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Unity During A Pandemic

As I write this, I have just watched the United States’ inauguration of Kamala Harris and Joe Biden. It was surprisingly moving for me. I was face-timing my sister, who lives back home in Sweden when her husband texted her to come downstairs. He was born in America and very eager to share this moment with her, besides, Lady Gaga was going to sing. So we said our goodbyes and I decided to check out the singer’s performance. It was good, and her belting made me stay on the channel. In addition to Gaga, Jennifer Lopez sang, and unfortunately, for I am damaged, her vocals were distorting, and it saddened me. Then in Spanish, she shouted “One nation under God, indivisible, with liberty and justice for all.” and I forgave the technicians…

Just before this pleasant interruption, in my otherwise busy day, I was lying on my sofa engulfed in a Swedish TV show called Fröken Frimans Krig (Miss Friman’s War). It’s a show about the fight for equality and the battle for women’s right to vote in early 20th century Stockholm. It deals with matters like women not being of legal authority. Because back then, her husband was her custodian and spoke for her. It brings forward the worryingly common fact, that many women died from giving birth. Finally, in Sweden, if you slept with someone you weren’t married to, you could be branded as a sex worker and had to report to an authority every week, where you were inspected for disease. It’s shocking to think how far we’ve come and it’s thanks to women like them. Nonetheless, let us not forget, these things are still happening in some countries.

Now, with the inauguration of Kamala Harris, I feel like I’m on the precipice of change once again. She is the first woman, the first black and south Asian to be sworn in as a vice president. This leaves me elevated and hopeful and I can see a brighter future. Concurrently I am ashamed for not fighting harder for our equality, maybe I am too comfortable to do so. If I was allowed to work and had a male artist say something inappropriate, would I say something back or hold my tongue? Or would my recent experiences, following these strong leading women, guide me to be bolder and confront any unkind words or actions.

Biden talked of unity. So far from what we all feel right now, as we are divided beyond our comprehension. Closed borders and further from our loved ones, even our neighbours. So even though we are all facing this pandemic together, we lack, from all world’s corners, unity. So my question to you, is how can we create unity beyond ourselves today? How can we as sisters, brothers, and non-binary unite in our differences in a global pandemic?

Well, today is historical indeed and a win for feminism and equality, but may it serve as a reminder of how far we have come and that it is up to each and every one of us to work towards it.

 

9 Ways To Prep For A Vocal Recording Session

Great vocal performance on a record does not happen by accident. Many factors contribute to making a recording session successful or not so successful. After 30 years of coaching singers and 15 years of recording them, I’ve gathered some tips that should help your next recording session go smoothly, giving you the result you are looking for; a killer record!

BEFORE SCHEDULING THE SESSION

It’s true that you can hold lyrics in front of you while recording and no one would know. But after all these years of working with singers and being a professional vocalist myself, something magical can happen once you cross over from the “on-book” to “off-book” phase. You can focus more on the emotion, the subtle use of air and vibrato, scoops, straight tone, falls, attacks and releases, articulation, riffs, runs and so much more. If you have the time, get off-book so the song is really inside of you. Which leads us to #2…

Maybe this should be an obvious one but, I’ve definitely had vocal sessions where the singer was still figuring things out; timing, phrasing, notes, etc. Now, when I record YouTubers who literally try to produce, record, film and release a song in less than a week, there is no getting around this. I actually enjoy helping these recording artists work through the songs in this way because it is like a combined coaching AND recording session (which I LOVE!) If creating content quickly is your current strategy then that is the way it has to be. Just remember, it definitely doesn’t work for every recording session or with every recording engineer. If you have the time, putting in the same effort as if you were going to be performing the song live without lyrics in front of you will elevate your performance dramatically.

Before putting in the time to rehearse the song, make sure that you are singing in a good, healthy key for your voice and a tempo that feels right. If you are using a karaoke/instrumental track then obviously, you are tied to the key and tempo of the track. While a karaoke track can be altered, the quality of the karaoke track will diminish ever so slightly the farther away from the original recording you go. So, a half step up, not too noticeable. Four half steps…noticeable. If you are creating your own instrumental with a producer (like I do for artists all the time) then take the time to find the right key and tempo before the producer starts working on it, if possible. That being said, it’s really easy to change the key and tempo of programmed instruments before anything is recorded.  Don’t just sing through it once and call it good. Sing through it a few times in a row to make sure your voice does not tire after a few run-throughs. Double check that you aren’t rushing or dragging as you sing along, which could be a sign that the tempo isn’t quite right OR that you need to work on your timing 😉 If you are rehearsing the song, prepping for the session while using the track your producer has created for you and feel like the tempo or key needs to change, let them know ASAP so they have enough time to make a new track and you have enough time to rehearse with it before the session.

Equivalent to filming yourself perform a song prior to the actual performance, the benefits of listening to yourself are enormous. Simulate the actual recording session at home, even if you are just recording into your phone using an app. Going through the process of actually recording should highlight spots that need a bit more work or help you plan your session better. Do you need to record the low, soft verses first before the big, belty choruses? Or vice versa? Do you struggle with phlegm because you ate a cheese sandwich an hour before? Did you notice the overall emotional delivery falls a little flat and could use more thought? Invite a music buddy to listen back and provide feedback on this “scratch track” version.

Even if it’s just one session with a coach prior to the recording session, this is a much safer, efficient and cost-effective way to record a song. Getting feedback after the recording session can be very discouraging. Forking out more money to re-record vocals was most likely not figured into your budget. Be sure to include funds in your budget for at least one coaching session prior to and if possible, during the session. It can relieve so much pressure to have a team member with you that is listening only to your vocal delivery, who knows your voice and what your goal for the song is. Totally worth the extra dough to have someone in your corner at the session.

DAY BEFORE/DAY OF SESSION

The next four pointers are specifically for the 24 hour period before the session:

Get a good night’s sleep the night before your session. Make sure the session isn’t scheduled for 10 am the day after a late-night gig or at the end of a long workday. Be as rested as you can.

