to do! Luckily for me, we had a lot of common interests (90’s music, fast cars, guitars) so we become good friends. I shared with him that I wanted to do what he did and asked if he could show me some things like re-stringing a guitar “properly” (how a tech would do it), testing amps, building a drum kit, etc. He was so kind to oblige and he even recommended me for my first proper “full time as a freelancer” tour.

It didn’t stop there, I leant on him a lot in that first year because I didn’t know if other tours would come in, I was out there in the freelancer world on my own. He reassured me that there would be more work and to just enjoy the downtime. Sure enough, more work came and I didn’t look back. Years into my career I would still be asking his advice, and still do now. Just last week I was asking him about a Hammond organ! He is a fountain of knowledge to me and this is what drives me to want to give back to those starting out now. We all know more than someone else out there, and there are people who would benefit from that knowledge.

Now is the time to find a mentor

Of course, most touring people are off tour right now. Many have had to turn to other jobs or they are just waiting for the big re-open. Now is the perfect time to reach out to some people you admire in your chosen field. If they’re worth their salt, they won’t mind you reaching out. They’ve been in the place you are, and most would be happy to help. I’m sure it will make them happy to feel like they are contributing something in the touring world right now. Do some research on who does the job you’re looking to do and send them a polite message. You never know, you may end up working with them or in place of them one day.

You can find out more about Diversify The Stage

 

 

 

Soldering for Beginners Webinar

Soldering is one of the most useful skills a sound technician can have. It can seem daunting at first, but it is surprisingly easy once you know how. It can help you understand your equipment and signal flow better, save you money, and there’s nothing quite like whipping out a soldering iron and saving a gig to silence the doubters.

This webinar will cover the basics of soldering and we will be making and soldering an XLR Cable. The webinar is taught by Christina Milinusic and will be assisted by Barbara Adams, Victoria Butash, Samantha Potter, and Erika Earl.

April 18 at 3 PM PST/6 PM EST

Registration is limited to 60 people.

Register Here

You need to gather the following materials and review this Soldering PDF CMilinusic_SoundGirls_SolderingXLR(2)LR(1)

To make an XLR cable you need

Standard 3 wire analog cable.
The configuration of this balanced cable is signal (+), signal (-), and shielded common (ground). The (+) wire carries the in-phase signal and the (-) wire carries the inverted signal. This balanced cable has good noise rejection because the noise is always in-phase. This means once the cable is plugged in the (in-phase) noise will be subtracted out. The recommended maximum length of an XLR is 100 feet (30 meters).

XLR Connectors (Plug-Socket)

 

2 XLR Connectors (Both Plug and Socket)

 

Tools needed

See PDF for pictures

CMilinusic_SoundGirls_SolderingXLR(1)

 

Do I Still Know How To Do My Job?

My last mixing FOH for a real audience was January 8, 2020. For some reason I feel a necessity to write down a year as well, being afraid that if this stand-still stays longer than we all hope I’ll still be able to track down to my last real show. I only wish we won’t get in the scenario of those memes where there’s a senior person being led by a young kid saying “my 2020 gigs were rescheduled again” and the youngster answers “let it go granny, it’s 2063 already”.

So, it’s over a year at this point without being surrounded by live music, audience cheers, and the feeling of those butterflies in a stomach two minutes before a show starts. I had rehearsals with my supposed-to-be cast on a cruise ship through mid-February to mid-March, so I feel like I was still in the right vibe. And after that –  that’s it.

The slow sway of a vaccination process gives some positive thoughts that we’re moving in the right direction and one day to be able to get back to our jobs, Here comes the scariest part. Do I still know how to do my job?

I was talking with other artists and randomly we started talking about skill loss when not practicing. An artist that I genuinely admire, shared his experience that after not painting for a year it was very frustrating to take a brush in a hand again, and then it took time to get back the same technique. A scriptwriter told me that not writing a script for some time has become a struggle to get those creative juices going again. Then I thought about myself, as an ex-drummer. When our high school band split up and I stopped drumming for good. A couple of years later I got a job as a backline tech and one day I got asked to do a drum soundcheck. Kick – fine. Snare- fine. You know how it goes. And then a guy running FOH who knew about my drummer career asked me to play something. I froze, couldn’t keep a steady 4/4 beat. So, at this point, I already know how it feels to try doing something that you knew well some time ago, but suddenly it feels so unknown. –

Let’s point out that I’m not only talking about mixing. Mixing is easy, I see live sound engineering as a complex set of skills. A lot of us, live sound engineers, didn’t have a necessity to be sharp for over a year, no 5-minute changeovers, no crew management, no immediate problem solving on the fly, no 300ft power cable ran backward, you name it. All of these skills didn’t come overnight. It took years and years going through fire and ice just not to freak out and learn how to calmly make the right decisions. Thinking about that honestly makes me worry, do I still know how to behave? Or is it just like riding a bike? Am I the only one in the industry concerned? Or will it be a slow start for everybody when live shows will get back? Is there a way to do a self-check? Or it is not necessary, because everything we knew comes back naturally once we start doing what we’ve been doing?

Can’t tell how much I appreciate those virtual product presentations, free training, and Q&A sessions. I haven’t watched that many educational videos ever in my life. But does that keep us, live sound engineers acute and prepared for the live environment? Can’t wait the day to come to find out!


Dovile Bindokaite is currently based and working as a freelance sound engineer in Lithuania. She has an MA degree in sound engineering and started working in sound in 2012. Since 2014, she has worked in various positions in live sound including FOH, monitor engineer, sound engineer for broadcasting, RF coordinator, backline tech, stage tech, stage manager. For the past year, she was part of an audio team at Schubert Systems Group (USA). She has experience working in theatre as a sound designer and recording studios as a recording engineer.

 

Tips and Tricks for Subs and Replacements.

A lot of folks’ first “big break” doesn’t come in the way that you might expect. Mine was a matter of good timing, mostly. I had just finished a run as the A2 on a small new musical, and during the load-out week, my boss pulled me aside and asked to discuss something with me. The show running at the theater’s main stage had become a giant box office hit and was going to extend its run by an additional month. However, the current mixer on that show had a conflict with the final weeks of performances, and my boss, who would usually cover for him, had other things going on. So, did I want to do it instead?

The “In-Out” sheet provided by stage management outlining what understudies and subs are in the show that night. Paperwork created by Pamela Remler, Alison Simone, and Christine Seppala.

 

I had never been a substitute or replacement on a show before. Ever! I think I might have understudied someone when I was in the ensemble of the eighth-grade musical? But I definitely never went on. Shows in school and college also tend to have really short runs, and often the sprint to get the show open is so crazy that no one gives a thought to having to possibly replace an actor or technician at a moment’s notice. So as a result, these skills are most often learned “on the job.” And they are important skills to have because subbing or replacing someone on a show is how a LOT of people get their start in the industry!

