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Post-Production Mid-Pandemic – Boom Box Post

We recently received a request to write a post on how we’ve been dealing with the global pandemic. While I am a bit worried our audience may be exhausted by COVID-19 coverage, I think it’s important to share our experience at this time with one another. With that in mind, I hope this post brings some information your way about work from home workflows as well as our unique perspective as a boutique post-production studio dealing with the crisis. I’m also hoping it may spark some new conversation about how we are all working in a creative, collaborative field while isolated from one another. So let’s dive in!

Since starting the studio, Kate and I have tried to have as many editors work in-house as possible. We love having our team interacting with one another every day. Great for creativity, tough in this crisis. We had a challenge on our hands sending everyone home.

When it became very apparent that the COVID-19 crisis was getting serious (around mid-March) Kate and I started to formulate a plan to transform Boom Box Post into a remote studio over multiple phases; each phase triggered by differing levels of danger. Preparing for the worst (full stay at home orders) just in case. Oh what a simpler time!

CREATING A REMOTE STUDIO

Phase 1 – Sending our Editors HOME

I started by visiting every editor to audit what kind of equipment each had at home. Results ranged for fully able to work from home to having no gear at all. With this information, I was able to create an individual checklist for each staff member, down to the cables, of what they would be taking home from the studio.

At this point we decided to send all non-client-facing staff home for their own safety. It was a bit chaotic loading up cars with gear but everyone was in remarkably good spirits.

Phase 2 – Sending Our Client-Facing Staff HOME

Very quickly it became obvious that our clients were no longer going to be able to come by the studio for in-person reviews. In the span of 24 hours, we heard from all the major studios that staff would either be sent home or isolated to only their corporate workspaces. It was at this point we decided to send Brad Meyer, Lead Sound Editor and Tess Fournier, Supervising Sound Editor home as well. We also worked out a VPN remote control system for media management and were able to send Sam Busekrus our Assistant Editor/Office Manager home.

Phase 3 – Everybody Goes Home

On March 19th, California issued the “Safer at Home” order and it was time to send home the last holdouts (myself included). Having been over a decade since I worked from home, I needed to set up shop from scratch. My kids moved together into one room, my son’s former bedroom becoming my home studio. I packed up every piece of gear into my car, even a desk, and chair! The studio was officially empty as of Friday, March 20th.

After almost six years of building Boom Box Post from the ground up, this is something completely different.

Re-Recording mixer Jacob Cook and I still go in about once a week to mix alone on our stage. I have to be honest, going into an empty studio that was so vibrant only a month prior is very odd. With each room stripped of all gear, devoid of our amazing staff, it’s a shell of what it once was. Will we be able to bounce back just a quickly as we sent everyone home? For sure! But for now, it’s still very sad for me.

TECHNICAL SOLUTIONS

Getting everyone working at home was a challenge but even more importantly, we needed solutions that would work well for our clients. After all, we needed to show we could continue to do great work with client direction even in this new setting. After extensive testing, here are some of the strategies and tools we settled on. Note: we are in no way paid to endorse any products.

SyncSketch

The big hero of the pandemic for us has been the remote review platform SyncSketch. With this web-based program, we are able to upload client videos which can then be reviewed either individually or in sync as a team, leaving timecode specific notes tagged with the reviewer’s name. Once complete, notes can be downloaded as a PDF with thumbnails of the shots being referenced. It’s as simple as watching back a Quicktime but without the mess of typing out timecode and organizing them into an email thread. This alternative to attempting ‘live’ reviews over a video conferencing solution has proven to be the most effective since the quality and playback remain rock solid. All it requires is rendering our mixes to quicktime and setting up review timelines and deadlines with our clients. We have used SyncSketch for spotting and previewing sessions, ADR calling and final mix reviews. Best of all, SyncSketch employs the highest level of security, so clients know their data is safe. After introducing SyncSketch to our clients, a number of them implemented it internally for their own production use.

UPS Battery Backups

In the early days of the California “Safer at Home” declaration, I didn’t know what kind of access we would have to the office. Our server is the heart of our business, all media coming and going from this central location. I ran out to Best Buy and bought the two largest battery back up units in stock. Advertised as giving us about two full hours of power backup, I figured this could buy us some time in a power outage for this critical part of our infrastructure.