Do your best to stay hydrated hours before the session in addition to drinking water during the session. Bring plenty of water so you can stay hydrated during the session. Adding a lemon wedge to your water can help break up phlegm if that is an issue for you. Warm or room temperature will keep your vocal folds and all other tissues involved in singing nice and pliable. See #9 for more specifics about this.

Arrange your schedule so you’re not running late or in a hurry to finish. If you got in the biggest fight of your life the night before with your SO, see if you can reschedule without a penalty (I never charge people for rescheduling because what’s the point of forcing a session to happen?) Take some time before the session to unwind, meditate, calm down, whatever you need to do to get your mind focused and clear.

There are hundreds of lists out there of what foods and beverages to avoid. For the majority of people, these lists are pretty accurate. But there are exceptions. Be sure to know your body and your voice and how it might react to certain foods, either positively or negatively. I always tell people my own story regarding typical “no-no” foods and my own voice. You will always see “caffeine”, “dairy” and “sugar” at the top of the lists of foods/beverages to avoid before singing, but I had one of my best vocal lessons ever when I was going through extreme stress in my life and was living off of Starbucks White Chocolate Mocha’s which are loaded with caffeine, dairy and sugar. I had had 2 that morning! But seriously, for me at that time, it worked. Keep a journal that connects what you eat, when you eat and when you sing with how your voice feels. You will start to see correlations between certain foods and how your voice performs.

I hope this has given you some tips that will help you rock your next record. Feel free to email or pm me on socials for specific questions!

Becky Willard is a Warm Audio featured artist, a music producer, recording engineer, songwriter, composer, vocalist and mentor. She began working with artists almost 30 years ago as a vocal and songwriting coach.  It was a natural transition from coach to producer as she guided singers searching for their sound and began recording them in her home studio.

In 2010, Becky founded Vox Fox Studios and has become the go-to producer for many Utah artists as well as artists from all over the world. These artists go to Becky to produce their music because they know they will get their best vocal performances, modern production sounds and mixes that are “radio-ready”.  As a songwriter herself and session vocalist, her songs and voice can be heard in dozens of TV shows and movies. As a woman in a male-dominated field, Becky is actively engaged in educating and inspiring young women in her community and worldwide to pursue music production and engineering.

Read Becky’s Blog

Denk Studios is Women-Owned and Creates a Safe Space

 

Jam Phelps, a recording and mixing engineer, is the owner of Denk Studios (North Carolina), a self-proclaimed safe space for all musicians regardless of gender, race, sexual orientation, or gender identity.

“I have made it my goal to serve my community by creating a welcoming environment for everyone who walks through my door. You will receive a quality product and a guaranteed great experience. I have pricing that supports most budgets and will work hard to make sure you are in love with your songs.”

Do you remember the first band you listened to that made you want to buy their music? 

The first CD I ever bought was Fiona Apple’s Tidal. I just remember hearing sleep to dream and I was blown away. I needed to be able to listen to that song on repeat. My sister and I split our allowance to purchase that album. The presence and emotion of her vocals and that heavy deep bass drum just had my teen heart all riled up!

When did you first think about audio as a career? 

I always wanted a career in music. The older I got I realized my rock star dreams were probably not going to happen. I no longer had dreams of riding around the country in a van with my sweaty band mate dudes. I was living in Seattle and having a hard time finding folks to play music with. I know that sounds crazy because of the massive music scene there, but everyone already had their bands together.  I decided I was going to figure out how to make music on my own. I bought a cheap mixer, a keyboard and a mic, Loaded up audacity and I was on my way to being hooked on audio. My dad was an audio engineer and trained my ears my whole life. Once I got to North Carolina I finally had enough space to record. I started recording my friends on a proper DAW for free. I then learned MIDI and mixing, created a portfolio, and got my first paid client. Since then I have upgraded my gear, my space and went full time!

You also started a Facebook group specifically for mix critiques, Mixing it Up. What do you think critique adds to a mix? 

It is important to have a second set of ears on your mix. Sometimes to listen to something so many times that you can’t hear what is going on. It is also a great way to learn. If I get stuck or if something isn’t sounding right it is great to have peers to offer advice. I also noticed that most audio groups for women do not allow you to share your music in any way because of “self-promotion” so I wanted a space where we could share music to get feedback or to show something we are proud of and teach others how we achieved that mix. We also have fast mix Friday where I create stems for everyone to practice with and show to the group.

How has the pandemic affected this last year of work? 

The pandemic was what pushed me to open full time. I was laid off from my job in October 2020. I just decided to open full time and not look for another day job. It has also allowed me to meet so many folks from around the country and the world. I have done mixes for folks from all over the States and Canada. I have also made a lot of audio friends who I wouldn’t have met if we were not all stuck doing remote work and classes.

You used recycled materials in the building of your studio. How was that planning process? How long did that take? Did you plan each step, or did you approach things as they came? 

This system of building is a long process that you can’t really plan for. I would just hit up craigslist, scrap exchange (best store in Durham!), habitat restore and friends who were throwing things away and see what they had. I would gather what I could and go from there. My vocal booth was planned out because it is a structure and was built with safety in mind. It took me about 6 months for enough materials for the initial build and I am still making additions if I get a good find.

What does the word “Denk” mean?

Denk is German for “Think” It is my wife’s mother’s family name. Without them, I would not have this space so I dedicated the studio to the Denks!

Let’s talk Reaper. How did you choose this DAW and why?

Like most Reaper users I could go on and on about Reaper all day, we are fanatics haha.

I use it because it is a powerhouse of a DAW for $60 bucks. It does everything Logic and Pro Tools do at a fraction of the price. It is very easy to learn and is completely customizable. My favorite thing about it is a track. No need to set up a MIDI track or a bus specifically.

When you’re mixing, what kinds of files are easiest to work with: guitar tracks by DI, or with distortion already in the track? What cannot be fixed in post?