Being a substitute or replacement on a show definitely comes with its own unique set of challenges. Regardless of the situation, it’s always tricky to be the new kid. You’re coming into a group that has already formed, and in all likelihood, they have a bond that comes from having been through the process together up to that point. So, not only are you trying to learn to do your new job, but you are also navigating the social situation and seeing how you are going to fit in. Plus, on the practical side, you will not have been privy to all the decisions that were made throughout rehearsals, tech, and previews, which led to why things are done the way they are. You’re getting a lot of new information but without the underlying context.

 

How I felt my first-day training on Irving Berlin’s Holiday Inn. Don’t worry, everyone was nice!

Sounds challenging, right? But fear not! There’s a lot you can do to set yourself up for success. So, with that, here are a few best practices for making your transition into a show as smooth as possible.

*quick side note for definitions: I think of a sub as someone who covers for the current mixer in the case of a planned or unplanned absence, and a replacement as someone who is training to take over mixing the show full time. Sometimes they overlap, certainly, there are differences, but hopefully, these tips and tricks will help in either case.

Do as much homework as you can!

One great thing about joining a show that is already up and running is that you don’t have to come in as blind as on an original production. As soon as you’re hired, ask to see the show. See it as many times as you can from the audience before you start watching it from the mix position. This will give you a great sense of how the sound system is laid out, because in all likelihood the show feels pretty different under the balcony vs. second row orchestra. That knowledge will inform your understanding of why the mixer does things a certain way, and how the balance that you hear at FOH is translating to the audience.

If you can’t be in the theater prior to your start date, get any recordings or cast albums that exist and listen to them nonstop. The show that I first came in on as a replacement was a new jukebox musical called Irving Berlin’s Holiday Inn, so there wasn’t a cast album of any kind. My solution? I made a Spotify playlist of all the original songs so that I could at least get a handle on the lyrics, even though the songs in the show were in different arrangements and keys. Ask for any scripts, scores, and show paperwork, so that you’re as familiar with the material as you can be before hitting the ground running.

Read the room

Your first day at the theater should be 99% about listening and observing. What is the vibe like backstage? How does the current mixer interact with people? You can get a lot of knowledge from watching them because they know the people they work with and how to interact with them. They will know which actors want to chat, and which ones would prefer to be left alone to get into character. At least when you’re first phasing in, follow the current mixer’s usual walking paths and tendencies. It will help to create a sense of continuity, because your new coworkers will see that you are not here to rock the boat or upset the existing balance.

Of course, if you get the sense right away that there is some tension, use your judgment about how you might do things differently when it’s just you there. And certainly, you shouldn’t do anything that you are uncomfortable with, or mimic a behavior that you think is making other people uncomfortable. You are your own person, after all. Don’t be afraid to ask your mixer questions about why they do things a certain way or speak to people a certain way once you’re able to talk privately later. But when making those first impressions, take a leaf from the Hamilton book and “talk less, smile more.”

Respect precedent

A follow-up to #2. As we’ve covered, things usually are the way they are for a reason, even if you aren’t sure what that reason is yet. When you start learning to mix the show, do it as identically to the current mixer as you can. Do not change any programming! This is considered rude, as the Mix Bible and Control Group assignments is the original mixer’s main artistic contribution to the piece. Sure, if you’re a replacement, you may do some cleanup of the show file once you’re on your own (spelling errors and such), but for now, mix the original mixer’s show, and mix it their way. Also, if a show runs in multiple cities (e.g., there is a New York production and a touring production), those productions are likely set up to be exact replicas of each other, so that if someone is transferred from one to the other, they aren’t suddenly learning a new way to mix a certain scene. Everyone who mixes the show needs to be able to do it the same way, so you risk creating inconsistencies between mixers if everyone has their own slightly different show file. You should definitely have your own script, set up in a way that makes sense to you, but to make this script you should be copying the notes out of the current mixer’s script exactly, and taking cues where they take them. If you’re replacing someone on a show, your mix will naturally evolve over time, as other folks in the company swap in and out, or after a director or designer comes to note the show. But for now, your job is to do what the current person does.

 

Left-Brad Zuckerman’s original mix script for Rock of Ages Off-Broadway. Right: my version of the mix script. Same notes and info just conveyed in two different ways.

Form smart alliances

In my opinion, the 3 most important relationships that a mixer on a musical has are with the Stage Manager, the Music Director, and the House Manager. Including you, these are the 4 people whose jobs really have no breaks! Y’all are busy the entire show, steering your own related parts of the ship that come together to make a whole production. The stage manager will be able to give you insight into the actors, the general energy backstage, and other things that may help to inform your mix that evening. They can also be an ally when working through scenarios such as a a split track (when there are multiple actor absences and lines/vocals need to be reassigned to do the show “person-down”), a post-show speech, or a special event onstage. The music director is depending on you to make sure the band is coming through well to the house, as well as to the monitors. They will appreciate knowing that you are on their side! The MD knows the show better than almost anyone, and they will know when you might need to make an adjustment based on a sub musician or understudy actor. Finally, the house manager will be able to tell you about any weird audience/patron situations that may affect your mixing. Plus, you can work together to catch audience members using their cellphones to text or bootleg the show, because sometimes you have a better view of the audience than the ushers! This is an ENORMOUS pet peeve of mine personally, and I am grateful to the many house managers who work hard to minimize distractions for those of us who are out in the audience making the show happen.

 

Learn everyone’s names (and pronouns!)

I used to tell my apprentices that if they only learned one thing in their time working with me, it should be the names of the band members and their subs. I was only half-joking when I said it! This is one of the simplest things you can do to build trust and respect with people. Ask for a face page (a document usually made by stage management, with small photos of the company with their names and pronouns listed underneath them). Study it. If there isn’t a face page, make your own! Get a program or playbill, which should at least have photos of the cast, plus names of the orchestra and crew. Resort to googling and social media stalking if necessary. And if you forget, don’t be afraid to ask! I once walked right into the wardrobe room and said to one of our awesome stitchers “you are always here, and you are so helpful, and I cannot remember your name or pronouns!” Once he told me, I never forgot. Plus, I turned my forgetfulness into an opportunity to build respect not just with this stitcher, but with the whole wardrobe department. It showed everyone in the wardrobe room that who they are and what they do on the show was important to me.

Finally, don’t be afraid to ask questions! The more information you have, the better you’ll do at finding your place and doing your job as well as the person before you. Work hard, be patient, and show a lot of respect. If you’re a replacement, know that you will find your own role in time, so there’s no need to rush it. If you’re a sub, just focus on keeping things consistent on the nights that you are there.