ETHERNET CABLE

Building CAT-5 cable is a very specific skill. Lucky for me, I wired multiple houses in college with ethernet (it was the early 2ooo’s and rental homes in Bloomington, Indiana weren’t coming pre-wired back then). As it turns out, home wifi isn’t necessarily going to cut it when our editors need the ability to download very large files in short time frames. I spent quite some time on the floor of my office creating very long custom cables (the biggest was 40 feet!) so that our team could wire up directly to their routers.

Zoom Conferencing

Zoom seems to have gotten the lock on conferencing for this crisis. And it’s no wonder why. In my testing, it’s clearly the most stable. When a session has required ‘face to face’ interaction, we’ve turned to Zoom.

Security

While we have the majority of our staff in the office, we did already have a few editors working from home. This proved very beneficial as we had already put in place stringent remote work security protocols which we simply had to apply to our new work from home staff.

In the midst of all our work from home prep, I was so proud of our team’s resilience that I tweeted about it. This caught the attention of Teresa Morrow, co-host of the Tonebenders podcast. They reached out to ask if we could participate in a roundtable discussion on how we were handling the crisis. You can listen to Kate and I recount our experience in detail in this surprisingly fun (given the subject matter) conversation.

COVID-19 has stretched the very idea of adversity in business for us. That said, I’m doing my best to focus on the positive here. Who knows what kind of efficiency changes will come out of this crisis? I’ve been keeping a running list of post-COVID to-dos, a lot of which are going to be improvements. I try very hard to be grateful, but I think this change of pace has still shown me how much we have in this studio and this incredibly talented team of sound pros. It’s easy to get caught up in the day to day operations and lose sight of the amazing work happening around us. I know that when we return to the office, things are going to be quite different. It’s my hope that I’ll appreciate our shared creativity even more once Boom Box Post is under one roof again.

Stay safe out there.

JEFF SHIFFMAN, CO-OWNER OF BOOM BOX POST


Post-Production Mid-Pandemic Part 2: Staying Connected

A couple of weeks ago, Jeff wrote a great post about our journey from an in-studio editorial and mix facility to an entirely work-from-home team with remote client services. He talked about all of the challenges of quickly pivoting our entire business model in the face of COVID, which was no small order. You can also hear more about that time if you listen to the Tonebenders COVID & the Sound Community Round Table that we took part of. They caught us mid-transition, and we were tired, overwhelmed, but so appreciative of our team’s ability to rise to any challenge.

But, now we’ve all moved on to a whole different phase of the pandemic: one where we’re fairly settled into our new normal and just waiting to see how long we stay here.

Our Business During COVID-19

We, at Boom Box Post, are among the lucky ones. Because we work in animation and our clients aren’t on set, our entire Los Angeles client-base was able to transition very quickly to work-from-home, thus keeping our operations alive and well. That is far from the case for our live-action counterparts. But, that doesn’t mean that we haven’t also seen changes in the amount and type of work that has come through our now-virtual door.

Unlike live-action, animation is often done overseas and then shipped back to an LA-based production company. A number of our television series are animated in China, India, Israel, and other countries that have undergone various degrees of government-mandated quarantines. Some of these companies were able to set up part of their staff to work effectively from home. But in most cases, workers do have the means to work from home, and schedules were delayed for as long as those closures persisted. In this way, our business is being greatly affected not just by US legislation, but by health concerns and political action across the world.

Additionally, on our series, all dialogue is recorded in a voice-over booth here in LA. With Safer at Home in place, currently, all sessions have been canceled. Some productions were able to quickly gear up to get all of their talent recording effectively at home–a very tall order considering that some of that talent consists of child actors who are not as tech-savvy as an adult professional voice actor. But others are making do with sub-par home recordings done in whatever fashion is possible, considering them scratch, and planning to record the real lines when we are all allowed back in the studio again (whenever that may be). Some series are mixing with scratch in place and planning to punch in at a later date. Others are holding off on mixing all together until all materials are available to avoid confusion in the post-COVID aftermath.