I can work with any track as long as it was recorded properly. The only thing that cannot be fixed is clipping. I often work with musicians that are really new to recording. I have found many tips and tricks to getting tracks to sound better, but if you have blown out the audio by not properly setting your gain that is unfixable.

How do you find a balance between work life and home life, especially in this time of the pandemic when work can be accessed 24/7? 

I have set work hours. I do not respond to clients outside of those hours and I set boundaries with my clients ahead of their project with my hours listed. I sometimes make an exception if I have a fast deadline or I’m working with a close friend and the texts are more social than business. My time with my family is really important to me and I have to rest my ears or I am no good to anyone.

What is your favorite aspect of mixing?

I love how creative you can get with it. You can really make a song come to life and make small additions in the mixing faze that give the song your unique touch. I also love playing with sound to see what I can make it do. I love when you tweak one thing or add a plug in and say to yourself “wow that sounds dope!”

Owning your own studio, do you have any recording techniques you’ve developed for your own space? 

We made our own vocal booth exactly how I wanted it, I also have the drums in one section of the room because I moved them five times and that is the best recording spot. I have my desk in the part of the room where my monitors sound best. I like to record acoustic guitar in the dead center of the room also.

When thinking about plug-ins, which five would you say you couldn’t do without when mixing? Why? 

A good EQ, Multiband compressor, Renaissance AXX, reverb and a doubler

You and your wife own the studio together and just incorporated it as an LLC! Congratulations! How has it been to be your own boss and run your own business? What are the challenges?   

Thank you! I love it! I wear what I want, don’t have to cover my tattoos, and get to make my own schedule. The challenges are just making sure you have enough clients to make enough money each month. Every month has gotten better and better but not having that guaranteed paycheck is a little scary at times. I am lucky to have a very supportive family.

You mention being a safe space for womxn and non-binary folx as well as people of color and those in the LGBTQ community. How has your own experience in audio affected this decision? 

As a queer woman, I have had many negative experiences in this male-dominated industry. I have also been confided in many times about how others were mistreated. I have also been told about age discrimination in music and audio. I have clients who are amazing older ladies that have been laughed out of traditional studios. It is important to me that everyone feels safe and supported in my space. I want you to not only love your songs but love the experience you had making them. If you are comfortable and supported, you will have a better performance.

What would you say your ideal is for Denk Studios in the future, when we can all be together again?

I would love to have more folks record in the space. Right now, I do a lot of remote mixing and I miss having people here. My studio is in a garage so I would love to have Denk Day where I open the big garage door and have my artists play and have a big cookout party!

Mostly, I just want to keep serving my clients and continue to grow, so I can do this for a living forever.

You recently said your wife is a help to you when producing; though she’s not an engineer, she can be a help by lending a listening ear to your projects. How has Denk Studios affected her own interest in audio? 

She calls it “watching how the sausage is made” she has also learned a lot about audio in the past year. She likes to come into the studio and listen to the songs I am working on and help me with production decisions. It is helpful getting a second pair of ears on the songs. She also loves music. We will sit on the porch and listen to and analyze songs for hours. We talk about why a song is good and what makes us like it.

If you could talk to yourself from ten years ago, what one piece of advice would you tell yourself?

I would say to just keep going. All of my life choices led me to this moment.

What are you looking forward to in 2021?

Just seeing where my business is going to go and all of the new songs I will get to work on and all the new people I will get to meet. I am hopeful for this year.

I can’t forget to ask about drums since you’re a drummer! How have the drums impacted your life? 

I started at age 10 – 27 years ago! My favorite style is prog/experimental. It has impacted my life in such a great way. It gives me joy and it even gave me my name [Jam]! It has allowed me to be a better producer because I have been the backbeat of so much music. I’m also the studio drummer for Denk Studios and have played on and/or written drums for many of my clients.

Follow Denk Studios:

Instagram @denk_studios

Facebook @denkstudios @mixingitup

Website Denkstudios.com

You Can Find more Women-Owned Studios and Sound Companies Here

 

Audrey Martinovich – Studio Owner, Recording Engineer, & Producer

 

Audrey Martinovich is a recording engineer and producer that specializes in acoustic music such as classical, jazz, and folk. She co-owns & engineers at a recording studio in Madison, Wisconsin called Audio for the Arts and produces podcasts. She has been working in audio for eight years and has been a full-time studio owner & recording engineer for three years. She has recently worked with The Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and Wisconsin Youth Symphony Orchestra, and artists Johannes Wallman & Sam Ness. She produces the Big Wild Radio Show every week, which reaches over 100,000 listeners and has engineered remote guests for podcasts such as Alan Alda’s podcast, Pod Save America, NPR’s A1, & Terrible, Thanks for Asking.

Early Career – Opera, Experimenting with Mics, & Looking the Part

Audrey has always had an interest in music and signed up for every possible music class in school. In addition to vocal lessons, she also took classes on piano, guitar, and music theory. She discovered her interest in audio engineering while studying opera in high school. She and her teacher, Alisanne Apple, would record her vocal lessons to get an audience perspective on technique, ensuring diction and tone came across well. This was her first experience with microphones & experimenting with microphone placement. She then bought her own microphone and tried plugging it straight into the mic input on her computer, no mic pre, and when it didn’t work, she wanted to learn how to get it to work. At the same time, she began researching sound design and had an epiphany that she could create and manipulate sound as a career. From there, she attended Madison Media Institute for Recording and Music Technology, Entertainment, and Media Business and received a Bachelor of Science degree with flying colors.

A Crash Course in Audio

How did you get your start?

When I was about to graduate college I started looking up studios in my area and making some calls, trying to get my foot in the door. I actually saw Audio for the Arts and tried to call, but the phone number on the website didn’t work! The owners at the time, Buzz Kemper and Steve Gotcher happened to reach out to the career advisor at my school the same week and asked for a few students to come by and interview for an internship. They liked my classical music background since Audio for the Arts works with a lot of chamber groups and the fact that I showed up looking ready for a job interview (not in “a ripped Metallica t-shirt”) so they thought I would represent the studio well.