Mid-way through my training on that first sub gig, the music director came up to the original mixer at intermission and said, “the show sounds good tonight!” To which the original mixer replied, “I’m not mixing the show tonight!” That’s how I knew I was doing it right. I had worked hard not just to learn to mix the show, but also to create a smooth and seamless transition between the outgoing mixer and myself. And someone not knowing that that transition had even happened truly was the best compliment of all.

Look out for my next blog in April, where I’ll flip the scenario and talking about TRAINING subs and replacements!

IWD SOUNDGIRLS Playlist 

In Celebration of International Women’s Day

IWD SOUNDGIRLS Playlist 

A collection of songs from artists & women working on both sides of the glass in the studio, curated by SoundGirls. Learn more about who we are, what we do, & join our community at Soundgirls.org.

Make Every Day of Every Month Women’s Day 

Things you can do to Diversify the Industry.

Diversify Your Studio & Road Crews by hiring women, women-identifying, and non-binary people working in Recording, Live Sound, Film & TV, Game Audio, Podcasts and more. Find them in The EQL Directory. The EQL Directory Amplifies the careers and achievements of women working behind the scenes in audio and production.

We would like to thank everyone for submitting their work for consideration, we received so many fantastic songs it was very hard to narrow down for the playlist. We would like to thank Ainjel Emme, Jett Galindo, Shruti Kumar, and Jasmine Mills for helping to curate and gather credit information

SoundGirls understands how important it is that musicians, composers, producers, and engineers are credited properly. We have done our best to list proper credits, if you do not see proper crediting, please contact us and we will update the credits.                   

SoundGirls IWD Playlist Credits

Resistance Revival Chorus

Everybody Deserves To Be Free

SONGWRITERS Deva Mahal, Lips, Stephanie Brown

MUSIC PRODUCERS / VOCAL PRODUCERS Tiffany Gouché, Deva Mahal, Abena Koomson-Davis

RECORDING ENGINEERS / EDITORS

Jaclyn Sanchez, Abbey Lewis

MIXING ENGINEERS

Jaclyn Sanchez

MASTERING ENGINEERS

Jett Galindo

MUSICIANS

WEBSITE

https://www.resistancerevivalchorus.com/; Bandcamp: https://resistancerevivalchorus.bandcamp.com/album/this-joy


JARINA DEMARCO

Ilegales

SONGWRITERS

Jarina DeMarco

MUSIC PRODUCERS / VOCAL PRODUCERS

Jarina DeMarco, Dylan Brady

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

MASTERING ENGINEERS

MUSICIANS

WEBSITE


JACKIE VENSON

Make Me Feel

SONGWRITERS

Jackie Venson

MUSIC PRODUCERS / VOCAL PRODUCERS

Jackie Venson, Chris “Frenchie” Smith

RECORDING ENGINEERS / EDITORS

Christopher Messina, Jas Nowicki

MIXING ENGINEERS

Tim Palmer, Eddy Hobizal

MASTERING ENGINEERS

Eddy Hobizal

MUSICIANS

additional drum parts: Jas Nowicki

WEBSITE

Bandcamp: https://jackievenson.bandcamp.com/track/make-me-feel; Instagram: https://www.instagram.com/jackievenson/; Facebook: https://www.facebook.com/jackievenson; TikTok: https://www.tiktok.com/@jackievenson


TOKiMONSTA ft. VANJESS

Come and Go

SONGWRITERS

Jennifer Lee

MUSIC PRODUCERS / VOCAL PRODUCERS

TOKiMONSTA

RECORDING ENGINEERS / EDITORS

TOKiMONSTA

MIXING ENGINEERS

TOKiMONSTA

MASTERING ENGINEERS

TOKiMONSTA

MUSICIANS

WEBSITE

https://tokimonsta.com; Instagram: https://www.instagram.com/tokimonsta/; Facbook: https://www.facebook.com/tokimonsta; Twitter: https://twitter.com/tokimonsta


KIM GORDON

Sketch Artist

SONGWRITERS

Kim Gordon, Justin Raisen

MUSIC PRODUCERS / VOCAL PRODUCERS

Justin Raisen

RECORDING ENGINEERS / EDITORS

Justin Raisen, Anthony Paul Lopez

MIXING ENGINEERS

Justin Raisen

MASTERING ENGINEERS

Mike Bozzi

MUSICIANS

WEBSITE

https://kimaltheagordon.com; Instagram: https://www.instagram.com/kimletgordon/; Facebook: https://www.facebook.com/watch/KimGordonOfficial/


JOYEUR

Motion

SONGWRITERS

Anna Feller, Mischa Mandel

MUSIC PRODUCERS / VOCAL PRODUCERS

Anna Feller

RECORDING ENGINEERS / EDITORS

Anna Feller

MIXING ENGINEERS

Kevin Feller

MASTERING ENGINEERS

Jett Galindo

MUSICIANS

Joelle Corey, Anna Feller

WEBSITE

Instagram: https://www.instagram.com/itsjoyeur/?hl=en; Facebook: https://www.facebook.com/itsJoyeur/; Twitter:https://twitter.com/itsJoyeur?fbclid=IwAR33zZjeW9w9SnZX5CvgBwVW8IM30jGm913p-3Wa7035e4Il3K8x2w31xLE;


PRIYA RAGU

Good Love 2.0

SONGWRITERS

Aristoteles Filipe, Roshaan Ragu, Priya Ragu

MUSIC PRODUCERS / VOCAL PRODUCERS

Priya Ragu, Japhna Gold

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

MASTERING ENGINEERS

MUSICIANS

WEBSITE

Facebook: https://www.facebook.com/priyaragu.music/; Instagram: https://www.instagram.com/priyaraguofficial/; Twitter: https://twitter.com/PRIYARAGUMUSIC?fbclid=IwAR2UwVJNDlWSJjZPw6d4-V8lNFfXBEfF03hGR-ZuXG1JpQbR9cPskRktDcs


SIERRA HULL

How Long

SONGWRITERS

Sierra Hull, Cindy Morgan

MUSIC PRODUCERS / VOCAL PRODUCERS

Shani Gandhi, Sierra Hull

RECORDING ENGINEERS / EDITORS

Shani Gandhi, Ron Block, Elise Hayes, Sierra Hull, Josh Kaler, Justin Moses, Gary Paczosa, Sam Reider, Jano Rix, Kai Welch

MIXING ENGINEERS

Shani Gandhi, Gary Paczosa

MASTERING ENGINEERS

Adam Grover

MUSICIANS 

WEBSITE

https://www.sierrahull.com; Facebook: https://www.facebook.com/SierraHullMusic; Instagram: https://www.instagram.com/sierradawnhull/; Twitter: https://twitter.com/sierrahull