Whatever each crew has decided, none of it is simple, and none of it is consistent from series to series. So while we have been able to adapt amazingly well and continue our business in a way that few are lucky enough to do, it has been a struggle to keep up with all of the different needs, demands, and concerns depending on each unique client situation.

Great Things that Have Happened

On the upside, some amazing things have happened. Number one, I’m typing this blog post while sitting in my backyard, sipping iced tea, on a beautiful Los Angeles day. So really, how could I possibly complain about this? We’ve all had more time with family lately (um…. for better or worse. You know what I mean, fellow parents!!!). I haven’t eaten this many home-cooked meals for at least ten years. Maybe twenty, if we’re honest.

And we’ve proven yet again that we, at Boom Box Post, have the best staff in the biz. We have not received one single complaint through this whole transition–even a good-natured gripe during one of our Zoom Tipsy Tuesdays! So while I’m sure that everyone is tired of learning all this new technology (I feel like my head will explode if I’m asked to figure out one more remote playback solution or video conferencing platform), I think we’ve also learned so much in a very short time that will benefit our workflow in the future.

How We Are Staying Connected

Meet Roger, Tess’s new pup!

It’s hard to feel like we’re all part of a cohesive team while working in isolation. So, we’ve been trying hard to continue our usual team-building and social engagements. But, we’ve had to get creative in order to keep things fun!

We’re still organizing virtual team lunches from time to time when we watch each other slurp spaghetti and spoon leftover chili into our mouths while oohing and ahhing over how cute everyone’s cats and dogs are. I have to admit, the pets are a great addition.

We started a #recipes channel on Slack so we can share easy recipes that require few or very easily modified ingredient lists since grocery shopping can be hit or miss these days.

We goaded Tess into adopting a dog. The pressure was real. But she’s going to be an awesome dog mom, and I think we can all agree that those dog walks are clutch right now.

And, we’re still doing our Lunch & Learns and Tipsy Tuesdays via Zoom! They’re incredibly chaotic, but it’s cool to see everyone in their natural habitat. And it always reminds me how much I miss having a big, vibrant, talented team surrounding me all day.

Tips from Our Team in a Time of Turmoil

 

Because, as I mentioned, our team has been so amazing about not saying a peep about how COVID is affecting them, I decided to reach out to ask what their experience has been so far and if they have any tips on how to stay sane during this tough time. Here’s what they had to say!

What do you miss the most about the office?

Tim: I feel like everyone is going to say the thing they miss most about the office are the people. Which is true, I do miss seeing everyone’s face every day. But I think what I miss the most is our server. At-home internet just isn’t it and I miss being able to download large sessions in 2 seconds. I also miss the act of actually going into the office. My commute always turns into a karaoke session…

Jacob: I miss seeing my coworkers and eating lunch with them. I miss hearing about what is happening in all my friends’ lives and taking a relaxing break with them during the day.

Brad: I miss my full 5.1 rig. I currently only have the capabilities for stereo. However, I’m no stranger to cutting shows that get mixed in 5.1 in stereo, so it hasn’t been too hard to adapt.

Tess: I miss seeing everyone every day and catching up! Both coworkers and clients.

Sam: I would just say being around the whole team. Working at home can get lonely and boring not having others to talk to. I would say being able to socialize and going to other people’s rooms for a question or for whatever reason makes the time go by a lot faster. Another aspect is that it’s a change of scenery. Working from home is just the same thing over and over again. I hardly even know what day of the week it is anymore.

For you, what’s the best part of working from home? 

Kirsty: For me, the best part of WFH is I don’t need to deal with traffic anymore. It’s great that there are only 20 feet from my working desk to my couch. But I also miss being able to communicate with people in the office. Now we have to type in Slack. I’d love to congratulate people in person for their promotion or pet adoption.

Natalia: Being able to have home-cooked meals! I like to cook so that’s a good thing about working from home, also I’m fostering so I get to spend much more time with the dog!

Tim: I adopted a cat a few months ago, so it’s been nice to spend all day with her. She is almost always on my lap or by my feet while I work. It’s also nice to be able to keep an eye on her and tell her to STOP SCRATCHING THE COUCH!

