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10 Ways to Stay Occupied During Covid -19 

At this point, I think the Covid-19 restrictions and limits on a majority of our careers is setting in along with fatigue to dealing with it all.  Here are some suggestions to beat the Covid blues.

Hit up a classic – a little refresher never hurts

Read for the first time or read again the Yamaha Sound Reinforcement Handbook this book is the first of its kind regarding design and using systems in all types of environments.

For another classic consider the Backstage Handbook: An Illustrated Almanac of Technical Information.

Check out Books Available for SoundGirls to Check Out for Free

Learn a new hobby

Become a grill master, change the oil on your car, hike up that mountain, or explore a park in your neighborhood you’ve never been in before.  I’ve found it’s been fun to explore around my area by geocaching.

Rest

Yes, it is ok to just rest. There’s a lot going on and we all react to it differently. It is ok to rest, sleep, watch movies and veg.

Find something to laugh at

Since we’re all randomly browsing the internet more frequently these days, we’re discovering a few more things. I’ve been watching videos from the following folks. They provide a little comedy each week.  Dude Dad, The Holderness Family, Charlie Berens

Socialize

Be it at a social distance location or a zoom call; connect with people you haven’t in a long time. Community is important, keep yours strong and connect with folks on a regular basis.

Try that recipe

That one on your long-lost Pinterest page – I personally recommend this Jack Daniels Boozy Fudge Recipe. The best way to eat your booze too!

Pick up that old hobby

You left behind – Find that old camera again, get that bicycle out of the closet, turn on the sewing machine in the corner. For me, I’ll be picking up my camera again.  Normally I’m an avid photographer when I travel, but since that won’t be happening anytime soon it’s time to take more of a local approach.

Volunteer

Find a place to volunteer. A homeless shelter, food pantry, community clean-up crew, or even Mentoring with Soundgirls!  There are so many options. Volunteering is a great way to give back and feel fulfilled at the same time.

Continue learning your craft

Many places still have free resources for learning and 30-day trials.  Check out the education resources from Soundgirls here or try out Vectorworks for 30 days free here.

Rock out to some good music

You miss it, you know you do. I do. Turn on your favorite album and crank it up. It’s therapeutic I promise.

Here are some of my favorites.  Cold War Kids, BlueBiird, Nothing but Thieves

I wish you the best as we continue to move through these times! Share in the comments what you’re doing to stay occupied.

 

El sonido y sus profesiones aplicadas

Conoce desde la experiencia de profesionales de que tratan algunas especialidades en mundo del audio.

Este jueves 2 de julio, tendremos la segunda sesión de esta serie de charlas: Sonido en el Cine, estaremos conversando con las profesionales:

Register Here

Maluz orozco  Maluz Orozco. Estudió Comunicación en la Universidad Iberoamericana y luego se especializó en Diseño de audio para medios audiovisuales en Vancouver Films School en 2010.Principalmente ha trabajado en películas y series como editora de diálogo y de efectos. Algunos títulos son: Vuelven, Almacenados, Tiempos Felices, No se aceptan devoluciones y Madeline’s Madeline. Ha impartido clases en Sala de Audio, la Universidad Anáhuac y La Escuela internacional de Cine y Television se Cuba. Es mamá soltera de dos. Actualmente edita efectos para series de Argos bajo la supervisión de Martín Hernandez.

Pamela Casasa – egresada de la carrera de Sound Technology en LIPA y egresada con honores de la maestría de Audio Production en la Universidad de Westminster Inglaterra. Ha colaborado en una variedad de proyectos desde las Olimpiadas en Londres 2012 hasta diseño de audio para audiolibros. Tanto en el campo de sonido directo como diseñadora sonora y editora ha colaborado con diversas producciones nacionales e internacionales en largometrajes, cortometrajes y documentales, entre otros y ha presentado su trabajo en festivales internacionales.

Alitzel Díaz : Estudió la Licenciatura en Ingeniería en Audio en SAE Institute México, ha trabajado en proyectos de post producción de sonido como: El Comienzo del Tiempo (2014) Club de Cuervos (2015 – 2018), Roma (2018) Tierra Mía (2018), Sobreviví (2018), Placa de Acero (2019), La Boda de la Abuela (2019), Sanctorum (2019)Halo of Stars (post -production). Nominada al Golden Reel Award (MPSE) 2019 en la categoría de Outstanding

Achievement in Sound Editing – Music Score for Feature Film. Actualmente es la primer asistente del Supervisor de Sonido Sergio Díaz y profesora de la Licenciatura de Ingeniería en Audio y Comunicación Transmedia en

SAE Institute México.