LUNA LI

Afterglow

SONGWRITERS

Hannah Kim, Luna Li (Hannah Bussiere)

MUSIC PRODUCERS / VOCAL PRODUCERS

Braden Sauder

RECORDING ENGINEERS / EDITORS

Braden Sauder

MIXING ENGINEERS

MASTERING ENGINEERS

Brock McFarlane

MUSICIANS

violin: Luna Li; bass: Luna Li; keys: Luna Li; vocals: Luna Li; guitar: Luna Li

WEBSITE

Instagram: https://www.instagram.com/lunaliband/?utm_source=ig_embed; Facebook: https://www.facebook.com/lunaliband/; Bandcamp: https://lunali.bandcamp.com/?fbclid=IwAR103OnUz31jSlS36GhsiPITHmeHnNjgBpUR01CeaPKio9l79n-c7I2d8GE; Twitter: https://twitter.com/lunaliband


HER SONGS: MARIE DAHLSTROM, EMILY C. BROWNING, EMMAVIE, DANI MURCIA, THE NAKED EYE

If We Try

SONGWRITERS

Her Songs: Dani Murcia, Emmavie, Marie Dahlstrøm, The Naked Eye, Emily C. Browning; Francesca (additional lyrics)

MUSIC PRODUCERS / VOCAL PRODUCERS

Dani Murcia, Emmavie, Marie Dahlstrøm, The Naked Eye

RECORDING ENGINEERS / EDITORS

Jaclyn Sanchez

MIXING ENGINEERS

Jaclyn Sanchez

MASTERING ENGINEERS

Jaclyn Sanchez

MUSICIANS

vocals: Emily C. Browning; guitar: Emily C. Browning; keys: Marie Dahlstrøm

WEBSITE

https://www.mariedahlstrom.com/her-songs, https://www.hersongsmusic.com; Facebook: https://www.facebook.com/mariedmusic/, https://www.facebook.com/hersongscollective; Twitter: https://twitter.com/mariedmusic; Instagram: https://www.instagram.com/marie.dahlstrom/, https://www.instagram.com/her.songs/


KILLS BIRDS

Volcano

SONGWRITERS

Nina Ljeti, Jacob Loeb, Fielder Thomas, Bosh Rothman

MUSIC PRODUCERS / VOCAL PRODUCERS

Justin Raisen

RECORDING ENGINEERS / EDITORS

Ainjel Emme, Anthony Paul Lopez

MIXING ENGINEERS

Justin Raisen

MASTERING ENGINEERS

MUSICIANS

WEBSITE

Instagram: https://www.instagram.com/killsbirdsmusic/; Twitter: https://twitter.com/killsbirdsmusic?lang=en


SUDAN ARCHIVES

Confessions

SONGWRITERS

Sudan Archives (Brittney Denise Parks), Wilma Archer, James R. McCall IV

MUSIC PRODUCERS / VOCAL PRODUCERS

Sudan Archives (Brittney Denise Parks), Wilma (or Will?) Archer; additional arrangement: James R. McCall IV

RECORDING ENGINEERS / EDITORS

Will Archer

MIXING ENGINEERS

Kenny Gilmore

MASTERING ENGINEERS

Dave Cooley

MUSICIANS

keys: Will Archer; cello: Clíona Ní Choileáin; mandolin: Sudan Archives; drum programming: Sudan Archives; synth: Sudan Archives; violin: Sudan Archives; bass: Sudan Archives; percussion: Sudan Archives


ELIZABETH GOODFELLOW

Milwaukee

SONGWRITERS

Elizabeth Goodfellow

MUSIC PRODUCERS / VOCAL PRODUCERS

Elizabeth Goodfellow

RECORDING ENGINEERS / EDITORS

Elizabeth Goodfellow

MIXING ENGINEERS

Theo Karon

MASTERING ENGINEERS

Stephen Marsh

MUSICIANS

vocals: Elizabeth Goodfellow, strings: Dina Maccabee, pedal steel: Ryan Hommel drums: Elizabeth Goodfellow, marimba: Elizabeth Goodfellow

WEBSITE


ANNABELLE MAGINNIS

Blastin’ Pastem

SONGWRITERS

Annabelle Maginnis

MUSIC PRODUCERS / VOCAL PRODUCERS

Annabelle Maginnis, Kenny Zhao

RECORDING ENGINEERS / EDITORS

Rachel White

MIXING ENGINEERS

Kenny Zhao

MASTERING ENGINEERS

Delwin Campbell

MUSICIANS

vocals: Annabelle Maginnis; bass: Kenny Zhao; keys: Kenny Zhao

WEBSITE

Facebook: https://www.facebook.com/AnnabelleMaginnisMusic/; Instagram: https://www.instagram.com/annabellemaginnismusic/


MADAME GANDHI ft. TRAKGIRL

Freedom (Spotify EQL Sessions)

SONGWRITERS

Madame Gandhi ,TRAKGIRL, Sophie Ackroyd

MUSIC PRODUCERS / VOCAL PRODUCERS

TRAKGIRL, Sophie Ackroyd, Alissa Faratro (vocal producer)

RECORDING ENGINEERS / EDITORS

Sophie Ackroyd, Alissa Faratro, Jessica Taylor

MIXING ENGINEERS

Ann Mincieli

MASTERING ENGINEERS

Piper Payne

MUSICIANS

WEBSITE

https://www.madamegandhi.com; Twitter: https://twitter.com/MadameGandhi/status/1247395530096775168, https://www.instagram.com/trakgirl/?hl=en; Instagram: https://www.instagram.com/trakgirl/?hl=en


RIE DAISIES 

Float

SONGWRITERS

Rie Daisies

MUSIC PRODUCERS / VOCAL PRODUCERS

Rie Daisies

RECORDING ENGINEERS / EDITORS

Corey DeRushia, Rie Daisies, Ainjel Emme, Jasmine Mills

MIXING ENGINEERS

Corey DeRushia

MASTERING ENGINEERS

Audrey Martinovich

MUSICIANS 

percussion: Rie Daisies, Larry Salzman; programming: Rie Daisies; keys: Rie Daisies; synth; Rie Daisies; trumpet: Kelly O’Donohue; trombone: Kelly O’Donohue; flugelhorn: Kelly O’Donohue; vocals: Dr. Susanne Lewis, Ainjel Emme, Jasmine Mills, Corey DeRushia

WEBSITE

http://www.riedaisies.com; Facebook: https://www.facebook.com/RieDaisies/; Instagram: https://www.instagram.com/rie_daisies/; Twitter: https://twitter.com/RieDaisies