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

Before the internship at Audio for the Arts, I shadowed a FOH engineer at another company for a Battle of the Bands event. That day was a crash course in live sound and troubleshooting quickly. Shortly after, I started interning at Audio for the Arts. At first, I did a lot of data archiving which really laid the foundation for data management. Then, I officially became an employee and assisted on PA gigs, mostly running cables and placing microphones. They saw that I was good in that environment and introduced me to remote recording.

Did you have a mentor or someone that helped you?

Buzz Kemper and Steve Gotcher taught me so much. Kevin Guarnieri was an instructor of mine in college and he introduced me to Pro Tools which is so vital for me.

Current Career – The Importance of Being Proactive & Meeting Deadlines

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

I usually get to the studio around 9 or 10 am. If I have any sessions happening at any point that day, I always set up and test gear first, even if the session isn’t for several hours and it’s a 10-minute setup. That way, I know I’m ready and can lose myself in whatever emailing I have to do until my client arrives. Typically, this includes scheduling and coming up with estimates for gigs. Earlier hours in the day are usually radio, podcast, or commercial production with voice talent and producer in the booth or connected remotely. Then, I either reset the studio for an afternoon music recording session or dive into some mixing, either alone or attended. One day a week I bring my son to the studio with me and he does schoolwork while I edit and mix the whole day.

How do you stay organized and focused?

I try to identify my pitfalls and trick myself into avoiding them. For example, if I get an email that needs a response, but not at that second, I have to mark it unread otherwise I will forget to come back to that email. It’s the same way with texts and messages. I just can’t open the message till I can actually tackle the to-do list or I will forget. As an added bonus, having unread messages in my inbox gives me a bit of urgency to cross items off my to-do list.

What do you enjoy the most about your job?

Getting to work on a variety of projects in a day and being exposed to all sorts of amazing music.

What do you like least?

The sometimes crazy hours and stress of deadlines. It makes it hard to spend much time at home.

What’s the hardest part about your job?

The coordination that leads up to a gig such as coordinating logistics and drafting estimates. Figuring out exactly what the client wants, how to deliver it, and then assigning a dollar amount to it is something a lot of creatives struggle with and I’m no different.

What is your favorite day off activity?

Going for a hike or walk with my son or working on house renovations.

What are your long-term goals?

To work on music that really resonates with people and to feel fulfilled. I’d be thrilled to ever win a Grammy for Producer of the Year since no woman has ever won that category, but I really don’t want to be the first. That honor belongs to someone like Linda Perry.

What are your short-term goals?

I look at my short-term goals as if they are a to-do list so there are things like “revamp the studio’s website” on there, but generally, I’d like to work more on albums than singles. I like seeing how a song’s meaning can change when it’s contextualized within an album and want that to be a bigger percentage of my work in the future.

#1 tool/piece of gear you can’t live without?

Pro Tools

What’s one mistake you’ve made/bad gig you’ve had and how did you learn from it/overcome it?

It’s hard, but there are certain types of people that you have to assert yourself around or they can be abusive. I had a client come in to record a backing track of a song they had written to pitch to a potential singer. This guy came in with an attitude, looking for any reason to throw a fit. We did a first piano take and he wanted to layer it and when we did, it turned out that the base take was too short. He screamed at me for “deleting part of his performance” when he had actually counted his rests incorrectly and came in too early, resulting in a shorter song. Had this happened really early in my career, I probably would have defaulted to the “the customer is always right” perspective and let it slide. Instead, I invited him into the control room, had him sit down at my computer, and asked him to point out where any edits had been made on the track. He couldn’t find any edits, because obviously there were no edits to be found. He definitely wasn’t sunshine and rainbows after that, but he was less quick to react after that. If you don’t correct abusive behavior like that, it will continue and nobody deserves that. It doesn’t matter who the artist is.

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

Listen to music constantly. Make music constantly. Even if it sucks, one day it won’t. You have to go through the sucky material to get to the good stuff first! See if any friends or local bands want to record so you can practice. Then you’ll have demo material and testimonials you can take to a studio or to whoever.

Must have skills?

A proactive attitude is a must. Even if you don’t know much about recording, if you have the ability to see a problem and address it before it becomes a bigger problem, or better yet, before anyone notices, I want you to assist me.

What other skills/hobbies do you have that you feel help you in your line of work?

Playing an instrument helps with being able to communicate with the artist. It’s good to be able to understand what to do when an artist says they want to “punch in the Bm7 chord in the bridge so give me an 8 count before that chord.”

Favorite gear?

I love good analog preamps and things with tubes, whether it’s a microphone, mic pre, compressor, whatever.

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

We normally record quite a few choral and orchestral concerts every spring and winter, however, all of the concerts have been canceled. Most of these large ensemble groups have switched to putting together virtual events so we have been doing a lot of video production and live streaming since lockdown.

More About Audrey

Find More Profiles on The Five Percent

Profiles of Women in Audio

 

Preparing to Maybe Go Back To Work

 

It has been almost a year since I flew home from rehearsals to do laundry and pack for a tour that would have kept me on the road well into this year. Instead of putting my laundry into a suitcase, it went back into my dresser. At first, we thought we would start our tour in June, but alas we all know what happened.

With the arrival of the vaccines, I am hopeful that I might return to work in the fall. That being said, it is going to take much longer for our industry to come back as much of the infrastructure has been broken, we have lost vendors, venues, and crew people. We will all need to work together and have some empathy for everyone when we are able to return to touring.

Today, I was wondering where my gig bag, passport, and show files were, so strange as I always knew where these things were, usually by the front door. I will have to dig my gig bag out of the closet and check for show files and passport and when it might expire. So this got me thinking about the things I need to do before returning to work, and while it seems far away it really is not. I thought I would share some thoughts about preparing to return and changes and plans that need to be put in place.