Daniela Fung Graduada en la Escuela Internacional de Cine de Televisión de San Antonio de los Baños, Cuba (2018), en la especialidad de Sonido, y en Taller de Arte Sonoro de Caracas, Venezuela (2010). Actualmente vive entre Cádiz y Madrid. En cine ha trabajado en la elaboración de la banda sonora de diversos proyectos como editora de sonido y sound mixer: Adiós de Paco Cabezas (ESP), Las Mejores Familias de Javier Fuentes-León (PER), Un Mundo Normal de Achero Mañas (ESP), Juan de Adrian Geyer (VEN), la serie de Netflix HACHE de Verónica Fernández (ESP), entre otros.

Entre los cortometrajes que ha colaborado se destacan El Cementerio Se Alumbra de Luis Alejandro Yero (Mejor Cortometraje Latinoamericano en el Festival Internacional del Mar de Plata, 2019), Soy de Denise Kelm (Special Jury Award de IDFA, 2018), En la Boca de la Mina (Galiza Award Festival Internacional de Santiago de Compostela, CURTOCIRCUITO, 2020).

Carolina Anton, es Ingeniera de Sonido – Sistemas/FOH y Mon con más de quince años de experiencia, ha colaborado con artistas y producciones distinguidos en más de veinte tours a nivel nacional e internacional; Ha mezclado para artistas como Kool & The Gang, Gloria Gaynor, Natalia Lafourcade, Mon Laferte y León Larregui, ademas trabaja para compañías como 2hands production services y Eight Day Sound. Actualmente se encuentra realizando mezclas en formatos de sonido inmersivo.

Carolina es cofundadora de la empresa 3BH, que desarrolla proyectos de integración tecnológica para estudios de post-producción y música en México y Latinoamérica y a partir del 2016 comenzó a representar a la organización Soundgirls.org en México, apoyando a las mujeres a profesionalizarse en la industria del espectáculo.

Andrea Arenas, graduada en Ingeniería electrónica, con estudios de música y percusionista, es ingeniero de sonido con 14 años de experiencia. Trabaja para Cirque du Soleil en el show Totem y cuenta con experiencia en sonido en vivo, grabación y producción musical en estudios, también grabación y producción musical de orquestas sinfónicas de El Sistema. Su experiencia profesional va desde trabajos en producciones discográficas de la Deutsche Grammophon con Gustavo Dudamel, como también soporte técnico de consolas Digico y otras reconocidas marcas en Hermes Music para bandas como Maná, Vicente Fernández, Ricky Martin; ha participado como voluntaria de audio para soundgirls en eventos como el She Rocks Awards, Girlschool y preparación de gira de Pearl Jam.  Ha sido técnico de sonido en varios shows del Cirque du Soleil. (At sea, Luzia, Amaluna y Totem)

How to Find the Best Candidate for the Job

 

There’s been a lot of talk about equality, equity and diversity recently. I’ll discuss the pros and cons of a diverse workplace in my next blog (spoiler: they’re mainly pros), but first I want to tackle an idea that shuts discussion about diversity down before it even begins: “It should just be the best candidate for the job.” Of course, I am 100% in agreement with that sentiment, but unfortunately, as is so often the case in live audio, the theory does not match up with real life.

Is live audio a meritocracy?

In my experience, it is widely believed that our industry, and indeed our society, is a meritocracy. That is, “outcomes such as wealth, jobs, and power are distributed on the basis of hard work, strong motivation, and personal ability.” (1) Or, that the best candidate gets the job. While that may be the ideal, and some companies might be very conscientious hirers, it is not what’s happening on an industry-wide level. If you’re feeling philosophical you might like to read this article about the origins of the term and the arguments for why a true meritocracy is unsustainable. The myth of meritocracy: who really gets what they deserve? (2). From a more practical angle, just think about how most of us get new clients: word of mouth. By its very nature, a network based on word of mouth and personal recommendations is an enclosed system. Would you trust a government that was only ever appointed by other members of that government? There are definitely advantages to hiring people who have been recommended by respected colleagues, but it is a system particularly vulnerable to biases and personal preferences, with little opportunity for scrutiny.