DOE PAORO

Walk Through The Fire

SONGWRITERS

Sonia Kreitzer, Shruti Kumar

MUSIC PRODUCERS / VOCAL PRODUCERS

Jimmy Hogarth, Shruti Kumar

RECORDING ENGINEERS / EDITORS

Jimmy Hogarth

MIXING ENGINEERS

Michael Brauer

MASTERING ENGINEERS

Joe LaPorta

MUSICIANS

WEBSITE


KAT HAMILTON

Medicine Line

SONGWRITERS

Katherine Hamilton, Allee Futterer, William Lynch

MUSIC PRODUCERS / VOCAL PRODUCERS

Allee Futterer

RECORDING ENGINEERS / EDITORS

Vira Byramji

MIXING ENGINEERS

Ryan Gilligan

MASTERING ENGINEERS

Joe La Porta (at Sterling Sound)

MUSICIANS

guitars: Liv Slingerland, Molly Miller, Tomas Morello, Kat Hamilon, Allee Futterer; bass: Allee Futterer; drums: Will Lynch, Jake Reed, Kiel Feher; keys: Allee Futterer, Kat Hamilton; trumpet: Niko Giamo

WEBSITE

Bandcamp: https://kathamilton.bandcamp.com/track/medicine-line; Facebook: https://www.facebook.com/kathamiltonofficial/; Instagram: https://www.instagram.com/kathamiltonofficial/?fbclid=IwAR2Bsm7BG7WONTFSK4VzF50J2vtjl5NegJJkQ-HVYVak1NXyASMmtd26_tk;


WE ARE KING

Space Oddity

SONGWRITERS

David Bowie

MUSIC PRODUCERS / VOCAL PRODUCERS

Paris Strothers

RECORDING ENGINEERS / EDITORS

Paris Strothers

MIXING ENGINEERS

Ben Kane

MASTERING ENGINEERS

Heba Kadry

MUSICIANS

WEBSITE


KEREN ABREU

En Guayubin No Llueve

SONGWRITERS

Keren Abreu

MUSIC PRODUCERS / VOCAL PRODUCERS

Stephen Rodes Chen

RECORDING ENGINEERS / EDITORS

Andrew Sheron, Nathan Prillaman, Stephen Rodes Chen

MIXING ENGINEERS

Daniel Ávila

MASTERING ENGINEERS

Anna Frick

MUSICIANS

drums and percussion: C-bass Chiriboga; bass: James Quinlan; EGT: Jeb Roberts: AGT: Chris Peters; saxophone: Stephen Rodes Chen, Steven Salcedo; trumpet: Olivia Malin; vocals: Keren Abreu; BGVs: Shyamala Ramakrishna, Shirley Paxton Fofang

WEBSITE

https://kerenabreu.com/music-2/; Facebook: https://www.facebook.com/kerenabreumusic/; Instagram: https://www.instagram.com/kerenabreumusic/; Twitter: https://twitter.com/kerenabreumusic/


ALY & AJ 

Slow Dancing

SONGWRITERS

Aly Mikeala, AJ Mikaela, Yves Rothman, Ryan Spraker

MUSIC PRODUCERS / VOCAL PRODUCERS

Yves Rothman, Ainjel Emme

RECORDING ENGINEERS / EDITORS

Yves Rothman, Jesse L. Newport, Nate Haessly, Ainjel Emme

MIXING ENGINEERS

Yves Rothman, Jesse L. Newport

MASTERING ENGINEERS

Emily Lazar

MUSICIANS

vocals: Aly Michalka, AJ Michalka; guitars: Ben Zelico, Amir Yaghmai; wurlitzer: Ben Zellico; bass: Jake Bercovici; drums, percussion, programming: James McAlister; mini moog , mellotron, TR 505: Yves Rothman; slide guitar, organ, cello: Stewart Bronaugh; winds: Sylvain Carton.

WEBSITE

https://alyandaj.com; Twitter: https://twitter.com/alyandaj; Instagram: https://www.instagram.com/alyandaj/; Facebook: https://www.facebook.com/alyandaj


IMOGEN HEAP

Last Night Of An Empire

SONGWRITERS

Imogen Heap

MUSIC PRODUCERS / VOCAL PRODUCERS

Imogen Heap (includiing instrumentation

RECORDING ENGINEERS / EDITORS

Alexis Michallek (recording studio assistant)

MIXING ENGINEERS

Imogen Heap

MASTERING ENGINEERS

Simon Heyworth

MUSICIANS

vocals: Imogen Heap; programming: Imogen Heap

WEBSITE

http://imogenheap.com/myceliatour.php; Facebook: https://www.facebook.com/imogenheap; Instagram: https://www.instagram.com/imogenheap/; Twitter: https://twitter.com/imogenheap


FLETCHER

Forever (SOPHIE Remix)

SONGWRITERS

Kinetics, Amy Allen, One Love, FLETCHER

MUSIC PRODUCERS / VOCAL PRODUCERS

SOPHIE, Jason Evigan, Gian Stone; vocal producers: One Love, Lionel Crasta, Jason Evigan, Gian Stone; additional production: One Love; studio personnel: SOPHIE

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

remixer: SOPHIE

MASTERING ENGINEERS

MUSICIANS

WEBSITE

http://www.findingfletcher.com; Snapchat: https://www.snapchat.com/add/findingfletcher; Facebook: https://www.facebook.com/fletcher/; Twitter: https://twitter.com/findingfletcher; Instagram: https://www.instagram.com/findingxfletcher/


JULIA NUNES

Feels Good

SONGWRITERS

Julia Nunes, Shruti Kumar

MUSIC PRODUCERS / VOCAL PRODUCERS

Shruti Kumar

RECORDING ENGINEERS / EDITORS

Eva Reistad, Vira Byramji (vocal engineer)

MIXING ENGINEERS

Vira Byramji

MASTERING ENGINEERS

Heba Kadry

MUSICIANS

Solomon Dorsey, Dave Mackay; drums: Aaron Steele; ukelele: Julia Nunes; synths/programming: Shruti Kumar

WEBSITE

www.julianunes.com; Facebook: https://www.facebook.com/julianunesmusic; Instagram: https://www.instagram.com/julianunesmusic/; Twitter: https://twitter.com/JuliaNunes


MERCY/LYNNE, feat. Mercy Collazo

Countdown

SONGWRITERS

Mercy Collazo, Lynne Earls

MUSIC PRODUCERS / VOCAL PRODUCERS

Lynne Earls

RECORDING ENGINEERS / EDITORS

Lynne Earls

MIXING ENGINEERS

Lynne Earls

MASTERING ENGINEERS

Piper Payne

MUSICIANS

vocals: Mercy Collazo; drums and percussion: Lynne Earls; tamborine: Jay Bellerose; bass: Lynne Earls; keys: Lynne Earls; programming: Lynne Earls