Tess: Honestly, not a huge fan of working from home. But I’m glad we’re all being safe!

Jacob: It is awesome to lose my commute. While I enjoy listening to my podcasts on the way to work, I enjoy using the extra time to cook breakfast and tidy up the house before I start working in the morning, not to mention the extra time with my wife after work.

Brad: Having my wife as a coworker!

Sam: There are a few major pros of working from home that I love. The first one being that I get to be around my dog all day so he does keep me somewhat entertained. The second one is not having to drive to work. Everyone knows LA traffic sucks so not having to deal with that is amazing. One other bonus is being able to wake up later. All I have to do is walk from my bed to the computer!

Do you have any hot WFH tips? 

Natalia: Be organized, especially if you have different work projects going on. And also, have a dedicated space for work and don’t bring it into your personal space of the house. You need to create boundaries between work and downtime within the same home. Also, set a strict schedule for when to work, pretty much keep the same schedule as if you were going into the studio. If not, you’ll end up losing track of time that way. But also, don’t forget to stand up and take breaks from time to time!

Tim: I have made multiple quarantine playlists. Jamming out while I work helps keep my mind off the fact that I haven’t left the house in weeks. So if you’re someone who can focus while listening to music, I definitely recommend putting on some tunes!

Jacob: I like to set hourly benchmarks for myself when editing sound effects. I sort of did that before WFH, but I find it to be extra important now that I have all the distractions of my home close at hand. This way I always know where I am and where I should be in my work, and I’m never surprised if I am running behind at the end of the day.

Tess: Best WFH tip I have is to keep your regular schedule! I’ve found that to be tricky, but if I drift out for a day I’m much less productive than when I’m strict about my schedule.

Brad: Be conscious of the work time/home time divide. When there’s no clear cut end to your workday and you don’t have to leave work to go home, it’s hard to know when to stop for the day, which can lead to fatigue on your ears, eyes, and mind.

Sam: I think the most important thing for me is taking breaks away from the computer to not lose sanity. Exercising on my lunch break and going outside for a few minutes at a time throughout the day really does help me personally.

Do you want to share any fun internet time-wasters to brighten everyone’s day?

Greg: I play sudoku, solitaire, Tripeaks solitaire, and wordscapes. For websites, addictinggames.com is a classic for a multitude of quickplay games, mix.com is the updated version of stumbleupon. It’s now a browser add-on that you can just click the button and it takes you to a random page of your selected interests. Everything from games to photography, science and technology articles, comedic/satiric articles, etc. etc.

Also there’s this classic for a good throwback game every once in a while https://gold-miner-games.com/classic-gold-miner.htm

Tim: My friends and I have been playing skribbl.io over Facetime a lot. It’s basically Pictionary without the teams. I don’t like to share my wins.

Kate: If you’re having a hard time with the utter silence of working from home, you can use this office noise generator! Move the sliders to make just the right mix of chatty colleagues, aggressive typer next door, room tone, and that solidly 90’s printer technology that can screech louder than any banshee.

Jacob: I love the Youtube Channel Kittisaurus. Watching the cats get up to shenanigans is always a good laugh.

 

Part One of this Blog was written by JEFF SHIFFMAN, CO-OWNER OF BOOM BOX POST

 

Finishing a Song and Workflow

What finishing a song a week taught me about workflow?

I’m a bit of a perfectionist, and for a long time, I thought this was a good thing. That was until I read a quote recently that stated:

Done is Better than Perfect

Initially, I was skeptical. When I applied it to music-making I thought to myself I would rather have things perfect than simply completed. Who wants a mediocre piece of work that is done over an intricately detailed piece that might not be completed?

I realised at this moment that I have hard drives full of unfinished work simply because I have deemed it ‘imperfect’.  Yet I have very few finished pieces of work in comparison.

So, I set myself a challenge to start writing and FINISHING a song a week. The rules were it didn’t have to be perfect, I didn’t have to like it, it just had to be DONE.

A month later and many songs completed I realised that I was wrong.