I have heard of people getting gigs because a parent-owned the company because they worked for a favoured artist and the hire company wanted to “keep them sweet” while they weren’t touring, or simply because they were in the warehouse when a project manager was filling their crew lists. Often, these people are genuinely very good at their job, but it can’t be argued that those are fair or transparent hiring practises. It’s also statistically unlikely that they were the definitively best choice for the job.

Meritocratic beliefs actually result in more discrimination

It sounds counterintuitive, but if someone believes they are part of a fair system (when they aren’t), they are more likely to act unfairly. “The more individuals believe that Meritocracy exists, the more likely they are to deny economic inequalities and discrimination and to overestimate racial equality and less likely to have support for policies designed to reduce those inequalities” (1). In other words, if you believe that with enough hard work and talent anyone can achieve anything, then you don’t believe discrimination or even luck are significant factors in people’s lives (3). The people who aren’t successful simply mustn’t have worked as hard or be as talented as the people who are. Members who benefit from the system happily believe that it is solely down to their work ethic and aptitude, while those who do less well blame themselves for being incompetent or lazy. When this belief is widespread, it further reinforces the stereotypes about the high-status group (often white men) being innately better than the low-status group (e.g. women and/or people of colour).

A 2010 study found “When merit was emphasized, research participants provided, on average, higher rewards to a male employee over an equally qualified female employee (in the same job, with the same supervisor, and with equivalent performance evaluations).” It concluded that “Ironically, working in an environment that highlights meritocracy might make individuals believe that they are fair and objective, and as a result, make them more likely to display their biases” (4). If someone feels they are already egalitarian, they’ll go with their gut instincts rather than examining what is driving their decisions, and those instincts are often biased. The rags to riches fairytale, which is so central to the American Dream and so countless movie plots adored worldwide, actually justifies the unequal status quo. It “serves as a social glue, holding the status-based hierarchy, and importantly, making inequalities more acceptable, hence promoting stability within a stratified social system” (1).

“Fetishing brilliance” reduces the pool of candidates 

A report published in Science in 2015 found that academic disciplines that fetishise brilliance, i.e. where practitioners in that field believe that raw, innate talent is the main requirement for success, are likely to have fewer women and African Americans than those that don’t (5). This results from a trend of white men being more associated with being ‘gifted’, while women and African American men “are stereotyped as lacking innate intellectual talent”. Tellingly, Asian Americans, who are not stereotyped in the same way, were not underrepresented in those fields. Emphasising the need for brilliance can both put women off, who often feel they don’t possess that quality and make employers less likely to choose women or African American men even if they do put themselves forward. The study found no evidence to support the theory that these groups are truly less likely to be naturally brilliant, as some had suggested, or that men do better because they work longer hours (which they didn’t).

We are obsessed with the idea of innate talent in audio. How many times have you heard people say that you have to have a musical ear for mixing, or you have to have the knack with technology? You’ve either got it or you don’t? Throughout music in general, skill is far more highly valued if you’re born with it. If you have to work at it, it’s almost embarrassing. When someone claims that to shine in audio requires skills that just can’t be taught, they’re subconsciously contributing to the underrepresentation of women and ethnic minorities in the field.

The limitations of word of mouth

If meritocratic beliefs and fetishising brilliance are two common factors in the industry, which have been shown to reduce the likelihood of success for large proportions of the population, why do we think the best candidate for the job is someone we already know? It’s not even a case of needing more diversity; how does an enclosed system recruit the best talent (innate or learned), regardless of identity? I understand that it is very difficult to judge aptitude for live audio just from a résumé. There are a lot of skills that can’t be measured by qualifications, résumés are vulnerable to exaggeration and finding a good personality fit for a team can be as important as finding someone with the right knowledge. The freelance, last minute and temporary nature of the industry also make it less suitable to recruitment methods used in more “corporate” settings. If you need eight people to work for just one week, starting 4 days from now, it isn’t practical to mount an advertising campaign for the roles then rigorously review each candidate and fact check their résumés.