WEBSITE

http://www.lynneearls.com; Instagram: https://www.instagram.com/mercycollazomusic/, https://www.instagram.com/lynneearls/?hl=en


CARLY PARADIS

Rooftop

SONGWRITERS

Carly Paradis

MUSIC PRODUCERS / VOCAL PRODUCERS

Carly Paradis

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Satoshi Noguchi, Olga Fitzroy

MASTERING ENGINEERS

John Webber

MUSICIANS

WEBSITE

Instagram: https://www.instagram.com/carlyparadis/?hl=en


TAYLA PARX

Stare

SONGWRITERS

Tayla Parx, Wynne Bennett

MUSIC PRODUCERS / VOCAL PRODUCERS

Tayla Parx, Wynne Bennett & Junior Oliver Frid

RECORDING ENGINEERS / EDITORS

Cory Bice, Sam Holland, Jeremy Lertola, Fermin Suero Jr.

MIXING ENGINEERS

Gert-Jan Blom, Mikal Blue, Dem Jointz, Junior Oliver Frid, Neal Pogue

MASTERING ENGINEERS

Joe LaPorta

MUSICIANS

WEBSITE

https://www.taylaparx.com; Facebook: https://www.facebook.com/taylaparx; Instagram: https://www.instagram.com/taylaparx/; Twitter: https://twitter.com/taylaparx


ANOUSHKA SHANKAR, ALEV LENZ

Space

SONGWRITERS

Anoushka Shankar, Alev Lenz

MUSIC PRODUCERS / VOCAL PRODUCERS

Anoushka Shankar, Alev Lenz

RECORDING ENGINEERS / EDITORS

Joe Brown

MIXING ENGINEERS

Matthew Robertson

MASTERING ENGINEERS

Mandy Parnell

MUSICIANS

vocals: Alev Lenz; sitar: Anoushka Shankar; programmer: Alev Lenz; piano: Alev Lenz; Jew’s Harp: Pirashanna Thevarajah

WEBSITE

https://www.anoushkashankar.com; Facebook: https://www.facebook.com/AnoushkaShankar; Instagram: https://www.instagram.com/anoushkashankarofficial/?hl=pt; Twitter: https://twitter.com/shankaranoushka


BJORK

Arisen My Senses

SONGWRITERS

Bjork, Arca

MUSIC PRODUCERS / VOCAL PRODUCERS

Bjork, Arca

RECORDING ENGINEERS / EDITORS

Chris Elms, Bart Migal, Bergur Þórisson

MIXING ENGINEERS

Marta Salogni

MASTERING ENGINEERS

Mandy Parnell

MUSICIANS 

harp: Katie Buckley; beats: Arca; synth: Arca; electronics: Arca

WEBSITE

https://www.bjork.com; Facebook: https://www.facebook.com/bjork/


FEMALE FREQUENCY, CLAIRE LONDON

Speak Easy

SONGWRITERS

Claire London

MUSIC PRODUCERS / VOCAL PRODUCERS

I Am Snow Angel, Kerry Pompeo (additional production)

RECORDING ENGINEERS / EDITORS

Kerry Pompeo

MIXING ENGINEERS

Kerry Pompeo

MASTERING ENGINEERS

Maria Rice

MUSICIANS

lead vocals: Claire London; instrumentation: I Am Snow Angel; programming: I Am Snow Angel; BGV: Claire London

WEBSITE

https://www.clairelondon.com, https://www.femalefrequency.com; Facebook: https://www.facebook.com/ClaireLondonMusic/, https://www.facebook.com/femalefrequency; Instagram: https://www.instagram.com/clairelondonmusic/?hl=en, https://www.instagram.com/femalefrequency/; Twitter: https://twitter.com/clairelondon?lang=en, https://twitter.com/femalefreq; Bandcamp: https://femalefrequency.bandcamp.com/track/speak-easy


SLEATER KINNEY

Bad Dance

SONGWRITERS

Sleater Kinney (Corin Tucker, Carrie Brownstein, Janet Weiss)

MUSIC PRODUCERS / VOCAL PRODUCERS

St. Vincent (Annie Clark)

RECORDING ENGINEERS / EDITORS

Cian Riordan

MIXING ENGINEERS

Tom Elmhirst

MASTERING ENGINEERS

Chris Gehringer

MUSICIANS

drums: Janet Weiss; vocals: Carrie Brownstein, Corin Tucker; guitar: Carrie Brownstein, Corin Tucker

WEBSITE

http://www.sleater-kinney.com; Facebook: https://www.facebook.com/SleaterKinney; Instagram: https://www.instagram.com/sleater_kinney/; Twitter: https://twitter.com/Sleater_Kinney


LAE.

Someone New

SONGWRITERS

Alexandra Schulz, Shruti Kumar

MUSIC PRODUCERS / VOCAL PRODUCERS

Shruti Kumar

RECORDING ENGINEERS / EDITORS

Eva Reistad, Ryan Gilligan

MIXING ENGINEERS

Ryan Gilligan

MASTERING ENGINEERS

Lurssen Mastering

MUSICIANS

Shruti Kumar, Brandon Walters, Sarab Singh

WEBSITE

Facebook: https://m.facebook.com/lae.music/


DRESAGE

Holy

SONGWRITERS

Keeley Bumford

MUSIC PRODUCERS / VOCAL PRODUCERS

Keeley Bumford

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Keeley Bumford

MASTERING ENGINEERS

Keeley Bumford

MUSICIANS

WEBSITE

Instagram: https://www.instagram.com/dresagemusic/; some site: https://linktr.ee/sheisdresage; Twitter: https://twitter.com/dresagemusic; TikTok: https://www.tiktok.com/@dresagemusic; Facebook: https://www.facebook.com/dresagemusic/?ref=bookmarks


RUTH B. ft. The Harlem Gospel Travelers

If I Have A Son

SONGWRITERS

Ruth Berhe

MUSIC PRODUCERS / VOCAL PRODUCERS

Ruth B., Patrick Wimberley

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

MASTERING ENGINEERS

MUSICIANS

WEBSITE


YIFY ZHANG

Light

SONGWRITERS

Yify Zhang

MUSIC PRODUCERS / VOCAL PRODUCERS

Julie Kathryn /aka I Am Snow Angel

RECORDING ENGINEERS / EDITORS

Julie Kathryn /aka I Am Snow Angel

MIXING ENGINEERS

Julie Kathryn /aka I Am Snow Angel

MASTERING ENGINEERS

Jeff Lipton and Maria Rice at Peerless Mastering

MUSICIANS

Julie Kathryn/I Am Snow Angel and Yify Zhang

WEBSITE

http://www.yifyzhang.com; Facebook: https://www.facebook.com/yifyzmusic; Twitter: https://www.instagram.com/yifyzhang/