PASSPORT

Check your passport to see when it might expire and if it is coming up, get it renewed now. Passports are usually not valid for travel six months before it expires, so don’t wait until you need it.

If you do not have a passport, I urge you to get one, when work does resume you don’t want to lose out on gigs because you do not have a valid passport.

https://travel.state.gov/content/travel/en/passports/how-apply.html

Driver License

Double-check your Driver’s License and make sure you have applied for The Real ID.

On October 1, 2021, U.S. travelers must be REAL ID-compliant to board domestic flights and access certain federal facilities. https://www.dhs.gov/real-id

GIG BAG

Clean out and restock your Gig Bag. If you are missing tools or testers now is the time to purchase them. Rat Sound Systems sells many items you need in a gig bag and offers SoundGirls Members a discount. If you don’t have a Gig Bag put one together.

What’s In Your Go Bag?

Show Files

I am almost scared to look at my show files, the last time I saw them was at rehearsals and there were so many new cues, inputs, and even a new band member that I no longer know what we covered in rehearsals, all my notes are locked away in my workbox in storage. But I am gonna take a look at the files and see what I can clean up and organize a bit better.

If you don’t have show files, visit manufacturers’ websites and download the offline editors. (almost all the manufacturers offer these) You can start learning how these consoles work, build a template, learn how to route things, etc.

Resume

Make sure your resume is clean, professional, and up to date. You may find that you need to make a few different versions of your resume to be more detailed for different disciplines in audio. If you work in both live sound and post-production and if you are applying for a touring gig do not send a resume full of post-production work.

Social Media

Clean up your social media and make sure it is professional. You may want to start separate accounts one for personal and one that is professional.

Here are tips for resumes and social media.

Career Development – Resources for Resumes and Social Media

Professional Directories

Make sure you are listed in professional directories and that your information is up to date. You can find a list of directories here

Women in the Professional Audio

Referral Lists

I only refer people for gigs that I have worked with or know personally with great attitudes. I am updating my lists as things are gonna be a bit weird when we return to work. I am checking in with people I normally refer gigs to see if they plan to return or their general availability. I am also making a secondary list of people that I may not know but come highly recommended by people I trust. I am also making sure that I add women and BIPOC to my referrals.

Hearing Tests and Hearing Protection

Get a hearing test and take steps now to protect your hearing. Get in the habit of getting annual hearing tests.

Audiologists and Hearing Tests

Hearing Health – Hearing Test

Healthy Ears Are Happy Ears

Finances

If 2020 taught us anything it is that we might need more of a safety net (since The U.S. Government has completely failed to assist unemployed people)  of 3 to 6 months of living expenses saved. Now is the time to get a budget in place and savings for emergencies and retirement. Andrea Espinoza walks us through this process and is available to assist you. ajayespinoza@gmail.com

 

Training and Education

With all the webinars and online training offered last year, you may have found yourself burned out. Now is the time to make a list of what you need to know or understand and sign up or find the training info you need.

Stamina

Working 16 hour days on concrete is going to come as a shock to us both mentally and physically. I am planning on changing up more exercise program to start building muscle strength.

Power Struggles – Work and Physicality

Finally, if you are in a leadership role I encourage you to diversify your workplace and to implement sexual harassment training. When we do go back to work we want an industry that is safe and diverse.

Diversify Your Crew

Calling All Crows

Has an extensive sexual harassment training program and will work with you. Contact Kim Warnick

Hope to see you on the road soon.

 

 

 

 

 

 

 

Language And The Gender Gap: The Power Of Words

 

January 2021 has shone a light in several ways about just how far we still have to go in terms of the language and choice of words we use; not only in striving for professionalism and equity in the workplace but also because an insidious weaponizing of language contributes to a culture that is harmful to women.

Many in the music and audio community have been involved in a current debate about the company, Gearslutz following a petition that was launched requesting they change their name.

The petition on change.org was created by Cam Ran, who explained:

“This petition was created with the hopes of encouraging Gearslutz to change their name to something that more appropriately represents the gear community. 

Gearslutz is widely regarded and refers to themselves as “The No.1 Website for Pro Audio.” Every engineer I know has used/uses it, and most of the engineers I know feel uncomfortable with the name. I have been one of two women sitting in an engineering class and a professor has uncomfortably mentioned the website, apologizing for the name, but bringing it up because it has been an important resource to use when learning about gear. 

While there has been much progress in the gear community and audio world for women, we still exist in a time where every woman I know who works in audio has been asked which band member she’s dating when she’s loading in gear. Every woman I know has been called a slut in a derogatory manner. Every woman I know who works in a male-dominated field has felt objectified and patronized. And not every woman is offended by this name, but enough people are that it’s a frequent and recurring topic. 

It might not seem like a big deal, and people will likely say that we should focus our energies on bigger issues of equality, but we can do both. We can talk about the things in our community that make us uncomfortable, starting with this website created by men, who have never been called “slut” in a hateful and derogatory way. Who have never had to prove their merit in their field simply because of their gender. Who have never had someone assume that their level of success was due to the fact that they slept with the right person. 

Aside from making some people feel a bit upset, it’s also just a very unprofessional name that makes people uncomfortable in an educational environment or workplace, as you can see from the comments of signees below. 

I’m looking forward to a brighter future where women and female-presenting people feel comfortable in all spheres of work and passion, and this small change would be a great step. If you’re angered or annoyed by this request, truly ask yourself why.”

Gearslutz.com co-founder Jules Standen has replied to the petition several times, initially saying in a now-deleted post:

“The word ‘slut’ isn’t necessarily just a derogatory word for women, it refers to someone driven by their lust more than by their brain – kinda like nerds who habitually spend money on a bunch of machines they don’t really need or are worthy of. The gear is no longer a tool but a self-purpose and is fetishized. ‘Slut’ is a good word to describe people who indulge in this behaviour.”