However, we need to acknowledge that word of mouth and personal networks really limit the available talent pool, especially when it comes to newer people trying to make it in the industry. What are the odds that the best person possible for a job went to the same school as you? Knows a friend of yours? Goes to the same church as you? Or the old favourite, happens to be in the same room as you? If we can acknowledge the limitations of this approach we can start to do something about it.

Take control of the pipeline

Live audio is so highly competitive that it might seem like there’s little incentive to bother seeking candidates out rather than letting them come to you. Even if you get to the bottom of your call list, there’s always a pile of résumés waiting in your emails, right? It’s still likely that those résumés are from people who are already in the industry, often friends of people who work for you. You might be expanding the number of candidates, but they’re still likely to have quite similar attributes, especially if you’re looking for people who will “fit in well”. There’s a growing body of evidence that having diverse teams, not just measured by gender or ethnicity but a diversity of thinking improves performance (6). According to research discussed in Scientific American in 2014, “Being around people who are different from us makes us more creative, more diligent and harder-working.” (7) I will revisit this in more detail in my next blog but suffice it to say it is good to work with a wide variety of people, both from a company perspective and as a freelancer.

More “traditional” business sectors understand the importance of nurturing talent well before candidates reach the interview stage. If you want to attract the best of the best, you’ve got to see recruitment as an investment. I don’t know about you, but any career advice I’ve ever had was awful. There were about five jobs on their list, and none of them was “sound engineer.” The best engineer of the future might not even know the role exists. You could go into schools (not just your own) and do demonstrations, hold open days at your premises, have an active online presence where anyone who is curious can learn more about the industry and your part in it. Offering work experience and internships can help both parties assess each other, and you can teach potential employees good habits before they have the chance to learn bad ones.

As for finding candidates who are already in the industry: treat maintaining your freelancer pool as a year-round task. It’s easy to not see it as a priority when you’re busy with more immediate concerns, but if you leave filling positions to the last minute, you’re highly unlikely to find the best candidate. If you’re in a rush you won’t be thorough in your considerations, and to be frank, if someone’s available at short notice, they’re unlikely to be high quality. When reviewing cover letters and résumés, try to focus on objective things like qualifications and experience, and avoid making snap judgments based on less relevant aspects, like names or age.

Freelancers benefit from less homogenous working environments too, so it’s in our interests to help expand the search for coworkers. If you’re asked for recommendations, bear in mind that it’s natural to suggest people who are like ourselves (8). Make the effort to think about who would actually be the best fit for the role. If everyone you know is like you, get out more! Interacting with a wide variety of people benefits your professional and personal development anyway (more on that next time). Companies, employees and freelancers can all work to foster environments that value differences of opinion and experience, not just to attract but also retain and develop the best people in the industry.

So, if you’re looking for the best candidate for the job, I hope I’ve convinced you that our current methods are not enough to find them. Our industry is not a romantic comedy where the person we needed was right there in front of us all along. Idly believing that the best people should get the job is not going to change this. The good news is there are plenty of ways to find great techs and increase your competitive edge, productivity and profits in the process.

  1. Primes and Consequences: A Systematic Review of Meritocracy in Intergroup Relations. Madeira et al., 2007 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6761281/)
  2. The myth of meritocracy: who really gets what they deserve? K. A. Appiah. 2018 https://www.theguardian.com/news/2018/oct/19/the-myth-of-meritocracy-who-really-gets-what-they-deserve
  3. A belief in meritocracy is not only false: it’s bad for you. C. Mark, 2019 https://aeon.co/ideas/a-belief-in-meritocracy-is-not-only-false-its-bad-for-you
  4. The Paradox of Meritocracy in Organisations. Castilla & Benard, 2010 https://gap.hks.harvard.edu/paradox-meritocracy-organizations
  5. Expectations of brilliance underlie gender distributions across academic disciplines. Leslie et al., 2015 https://science.sciencemag.org/content/347/6219/262.full
  6. Why Diverse Teams are Smarter. Rock & Grant, 2016. https://hbr.org/2016/11/why-diverse-teams-are-smarter
  7. How Diversity Makes Us Smarter. Phillips, 2014 https://www.scientificamerican.com/article/how-diversity-makes-us-smarter/
  8. Word-of-mouth recruitment isn’t the best path to top research talent. ResearchGate, 2019 https://www.researchgate.net/scientific-recruitment/blog/post/word-of-mouth-recruitment-isnt-the-best-path-to-top-research-talent

Reviewing Fender Play 

I’ve been a self-taught guitar player for many years now having learnt to play chords from charts found online and riffs and songs from videos on YouTube. However, when I saw that Fender Play had an offer for a free 3-month trial I was interested in what I could learn.