 

SHUNGUZDO

To Be Me

SONGWRITERS

Shungudzo

MUSIC PRODUCERS / VOCAL PRODUCERS

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

MASTERING ENGINEERS

MUSICIANS

Shungudzo Kuyimba

WEBSITE

https://shungudzo.com/


GIRLPOOL

Pretty

SONGWRITERS

Avery Tucker, Harmony Tividad

MUSIC PRODUCERS / VOCAL PRODUCERS

Girlpool, David Tolomei

RECORDING ENGINEERS / EDITORS

Ryan Howe

MIXING ENGINEERS

David Tolomei

MASTERING ENGINEERS

Heba Kadry

MUSICIANS

WEBSITE

https://www.girlpoolmusic.com; Facebook: https://www.facebook.com/GIRLPOOOL/; Instagram: https://www.instagram.com/girlpoool/; Twitter: https://twitter.com/girlpool


RENEE GOUST

La Cumbia Feminazi

SONGWRITERS

MUSIC PRODUCERS / VOCAL PRODUCERS

RECORDING ENGINEERS / EDITORS

Rube Gomez

MIXING ENGINEERS

Rube Gomez

MASTERING ENGINEERS

Jaime Cavazos

MUSICIANS

drums: Cachi Zazueta; percussion: Baloo Rayas; bass: Eliud Ernandes; EGT: Renee Goust; AGT: Renee Goust; trumpet: Jose Luis Aleman Cano; trombone; Hugo Ayanegui; lead vocals: Renee Goust

WEBSITE

https://reneegoust.com; Instagram: https://www.instagram.com/reneegoust/; Twitter: https://twitter.com/reneegoust


MAWD

Demons

SONGWRITERS

Mawd, Josiah Mazzaschi

MUSIC PRODUCERS / VOCAL PRODUCERS

Josiah Mazzaschi

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Josiah Mazzaschi

MASTERING ENGINEERS

Anthony Puglisi

MUSICIANS

lead guitar: Aiden Scrivens; violin: Kyle Bailey; Tommy Paradise; trumpet: Nick Bruno; trombone: Robert Verdugo;

WEBSITE

https://www.mawdmusic.com; Facebook: https://www.facebook.com/mawdofficial; Imstagram: https://www.instagram.com/mawdmusic/; Rwitter: https://twitter.com/mawdmusic


JAMILA WOODS

SULA (Hardcover)

SONGWRITERS

Jamila Woods

MUSIC PRODUCERS / VOCAL PRODUCERS

Jamila Woods, Slot-A

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Matt Hennessy

MASTERING ENGINEERS

Jett Galindo

MUSICIANS

WEBSITE

http://www.jamila-woods.com


LAUREN RUTH WARD

Pullstring

SONGWRITERS

Lauren Ruth Ward

MUSIC PRODUCERS / VOCAL PRODUCERS

David Davis

RECORDING ENGINEERS / EDITORS

David Davis

MIXING ENGINEERS

David Davis

MASTERING ENGINEERS

Calin Enache

MUSICIANS

drums: Stella Mozgawa; bass: Eduardo Rivera; guitar: Eduardo Rivera; strings: David Davis

WEBSITE

https://laurenruthwardmusic.com; Facebook: https://www.facebook.com/laurenruthwardmusic; Instagram: https://www.instagram.com/laurenruthward/; Twitter: https://twitter.com/laurenruthward


LYDIA AINSWORTH

Forever

SONGWRITERS

Lydia Ainsworth

MUSIC PRODUCERS / VOCAL PRODUCERS

Lydia Ainsworth

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Dajaun Martineau

MASTERING ENGINEERS

MUSICIANS

drums: Mark Kelso; bass: Neil Chapman; guitar: Neil Chapman

WEBSITE

https://www.lydiaainsworth.com/?fbclid=IwAR1xIDx56Vw3Pm3ONU3pfNlmWJehGHCXwVvo8WJS4HkICzHnOXVhT7dQzhM; Facebook: https://www.facebook.com/lydmusic/; Instagram: https://www.instagram.com/lydia.ainsworth/; Twitter: https://twitter.com/lydiaainsworth


ZÖE 

Shook

SONGWRITERS

ZÖE

MUSIC PRODUCERS / VOCAL PRODUCERS

ZÖE

RECORDING ENGINEERS / EDITORS

Asmundr Johannsson

MIXING ENGINEERS

ZÖE

MASTERING ENGINEERS

Eric Zobler

MUSICIANS

drums Gulli Briem, bass Guomundar Oskar, violin Unnur Birna Bjornsdottir

WEBSITE

https://www.zoesongs.com; Twitter: https://twitter.com/zoerutherwin;


ANNA MEREDITH

Inhale Exhale

SONGWRITERS

Anna Meredith

MUSIC PRODUCERS / VOCAL PRODUCERS

Anna Meredith

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

Marta Salogni

MASTERING ENGINEERS

John Webber

MUSICIANS

WEBSITE

http://www.annameredith.com; Facebook: https://www.facebook.com/annahmeredith; Instagram: https://www.instagram.com/annahmeredith/; Twitter: https://twitter.com/annahmeredith


KYSHONA ARMSTRONG

Listen

SONGWRITERS

Kyshona Armstrong, Emma Lee

MUSIC PRODUCERS / VOCAL PRODUCERS

Andrijja Tokic

RECORDING ENGINEERS / EDITORS

Andrija Tokic

MIXING ENGINEERS

Andrija Tokic

MASTERING ENGINEERS

John Baldwin

MUSICIANS

vocals: Kyshona Armstrong; BGVs: Christina Harrison, Maureen Murphy, Kyshona Armstrong; drums/percussion: Derrek Phillips; bass guitar: Ryan Madora; EGT: Ellen Angelico; AGT: Ellen Angelico; keys: Michael B. Hicks, John Pahmer, Kyshona; violin: Kristin Weber; cello: Larissa Maestro

WEBSITE

http://www.kyshona.com; Facebook: https://www.facebook.com/kyshona; Instagram: https://www.instagram.com/kyshonamusic/; Twitter: https://twitter.com/kyshona


LP GIOBBI

Move Your Body (feat. hermixalot)