Standen then released a more detailed statement, saying:

“As the founder of Gearslutz, I chose the name as an ironic way of describing those who, like me, had no control over their desires for acquiring recording equipment. The name was and still is, not intended to send a derogatory message to women or to discourage them from participating in the forum. It was simply meant to poke fun at some people’s pro audio shopping habits.

I suppose it’s a question of not judging a book by its cover. If women who are put off by the name were to look at the forum itself, they would find it a very welcoming place. In fact, from the very outset, because male participants were in the majority, we have done our very best to make the forum a safe place for women in terms of the site content and visitor behaviour. 

Regarding the name, I appreciate it’s not for everyone, but that is how we are known to our 1.6 million monthly visitors from 218 countries. For those uncomfortable with our logo, we have always offered an alternative option. This is available in a drop-down menu on the bottom left – it will display the alternate “Gearsz” logo.

We appreciate feedback about the forums and I reiterate that everyone is welcome to join in the discussions any time.”

An unexpected development to the story

Meg Lee Chin publicly commented on the petition and spoke out on social media. She posted her comment, outlining her previous role as the founding partner of Gearslutz with Standen back in 2000 and recounted her experience of waking up one day to discover she had been locked out of all the accounts relating to the site and the business. Chin’s statement recalls how she won the ensuing court battle that followed but was hit hard by the lawyer fees involved in the case.

Gearslutz Announces Name Change

Shortly after Meg went public with her story, it was announced via Working Class Audio that Gearslutz would in fact be changing their name, and you can listen to Jules Standen’s conversation with WCA about his decision here.

The Gearslutz conversation has raised some ongoing issues, both specific to the music and audio industry, and in a wider context for women and girls in general. We know that young girls have been consistently dissuaded from pursuing STEM subjects, and many have pointed out that the casual use of a word so often weaponized against women is not helpful in encouraging the next generation of women in audio. One commenter noted, “what we tolerate in language, symbols, and jokes all play a part in shaping this culture.” They also acknowledged the effect on the young girls who see pervasive misogynistic language – “perhaps the same harmful language that kids at their school are using to shame and hurt them – and think ‘Hmm, yeah, maybe this industry isn’t for me.’” 

Everyday Sexism Project

Laura Bates is the founder of the Everyday Sexism project, a place for women and girls to share their accounts of harassment. In launching the project, Bates was shocked at how many accounts of sexist harassment were coming from mid-teen girls, and subsequently moved the majority of her work into a school setting. While conducting classroom discussions had been a positive medium for conversation initially, Bates then found an unexpected resistance:

“I started hearing boys at school who already felt that they’d been poisoned against the idea of even having a conversation about feminism. And they were coming out with some quite extreme things: feminism is a cancer, all women lie about rape, white men are the real victims of society… But the moment it all really clicked for me was when they started repeating, at schools from rural Scotland to inner-city London, the same wrong statistics. That’s when I clocked what was going on.”

Bates found herself delving deep into the online communities that operate uncensored, radicalising young boys across a vast network of websites and forums and described her experience with The Guardian in a 2020 interview. The most shocking takeaways from Bates’ findings were: the young age at which children were targeted (11+) and the traceable path that started with anti-feminist memes and jokes online, and then progressed to targeted acts of misogynistic violence against women and the adoption of neo-Nazi white supremacist beliefs.

Phil Spector Dies

At the same time, the Gearslutz petition was happening, news broke that music producer Phil Spector had died while serving a sentence for the murder of Lana Clarkson. Interestingly, the same conversations were occurring around the wording and reporting of his death from various news and media outlets. Subsequent editing and deletion has occurred across several platforms due to something of a backlash: The BBC had previously gone with the headline “Talented but flawed Producer Phil Spector dies aged 81.” while Rolling Stone published “Phil Spector, the famed ‘wall of sound’ producer and architect of some of pop music’s most enduring songs, whose legacy was marred by a murder conviction, has died.” 

In the days that followed, a flurry of articles and conversations ensued around what is acceptable language when talking about men and the women they have harmed. Phil Spector’s ex-wife Ronne has been consistently open about the abusive details of their marriage since she escaped from their marital home, barefoot, while he screamed death threats after her. During their marriage, Ronnie had been coerced into abandoning her music career, adopting 3 children (notably, twins that Phil brought home as a surprise ‘Christmas present’), and was held prisoner in their house for years. It’s fairly well-known that Phil Spector claimed he had a gold coffin with a glass top that he threatened he would display Ronnie’s body in after killing her. Their divorce was rife with stalking, constant death threats, legal battles over their children, and the withholding of The Ronettes royalty payments. Despite public knowledge of his reputation for having a tendency to pull a gun on women he was interested in and the artists he produced, Phil Spector continued to work up until the early 2000s. When Lana Clarkson was killed from a gunshot to the mouth in 2003, it took several trials and retrials until Spector was convicted of murder in the second degree in 2009 – he had remained free for the six years in between.

Phil Spector was undoubtedly a pioneer in the music world, but at what cost? Ronnie Spector’s tribute to the news of his death stated he was a “brilliant producer, but darkness set in and many lives were damaged.” During my college years, I learned about Spector’s techniques and infamous acts of violence, noting that his behaviour happened to be an accepted, secondary by-product of his genius. Studying the ‘wall of sound’ in a real-time parallel to Lana Clarkson’s murder, I soon realised that this was the structure of things, and where we are told that women fit into the industry and the world. How many generations of women from the 1960s through to today have grown up observing this narrative – that their collective lives are ultimately worth less than one man’s talent? And now, fifty years after Ronnie Spector fled for her life, with Phil Spector 10+ years into his prison sentence for murder, we relentlessly keep positive language reserved for white men, no matter what they have done.