Before I would spend days EQ’ing a kick drum and weeks getting the perfect balance of reverb only to be exhausted with the song months later.

Writing and finishing a song in a week has given me the boundaries I need to prioritise what needs done and limited the amount of time I work on everything. Resulting in the feeling of accomplishment having seen something through to the end.

I ultimately have started liking my one-week songs over the ones I spent four months writing the verses for!

So, if you’re like me and spending an unhealthy amount of time trying to make something ‘perfect’ may I suggest putting a time limit on it and remember –  it doesn’t have to be polished, it just has to be done.

 

Skills College Can’t Teach You 

With graduation season upon us, the Class of 2020 is preparing for graduations in their homes. Through these difficult circumstances, graduating from college is an amazing accomplishment that deserves recognition. It has been a year since I have graduated from school, and through this year I have learned many skills college doesn’t teach you.

Here are a few things you will not learn in college

Networking and relationship building: “It’s not what you know but It’s who you know” is truer than you may think. Networking is meeting new people in a professional context, building those relationships over time, and providing value to each other. This skill is essential because a person’s main success is due to “human engineering”—your personality, communication ability, negotiation skills, and emotional intelligence.

Setting realistic career goals: Nine out of ten chances you aren’t going to land your dream job right out of college. I’ve been denied from Turner Broadcasting several times since I have moved to Atlanta. Setting goals, with realistic deadlines, is an important skill to have in any job where you don’t have someone explicitly telling you what to do. Goal-setting is also valuable for personal development and growth.

Work Hard. Hustle Harder: Good things come to those who hustle! How to sell your ideas and yourself is something not taught in college, but you’ll miss great opportunities if you lack the skills and confidence to put yourself out there. You get that dream job by selling yourself to a hiring manager. You get startup investors by selling your vision. You negotiate a raise by selling yourself to a higher-up.

It is so important to continue education and work on skills that college doesn’t teach you. These skills and many more will help you get a job and keep a job in the industry. Congratulations to the Class of 2020! Despite the circumstance, finishing school amazing. With hard work, determination, and drive anything you want to achieve can and will happen.

What Makes You Stand Out?

When you’re getting started in the music industry (live sound and studio recording), what makes you stand out to a live sound company or a music studio ready to hire? We’ll discuss the types of jobs available, how to find out about jobs, resumes, good and bad ways to cold contact, and other ways to get a foot in the door. This webinar will discuss how business worked before the pandemic, how it might look after, and what you can be doing now to better be prepared.

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.

 

Paying Yourself First 

 

SoundGirls Presents Paying Yourself First

Andrea Espinoza will be teaching us how to financially plan for your future.

Register here  – May 21 at 3 PM PST.

This is a Zoom Webinar and it will be recorded and available online at a later date. It will also be Live on Facebook.

Topics Include:

Andrea Espinoza is an Audio Engineer turned Tour Manager. With a BFA in Sound Design & Engineering, Espinoza spent eight years working in touring audio before she diversified into roles that included automation, carpentry, and video. In lieu of recent events, she has been able to fully pivot to her own practice as a licensed financial educator and advisor, helping to set those that she comes into contact with on the path towards financial freedom – one conversation at a time.

 

Striving for Excellence

 

I love to show this picture when people ask what my job is like, especially in tech. It’s from one of our first previews of the Miss Saigon National Tour: I’m at front of house (FOH) with Mick Potter and Adam Fisher, the sound designer, and the UK sound associate respectively, next to me on the console. The executive producer, Sir Cameron Mackintosh, watches the show on the end of the row, keeping a sharp eye out for any aspect that might need a bit of polish. On my other side is the US sound associate, Josh Hummel, who’s taking the picture, so it’s a full house in every sense of the phrase. There’s nothing like mixing a scene for maybe the third or fourth time with multiple people — all of whom have the ability to fire you — within a five-foot radius. And while you’re mixing, the producer is making suggestions to the designer who is making adjustments and talking with the associate, who is also making adjustments while giving you notes to help you refine your mix. Oh, and please, don’t miss any pick-ups.