SONGWRITERS

LP Giobbi, hermixalot

MUSIC PRODUCERS / VOCAL PRODUCERS

LP Giobbi

RECORDING ENGINEERS / EDITORS

MIXING ENGINEERS

MASTERING ENGINEERS

MUSICIANS

WEBSITE

Facebook: https://www.facebook.com/LPGiobbi; Instagram: https://www.instagram.com/lpgiobbi/; Twitter: https://twitter.com/LPGiobbi


NADINE SHAH

Kitchen Sink

SONGWRITERS

Nadine Shah, B. Hillier

MUSIC PRODUCERS / VOCAL PRODUCERS

Ben Hiller

RECORDING ENGINEERS / EDITORS

Ben Hiller, Dan Crook, Maisie Cook

MIXING ENGINEERS

Ben Hillier, Dan Crook, Maisie Cook

MASTERING ENGINEERS

Katie Tavini

MUSICIANS

lead vocals: Nadine Shah, guitar: Ben Hillier

WEBSITE

https://nadineshah.co.uk/#home; Facebook: https://www.facebook.com/Nadineshah/; Instagram: https://www.instagram.com/nadineshah/; Twitter: https://twitter.com/nadineshah


THE WILD WEST

Better Way

SONGWRITERS

Manda Mosher / Deb Morrison / Heather Anne Lomax

Arrangement by The Wild West

MUSIC PRODUCERS / VOCAL PRODUCERS

Manda Mosher & Eric Craig

RECORDING ENGINEERS / EDITORS

Eric Craig, Pi Jacobs, Amilia K Spicer

MIXING ENGINEERS

Mark Niemiec

MASTERING ENGINEERS

David Donnelly for DNA Mastering

MUSICIANS

The Wild West: Amilia K Spicer, Manda Mosher, Heather Anne Lomax, Tawny Ellis, Pi Jacobs, and Deb Morrison.

WEBSITE

https://www.blackbirdrecordlabel.com/


EMILY KING

Can’t Hold Me

SONGWRITERS

Emily King, Jeremy Most

MUSIC PRODUCERS / VOCAL PRODUCERS

Jeremy Most, Emily King

RECORDING ENGINEERS / EDITORS

Jesse Singer, Chris Soper

MIXING ENGINEERS

Tom Elmhirst, Ben Kane, Jeremy Most

MASTERING ENGINEERS

Bob Ludwig

MUSICIANS

WEBSITE

https://www.emilykingmusic.com; Facebook: https://www.facebook.com/emilykingmusic/; Twitter: https://twitter.com/Emilykingmusic


NATALIE PRASS

Sisters – alternative selection

SONGWRITERS

Natalie Prass

MUSIC PRODUCERS / VOCAL PRODUCERS

Matthew E. White

RECORDING ENGINEERS / EDITORS

Adrian Olsen

MIXING ENGINEERS

Adrian Olsen, Mikal Blue, Michael Brauer

MASTERING ENGINEERS

Bob Ludwig

MUSICIANS

WEBSITE

https://natalieprass.com/#home-section; Facebook: https://www.facebook.com/NataliePrass; Instagram: https://www.instagram.com/natalieprass/; Twitter: https://twitter.com/natalieprass

Tips and Suggestions for Making a Better Sounding Podcasts 

 

It’s 2021, we’re in an age where making podcasts is easier than ever! But, with that comes wanting to make sure your podcast sticks out from others. One way is to have a better-sounding podcast. The great thing is, you don’t need to spend a lot of money to have a great-sounding podcast! The point of this post is to help you “fix” your podcast in pre-production so you don’t have too much to clean up during post.

First off, I’ll say I’ve been working on set and post sound for almost 10 years and I’m still not an expert. I’m constantly learning something every day. It’s also what makes each day interesting and exciting! I’ve worked on other peoples’ podcasts and started my own in 2020. I’m still learning about what equipment and software there is out there!

For my own podcast, I had planned for it to be all in-person interviews. But, COVID happened and it changed the format. Actually for the better! Now that my interviews are online or by phone, I’m able to meet and chat with way more people than I would have had it only been in person. Especially since I don’t live in Los Angeles.

My setup includes:

Set Up

To start off, your setup is key. You can record in a closet, in some couch cushions, pad out your area with some sound panels or sound blankets. I record straight into a comforter with sound blankets around me. Be sure to check when garbage day is as that’ll pick up in your audio! Since most of us are at home, you can’t control all the sounds in your neighborhood. Especially if you’re in a suburban area like myself. I even live next to two airports! Padding out your area or using a closet can quickly clean up that audio and keep out unwanted noises.

Phone and Anchor.Fm

You can also use your phone! You and your friends or interviewee can record straight into your phone (even better if you plug in a microphone or use headphones with a built-in microphone). You don’t want feedback from the audio so some headphones are great to have no matter your set up. If you’re recording through your phone, you can go straight into Anchor.FM and it’s one of the simplest ways to record your podcast. It even helps you with recording intro and outros and adding music.

Microphones

Microphones, as I said, can be plugged straight into your phone now! They actually don’t sound that bad. I would suggest for better sound quality you use an XLR based microphone with an interface straight into the computer. You can record it separately like I do sometimes and sync it up later. Rodes and Blue Yetis/Snowballs are great without breaking the bank. Also nothing wrong with USB microphones.

Pop Filters

You also want a pop filter to help stop the harsh P’s and S’s that can be picked up. They can be hard to get rid of if you don’t have a good audio clean-up program. You also want to be about a ‘hang loose’ hand sign away from the microphone.

Microphone Stands

For stands; I use a small microphone stand that goes on top of a table. Those are great and keep things out of the way. The ones that connect straight onto a table can make for a more minimalistic approach. You should always keep in mind that you’re not yelling into the microphone or you’ll peak in your audio. But also, make sure you’re not hitting the table where your microphone is. Those hits will pick up on the microphone and are even harder to fix in post.

Websites and Apps

If you are recording other people, there are ways to record their audio straight to the computer. Zoom, Audio Hijack, Zencastr, Squadcast, etc. are all great. But, for the best audio, you should try and have the other person record their own audio as clean audio through the internet isn’t always easy to get. Recording separate audio for each person makes it easier to edit and clean up. You also want the other person to be comfortable so it’s always great to start off asking how they are and getting to know them.

These are just some tips to help you have a better-sounding podcast prior to recording. Clean up would be a whole other post. Continue to social distance and reach out to people outside of your immediate area. Keep wearing a mask, stay home, stay safe, be kind, be courteous, keep recording!

Here are some links for resources:

https://www.rollingstone.com/culture/culture-news/podcast-how-to-start-best-equipment-804418/

https://podcasthosting.org/podcast-starter-kits/

https://www.thepodcasthost.com/equipment/minimum-equipment-podcast-starter-kit/#usbstarter

 

 

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