Fender Play is essentially an online learning platform to help budding musicians learn to play Guitar, Bass, and Ukulele. The videos are extremely well produced and they use musical language that everyone can understand no matter what stage you are at.

When I signed up I had a bit of an advantage. I had played the guitar before so chord positions and playing came naturally. I was also classically trained so things like scales, chords, and theory were things I knew about. However, I discovered very quickly that there were still things I could learn.

For example, basic posture and positioning were something I took for granted before, but, after spending several weeks practicing these skills, my accuracy and sound have most certainly improved.

The lessons are set out in levels ranging in difficulty and there are a variety of great practice exercises and well-known songs that can be found in each one.

Overall I really recommend Fender Play to anyone wanting to learn the guitar. Of course, it doesn’t replace one-to-one teaching but it can help you navigate the basics and build your confidence in the instrument. Who knows, you might become the next Nita Strauss!

Stay safe and happy playing!

 

Once You Have the Gig – What Makes You Stand Out

Once You Have the Gig Round 2

How to stand out once you get the gig, how to get promoted, etiquette for freelancers, how scheduling works.

If you missed our first webinar “What Makes You Stand Out” you can view it here

Moderated by April Tucker, a Los Angeles-based re-recording mixer and sound editor who works in television, film, and new media. She holds both a Master’s Degree and a Bachelor’s Degree in Music/Sound Recording. April enjoys doing educational outreach such as writing for industry blogs, giving lectures and presentations. www.proaudiogirl.com

Panelists: 

Tina Morris, Studio Manager, The Village Studios (Los Angeles)

Catherine Vericolli, Owner/Manager/Engineer, Fivethirteen (Tempe, Arizona)

Meegan Holmes, Global Sales, 8th Day Sound (Los Angeles)

This webinar is limited to 100 people. It will also be live on Facebook and it will be recorded and posted on the SoundGirls website.

 

On Current Events and the State of Our Industry

A Special Guest Blog Post by Colin Grant

with an introduction By Kate Finan & Jeff Shiffman – Co-Owners’s  BOOM BOX POST

The last few months, and especially the last few weeks, have been a tumultuous time for our sound community, our country, and our world at large. Just when we all thought that our entire existence had already been tipped on its head by COVID-19, we were forced to come to grips with more tragedy and further depth of feeling as protests surged following the death of George Floyd.

As always, we are proud to be part of an online community that has taken these current events seriously and is working to create not just a safe space for open discourse, but a place to ask the difficult question of “how can I help?” We are currently taking a break from posting on social media and our blog about our business in order to give space to more important voices on this topic. However, it seemed like a missed opportunity not to use our platform to try to amplify some of those voices.

After seeing our former star intern, Colin Grant, actively tweeting about current events, we asked him to share a guest blog post with our readers. Colin came to us as a graduate of the University of Pittsburgh with a Bachelor of Arts, Music and Communications Studies, the Berklee Summer Abroad Film/Video Game Scoring Track, and the San Francisco Conservatory of Music with a Professional Studies Degree in Technology and Applied Composition. He had numerous jobs and internships under his belt before joining us, and after graduating from our internship program, has since moved on to do sound for AAA games as well as freelance post-production sound design and music.

Below, Colin shares his point of view on how our sound community can come together to create real and long-lasting change in our industry. Boom Box Post is by no means a perfect workplace. While we pride ourselves on gender diversity and inclusivity, Colin’s words showed us that there is so much more that we could be doing to help give marginalized voices a chance in our industry. We hope that you find Colin’s perspective as enlightening as we have and that you will share it with your friends, co-workers, and community members if you are moved to do so. Together, we believe that we can forge an industry that supports not just diversity, but inclusion; and further, not just inclusion, but justice.