Words Matter

The selective choice of words when reporting on violent men is not exclusive to the music industry, nor to the rich and famous. Even the most mediocre men who kill and do harm are by default, written about in the media with an overly positive focus, while women are dehumanised. Journalist and author Jane Gilmore is the creator of #FixedIt which is a collection of such headlines that she edits to more accurately report the facts of a story, without the bias that is so prevalent. Gilmore has also published a book titled FixedIt: Violence and the Representation of Women in the Media as well as hosting a TED X talk about these issues. In her TED X talk, she demonstrates how unbelievably ingrained this attitude really is, showing examples whereby the mothers of men who have committed crimes are negatively reported on and held to account, while the stories omit any blame on their sons, the actual perpetrators.

 

 

It’s easy to see that in isolation, a ‘jokey’ word might not sound like a huge deal at first glance. It’s also frequently debated whether character should play a role in our appreciation of art. However, when we stop for long enough to listen to the actual facts and figures about the implications and outcomes these issues have been proven to have, we need to do better. If we know that language influences our societal norms and contributes to a culture that is rife with sexual harassment for our women and girls, we need to consciously break the cycle. If we are teaching 1960s music history and production in schools, colleges, and universities to young people around the world, maybe we shouldn’t laugh off and downplay violent ‘eccentricities’, but ensure that standards and structures are in place to prevent these working conditions from ever being the norm again. With the same conversations currently taking place across the industry, there is hope to be found in addressing the power our words can have – both for creating a more inclusive workplace, and a safer and more equitable world.

2021 Recording Unhinged Review

If you ever need a feel-good audio extravaganza, pick up a copy of Recording Unhinged: Creative & Unconventional Music Recording Techniques by Sylvia Massy with her partner Chris Johnson.  As cacophonous as its cover, illustrated by the renaissance woman herself, this title explores the rule-breaking philosophy behind many iconic albums.  The subtitle says it all.  Readers be warned this is no cookbook of precisely measured formulas of gear and settings.  Think of it as a grab bag of inspiration, a light for dark places when all other lights go out.  A tool to break out of the worst ruts.

Divided into chapters by instrument, similar to a session in your current DAW, Massy fills each chapter with audio legends telling audio lore.  Some of the stories are so fantastic, that they will never be attempted again, but many of the anecdotes are exercises in “why not?” and “I hope this works.”  Emphasis is placed on the latter, with many memories featuring antique one-of-a-kind microphones and synths one burnt fuse from the dumpster.  It becomes a running theme to embrace the problematic gear as a challenge to occupy the brain so that the heart is free to ace the take.  Mistakes are not the apocalypse, instead, they are the sources of epic sagas.  Here is your permission to try the weird and possibly wonderful.  On one hand, this reduces the anxiety of a perfect session for a star client, on the other hand, it could be a recipe for wasted time.  Sylvia Massy documents those moments too.  Sometimes even the pros are just making it up as they go.

The stories alone would be enough to pick up a copy, the icing on the cake is the candid stills, and illustrations drawn by Sylvia.  Behind the scenes polaroids, and photos of iconic music history make this a coffee table book of envy.  And each illustration is as wild as the stories.  I am not entirely sure, but the chapter plates might be a Where’s Waldo of audio memes.

While Recording Unhinged stands alone, it pairs well with the PBS documentary series Soundbreaking, which follows a similar format and shares some of the same cast of characters.  For those needing more of Sylvia’s illustrations: there are two companion coloring books.  The first with a showcase reel of drawings from Recording Unhinged and the other focusing on audio icons in a Catholic saint fashion.  My co-reviewer has finally figured out which end of the crayon to use and ate it up (still hasn’t kicked her paper habit).  I love these add-ons, they are perfect for musicians waiting between takes or for decorating dorm room studios.  One word of caution to the audio parent:  some illustrations include sex, drugs, and rock & roll, use your discretion.

Nerd, as I am, I could not put this book down.  And it deserves a re-read with a soundtrack to unpack each morsel.  I would not recommend this as the only book on recording, but as a supplement to your current library.  A secret weapon to get your mixing on the next level.  Maybe put it in your laptop bag to infuse its funk in your sessions.  You never know what might happen.

You can check out this book in The SoundGirls Lending Library

2021 – Change, Hope, Possibility

 

Well, here we are.  We made it to 2021, and at the time of my writing of this blog, I don’t know if it’s better.  We are still drowning in a pandemic, unemployment insurance hit a big snag when the CARES Act expired in December of 2020,  the President of the United States attempted to stage a coup by inciting his supporters to storm the Capitol, and yes, the entertainment industry is still shut down.  It’s been almost a year.  My youngest daughter, who is in the first grade now, has yet to have a school year where she did not have distance learning for at least part of the year.  This is obviously not what I planned for my family.  I didn’t really prepare to be out of work for months and months when I left my full-time residency in 2019, and none of us were prepared for the emotional/mental toll all of this would take.  As dark and sometimes hopeless as it seems, there seems to be some light at the end of the tunnel.

We have a vaccine and have already begun distribution to those who need it the most.  It seems that the President might finally be held accountable for his actions.  By the time you read this, you will know more than me, but as of just a few minutes ago, House Democrats introduced their resolution of impeachment.  States should be about finished ramping up their systems to support a new round of unemployment relief, and finally, there will be a very significant changing of the guard on January 20.  I have all of my fingers and toes crossed that this means we will finally be getting down to the serious business of getting our country on track and ready to thrive.  Please note that I did not say “back on track.”  We need to move forward from all of this, not back.  Actually, we need to launch forward, with fresh ideas and open minds.

When concerts and theatre come back, I hope we remember what we learned in the downtime.  Pre-Covid there was an entire group of people that had never once been to a concert or to the theatre, and it wasn’t because they were afraid of the virus.  I think we often forget that while performing arts is so important to humanity in so many ways, it’s also very much a luxury.  Millions of people who had previously never experienced a live performance due to lack of funds, inaccessibility, or chronic illness experienced their first (almost) live performances during the pandemic.  I have personally spoken with multiple people who told me, through tears, that watching some of the theatrical livestream events that have been available recently was the highlight of their year, and they truly never thought they would be able to afford a theatre or concert ticket.  I don’t know how the ability to attend a live performance became a marker of elite status, but I hope that we are able to continue offering this kind of programming in a more accessible way long after we’re able to gather together in person.  Why can’t we offer in-person ticketing as well as a livestream experience for any and all performances?