-Kate Finan & Jeff Shiffman


On Current Events and the State of Our Industry

 

With the protests that have erupted after the murders of George Floyd, Breonna Taylor and the countless other African Americans that have experienced police brutality, a conversation about general inequality and lack of representation in the entertainment industry has bubbled to the surface once more. It is a sore subject for many and there is no easy solution to tackle the issue, but it is a necessary conversation. When I was approached to write a guest post, I initially considered writing a general post not overly specific to the Sound Community.  However, the more I wrote the more I realized that there are already hundreds of articles and tweets and videos that speak about the state of the world in much more eloquent and powerful words than I could ever hope to express. So, I decided to speak on more specific topics. While I by no means think that I have all of the answers (or even most) and certainly I don’t speak for a monolith, I hope that sharing my thoughts on the subjects can be helpful for some.

What We Can Do Right Now

The first and most pressing thing that we can do is to simply be understanding. Understanding that your African-American employees, contractors, freelancers, and friends are under immense stress right now and are trying to keep it together. Every time something like this occurs, the constant dull fear for our lives and the lives of our loved ones becomes sharp intense pains that must be managed along with everyday life. We must still work, interact with loved ones, go shopping, etc. This is on top of a global pandemic and many are confined to their homes. Some are dealing with the stress of raising kids while others are dealing with intense isolation. Have the same understanding you had when we all started quarantine. Work may be slower than usual and some may need to take some time to themselves. We are being inundated with incredibly brutal images almost constantly via news and social media and unfortunately, most don’t have the freedom nor luxury to simply tune that out.

I’d also encourage you to not just say that you and/or your company support the fight against police brutality but show it. Talk is cheap and donations along with specific and detailed calls to action speak volumes. Now is not the time to be silent or vague.

What We Can Do in the Future 

If you are on social media, you most likely have noticed the outpouring of offers for mentorship and the call for portfolios. This is fantastic and I hope to see this trend continue. However…

  1. For the reasons listed in the previous paragraph, some may not be in the current headspace to actually reach out to a stranger over the internet for mentorship. It’s difficult to put your best foot forward when the world seems to be on fire.
  2. This sudden spotlight brings the need for website, reel, and resume updating and again, the world is on fire.
  3. While people mean well, this isn’t the first time we’ve seen this happen, only to die down just as quickly. This needs to be ingrained in our culture as professionals. This can’t happen only when a life is lost.

Rather than simply reacting, we need to be proactive. Systemic problems require attacking the problem at points, from the branches to the roots. This has to be done on the individual, company, and industry-wide level to be truly effective and long-lasting. I’m not an expert when it comes to large-scale industry organizations, but below are just a few approaches.

School

  1. Are we going into middle schools, high schools and colleges and letting people know that sound is an option, especially lower-income schools? Though we may eat, sleep, and breathe sound, we are all too aware of how many don’t even think about the role of audio-professionals. A good example of this is the community outreach that  Nickelodeon does called the Nickelodeon Community Efforts.
  2. Are we reaching out and talking to schools about visiting our studios? While that certainly presents a totally separate set of challenges, showing kids how to record, what being a sound editor entails, and what a foley pit looks like can go a long way.

Internships/Work

  1. How accessible is your internship program, especially to those coming from a lower-income bracket? If you are only offering a 40+ hour-a-week unpaid internship, you are already culling the pool. If it’s not a paid position, then structuring your internship to allow time to work a job is a necessity. Accessibility also means clearly showing how and where to apply, as well as what to expect (for both points, I’d look at how BBP lists and structures their internship). Most of our industry is word of mouth, which can create an enclosed system. If you find that your interns tend to come from the same exact schools, you might need to be more proactive.
  2. How accessible is your job application process? Everything I mentioned for Internships applies to jobs. If you truly want to see change, you have to be proactive, even if it means a bit more legwork on your part.

Mentorship

  1. How are you fostering mentorship and helping marginalized voices not only break into the industry but grow and flourish? I know it’s easy to think our industry is a meritocracy and those who succeed and rise in the ranks do so on their own strengths alone and those who fail simply “couldn’t hack it,” but that simply is too black and white.

I really want to thank Kate, Jeff, and the whole Boom Box Post Crew for allowing me to voice my opinion on their platform. I know things may seem bleak now, but I have faith in both the sound community and in the world at large that things will change and that things will get better.

Here are some existing resources:

Project Include

POC in Audio


Colin Grant is passionate about making worlds through sound! Whether it’s as a composer, music editor, sound designer, or dialogue editor, Colin loves crafting sounds that enhance the narrative and emotional journey in a story. This is especially true for animation and video games, two mediums that Colin has the most experience in and love for.

More from Boom Box Post and Kate Finan

Leslie Ann Jones Scholarship in Honor of Ethel Gabriel

This scholarship is made possible by a generous donation from Leslie Ann Jones and is in honor of Ethel Gabriel

APPLICATION For 2021

The Leslie Ann Jones Scholarship in honor of Ethel Gabriel and is a $250 scholarship to be used for education in the music industry. Applications will open on June 1, 2021

WHO IS ELIGIBLE?

Any member of SoundGirls that is attending or plans to attend educational programs relating to the music industry. There is no age requirement and includes college programs, trade schools, seminars, and workshops. Applications are open to all genders and non-conforming genders.

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Application opens on June 1, 2021 – Apply Here

DEADLINE FOR SUBMISSION

The essay submission deadline is 12:00 midnight EDT July 30, 2021. The scholarships will be awarded in August 2021 and paid to scholarship winners. Scholarship winners will be required to send proof of enrollment in the educational program to SoundGirls or scholarship money must be returned.

SELECTION PROCESS & NOTIFICATION

The SoundGirls Board will review essays and will notify the winners via email.

ADDITIONAL DETAILS

The scholarship funds awarded can be used for educational programs related to professional audio. Scholarships are non-renewable. You will need to submit proof of enrollment in a program.

QUESTIONS?

Any questions on the scholarship essay can be directed to soundgirls@soundgirls.org.

APPLY HERE

Additional Scholarships to Apply for

The Ethel Gabriel Scholarship

SoundGirls Scholarships

 

 

Ethel Gabriel the First of the 5%

 

Ethel Gabriel (1921-2021) may be one of the most prolific recording industry professionals you’ve never heard of. Ethel was the first woman record producer for a major record label, and one of the first women in the world to work in A&R. She had a 4-decade career at RCA starting with an entry-level job and rising up to being an executive in the company.

During her career, Ethel produced over 5,000 records – some original recordings and some repackaged – by nearly every artist on the RCA roster (including Elvis Presley and Dolly Parton). Ethel was the woman in A&R to receive an RIAA Gold Record in 1959, and the first woman to win a Grammy for Best Historical Album (1982).

Ethel was willing to take risks, such as producing the first digitally-remastered album or working with artists who brought new types of music to the mainstream. Her credits include everything from mambo to easy listening to rap.

Ethel’s Background

Ethel was born in 1921 in Pennsylvania. She started her own dance band at age 13 (called “En and Her Royal Men”) where Ethel played trombone. She originally wanted to go to college for forestry (at the encouragement of her father) but women were not allowed into the program. She decided to attend Temple University (Philadelphia, PA) and study music education.

A relative helped Ethel get a job at RCA’s record plant (in Camden, New Jersey) to help pay for tuition and expenses. Ethel’s first job included tasks like putting labels on records. She was promoted to record tester where she had to listen to one out of every 500 records pressed for quality. She learned every note of the big hits since Ethel had to listen to them over and over.

Ethel was allowed to visit the nearby RCA recording studios. She brought her trombone with her, playing with major artists for fun between sessions. She also learned how recording sessions worked. Ethel was secretary to the manager of A&R at the time, Herman Diaz, Jr. Ethel got to produce her first recording session (with bandleader Elliot Laurence) when Diaz called in sick and asked her to do it.

In 1955, Ethel convinced her boss, Manie Sacks, to sign Perez Prado to RCA’s label. She produced his record, Cherry Pink and Apple Blossom White, which became a worldwide hit and helped bring the mambo craze to the US.

She was with RCA during the creation of their Nashville studios, the signing of Elvis, and their transition from mono to stereo.

Through Ethel’s career, she was willing to take risks and experiment with new technology or music. In 1959, Ethel launched Living Strings, a series on RCA Camden’s label that ran for 22 years.

In 1961, she produced Ray Martin and his Orchestra Dynamica, the first release using RCA’s “Stereo Action.” In 1976, she was executive producer of Caruso,’s A Legendary Performer, the first digitally-remastered album. The technology used by Soundstream Inc (lead by Thomas Stockham) has gone on to be widely used in audio and photography restoration and Stockham’s work on the Caruso album was the basis for a 1975 scientific paper. In 1975, Ethel gave a chance to then-unknown producer Warren Schatz, who produced RCA’s first disco album, Disco-Soul by The Brothers.