I also hope that this sense of community and camaraderie that has been overflowing in the entertainment industry will continue when we re-enter some kind of normalcy.  We’ve all been doing a great job of lifting each other up, checking in, sharing jobs and projects, donating, and offering support in many manifestations during the pandemic.  Let’s always remember how much that has meant.  My fear is that once we are back, and working, and busy, we won’t remember to slow down and check-in.  Some of us will fall into the old grind seamlessly.  Some of us will not.  I am used to having many plates spinning at all times, and I have always taken pride in my ability to stay focused, to remain detail-oriented, and to keep going no matter what happens.

I’ve already noticed that I haven’t been able to necessarily lock in to work the way I could pre-pandemic.  I had a one-off event in October mixing one of three stages for a telethon, and of all things, I forgot to bring my headphones.  There was no PA, and this event was being streamed directly to live tv, and I left my headphones at home 3 hours away from where I was working.  That’s just not really like me.  I don’t forget details, especially not big ones, and it made me wonder what else I would forget when I’m back to regular work.  I’ve also been finding that when I’ve been lucky enough to work here are there, I am just filled with anxiety over it—before, during, and after the work is done.  I really can’t even pinpoint the source of my anxiety in these moments.  Maybe I’m worried I won’t have the stamina to make it through, I’m rusty, I’m making mistakes, employers are regretting having hired me…you name it.  Whatever the unfounded reason is, the point I’m making is that if it’s there for me, it must be there for others, and I hope that we all just remember that safety net we built for each other as we continue trickling back into the industry.

Let’s also remember all of the work we’ve been doing to make our stages a more equitable place for all of our people.  It is easy to sit behind a computer screen and say, “Yes, I will call out and call in inequities when I encounter them in the workplace.  I will ask the hard questions.  I will respond with grace when I am questioned, and I will keep working to level the playing field.” It’s harder to speak up when there’s a group of real live people staring back at you telling you to stop rocking the boat.  I’m telling you right here and now that I am planning on rocking every boat I sit in, so if you’re riding with me, make sure you can swim.

This morning my horoscope said, “Geminis will never take anything a politician says at face value; they’re always going to do their own research and dig deeper.  It’s not that Geminis are pessimistic-they believe that change can happen and that things can get better-they’re just not going to blindly believe it.” One hundred percent, internet astrologist, one hundred percent.  In 2021, I’m inviting you to join me for some Gemini skepticism powdered with hope and possibility.  We’re not beyond hope, but we do need to keep our eyes and ears open and remember the lessons we’ve been teaching each other, and ourselves, in the meantime.

Elisabeth Weidner is a Sound Designer and Composer for theatre. She served as the Sound Director/ Resident Sound Designer/Composer for 10 years at PCPA-Pacific Conservatory Theatre,  before going full freelance in 2019. Elisabeth is also an adjunct professor at California  Polytechnic State University SLO where she teaches Sound Design and Engineering for  Theatre, and she sits on the USITT Sound Commission jury for the Current Practices and  Research in Sound papers submissions. In 2020 she was elected to serve as Co-Vice Chair of the TSDCA )Theatrical Sound Designers and Composers Association). She is also the producer of the podcast: No One Likes Us. www.elisabethanneweidner.com 

Read Elisabeth’s Blog

15 New Year’s Resolutions for Audio Engineers

Normally I’m not a huge proponent of New Year’s resolutions. I believe that we should be learning lessons and striving to be the best we can be year-round. But, 2020 was unusual. To say last year was terrible would be an understatement, and the effects of the pandemic and years of institutionalized racism, homophobia, and misogyny have not magically gone away since the clock struck midnight on January 1st.

Yet, 2020 gave us an unexpected gift. Time stopped. Many of us suddenly had time to reflect. I hope that in sharing many of my personal goals, other audio folks may be inspired to carry the lessons of 2020 into 2021.

15 New Year’s Resolutions

I will not take things personally (even if the guitar player turns his amp up AGAIN after soundcheck.) The talent may be stressed by the gig for reasons outside of my control.

I will pay attention to how I converse with others and carry myself. Am I engaged in listening as well as talking? Am I acting like the calm and confident audio engineer the talent can trust? Or am I acting as if I am unsure of myself?

I will evaluate my immediate circle, in work and in my personal life, and consider how I can make it more diverse.

I will keep eating right and exercising. Good nutrition feeds my brain as well as my stomach; oftentimes, ideas about projects or new career goals come to me when I’m out for a jog.

I will hold others accountable for their privilege. I will correct them with calm professionalism and grace.

I won’t backstab coworkers by talking about them with other coworkers. It creates tension and an expectation for someone to mess up. The person being talked about can sense that.

The opportunity to even touch a sound console is sacred. The sound gods can count on more offerings in 2021.

I will notice when a colleague improves and cut them some slack. We all deserve a chance to grow.

I will learn new PG-rated jokes for sound checks.

I will recognize microaggressions and stereotypes in my own language and simply stop using them.

I will not drop money I don’t have on end-of-year sales on plugins. (Okay, maybe I will.)

I will do more ear training in my off time.

I will read more books for leisure.

I will not avoid conversations about race, LGBTQIA, and differently-abled people. I will listen with grace when I’m called out for my own privilege, and implement change.

I will check in with friends more often. I lost people I hadn’t talked to in a while in 2020. We all lost too many people and didn’t see enough of each other. I’m ready to open every door and invite people in.

Let’s continue making strides to better our industry for the rest of our lives. May 2021 find work bountiful, your workplace more diverse, and your mixes full!

 

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