Ethel managed RCA’s Camden label (designed for budget records) starting in 1961. Camden was struggling when she took over and went on to become a multi-million dollar label under Ethel’s watch. Some of RCA’s major artists even asked to be released on the Camden line over the flagship RCA label because of Camden’s success.

Ethel received two RIAA Platinum records and 15 Gold records (over 10 million record sales total) during her career with numbers still growing. Many of these were repackages or re-releases where Ethel put her expert eyes (and ears) on song selection and label redesign. One album she re-packaged, Elvis’ Christmas Album, was the first Elvis record to reach Diamond (10 million sales). Ethel said of creating special packages (in Billboard Magazine Sept 5, 1981), “It’s like second nature to me. The secret is that you know the market you’re trying to reach. You can’t contrive a special record. It has to be genuine and full of integrity because people know the difference.” Ethel re-issued albums for nearly every RCA artist (including the Legendary Performer series, RCA Pure Gold economy line, and the Bluebird Complete series).

Towards the end of her time at RCA, Ethel asked the company to fund a women’s group for lectures and seminars. She wanted to help women learn to become executives. Ethel said she felt like a mother to some of the women she mentored (Ethel was married but did not have children). She wanted to teach skills like how to network, how to dress or behave. Ethel also became involved with Women in Music, one of very few groups available to women in the music industry at the time. In 1990, Ethel publicly spoke out against the “boys club” in a Letter to the Editor of Billboard Magazine (Oct 6). She said, “Yes, there are ‘record women’ in the industry – and they have ears, too!”

Ethel also worked with many artists and ensembles in the studio during her career including Chet Atkins, Caterina Valenti, Marty Gold, Los Indios Tabajaras, Teresa Brewer and hundreds of recordings under the Living series. She said of working with artists, “There are times to ‘harness’ artists and times to ‘push.’” Ethel said her most helpful qualifications to do the job were “her knowledge and love of music and her ability to make difficult decisions and hold to them.” (Cincinnati Enquirer August 18, 1983)

Ethel was not promoted to Vice President at RCA until 1982, over 40 years into her career. Many colleagues said it was long overdue. The following year, she won a Grammy for Best Historical Album (for co-producing The Dorsey/Sinatra Sessions). After leaving RCA, Ethel remained in the industry where she worked as president and vice president to smaller record labels.

Ethel’s story is being captured in a documentary film about her life and career, called LIVING SOUND. Production on the film started in 2019, when Gabriel was 97 years old. The documentary began (with the aide of SoundGirls) through uncovering archival materials and conducting interviews with Ethel.

For more about LIVING SOUND visit livingsoundfilm.com.  SoundGirls also has a scholarship in Ethel’s honor: the Ethel Gabriel Scholarship.

The SoundGirls Podcast – Caroline Losneck and April Tucker: Living Sound the Ethel Gabriel Documentary Team

 

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A Conversation about Sound Editing for the Mix Stage

Join Sherry Klein, Scott Weber and Marla McGuire with Moderator Karol Urban

For a discussion of best practices on processing, editing, stereo vs 5.1, communication, and more for delivering to re-recording mixers on the dub stage

July 7, 11 am PST

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About our Moderator and Panelists

Sherry Klein, CAS and Scott Weber, are a re-recording mixer team at Smart Post Sound in Burbank, CA. Shows mixed together include New Amsterdam, The Passage, Queen of the South, and Reverie.

Sherry was one of the first female television mixers in Los Angeles after being a recording engineer at Larrabee Studios in the late 70s. She mixes dialog and music.

More about Sherry Klein

Scott is a two-time Emmy award winner (as one of the re-recording mixers on Westworld and Lost) and mixes FX and Foley.

Marla McGuire, MPSE is a supervising sound editor who has worked on How To Get Away With Murder, Scandal, The Killing, and Seven Seconds.

Karol Urban, CAS, MPSE, is a re-recording mixer who’s credits include Grey’s Anatomy, Single Parents, Project Blue Book, and Gentefied.

More about Karol Urban

 

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