It doesn’t stop once you leave tech. Granted, FOH becomes less crowded once the directors, producers, and designers are gone, but there are now thousands of people in the seats and they also expect perfection. They will happily be your harshest critics if they feel like the experience isn’t up to snuff, and you don’t have much of a safety net: actors can cover when they forget something, but there’s no way to ad-lib a fader up after you’ve missed the line.

Until you’ve done a few shows and learn to trust in your abilities as a mixer, it’s easy to let your nerves get the better of you. This is a common problem in many careers; a musician has to be “on” for an audition, an athlete has one chance to break a record or win a medal, a businesswoman has one meeting to nail a presentation. However, there is one major difference. Those jobs have one thing: one project, one match, one audition. As a mixer, it’s every day, 8 shows a week, week after week that you have to spend at a level of peak performance.

Mixing has and always will be a high-pressure job, but if you’re able to accept that and work with it instead of fighting it, you and your blood pressure will thank you. Sometimes it’s as easy as finding a scene or a song in the show that you can jam out to or get carried along with the sweep of the music. Other times it’s finding some way to let go of adrenaline or calm yourself down before your start. I know people who will take a walk around the theatre if they need to work off some nerves. Personally, I like a game or an easy crossword puzzle that keeps me occupied and gets my brain going, but I can put aside at a moment’s notice.

Most of the time, the stress comes from falling into the trap of expecting perfection. Achieving a “perfect” show depends on millions of variables and is therefore close to impossible. I was listening to a podcast called “How To! with Charles Duhigg” where he had Dr. Green, a peak performance psychologist, talk about dealing with stress, specifically related to performance. Green said at one point, “There’s a difference between perfectionism and striving for excellence.” That phrase resonated with me and my approach to mixing. Mixers rely on a unique ability: they have to constantly strive and expect nothing less than complete accuracy, but if they do make a mistake, they must also have the capability to forgive themselves and move past it almost immediately, otherwise, it can derail the rest of the show. “Striving for excellence” is exactly what we do. You walk up to the board with the commitment to do you very best every single time, but allow yourself enough grace to acknowledge your mistakes if they happen and move on.

Sometimes that commitment is your best defense against nerves. If you bring that mindset of striving for excellence every time you step up to the console, it’s just another show. It doesn’t matter if a producer with a net worth of upwards of a billion is pacing around FOH, or if it’s just you left to do your thing: you always mix the same show. I’ve seen the opposite with the actors a lot. There are always a few that consistently do warm-ups, but when a creative or someone important comes to the show, suddenly the dressing room hallways are filled with a cacophony of vocal exercises. Backstage you can see the ones that have been doing the show they’re supposed to the entire time: they’re calm and collected; conditioned by weeks of practice. Those who choose to mark their singing for most shows, then decide to go all out for this show are the ones huffing and puffing; they didn’t realize that it was so much work to dance and sing like they’re supposed to. (Plus it’s an absolute treat for the mixer to have to play “Guess the Level” when actors decide to actually sing out for the part they never do, or option up an octave instead of the normal note.)

When mistakes happen—whether due to surprises or not—one of the biggest, and least productive, traps a mixer can fall into is dwelling on that mistake. Your brain only has so much bandwidth to devote to a task at hand and, as soon as you start using up processing power to berate yourself over a missed pick up, you limit what ability your brain has left to focus on the show. Believe me, you’ll have plenty of time to beat yourself up when the show is done if you want to.

The best method I’ve found is to acknowledge it. My involuntary reaction ends up being a sharp head jerk and a pissed off grunt, but then I put myself right back in the show. Take a moment, but only that, then focus on the next line, the next band move, the next scene. Don’t give yourself an opportunity to linger. It’s not easy at first, because that’s exactly what you’ll want to do, but with enough repetition, it will become a habit.

Once the show is over, then you can do a replay of what you missed. It shouldn’t be to blame yourself but to do a technical analysis and take stock of what happened in the moment. Did you grab the wrong fader? Were you focusing on something or someone else? Did you lose your place and fumbled while getting back on track? When you know what caused the mistake, you can take steps to help yourself the next time.

One of my more glaring mistakes was the press opening of the tour for Miss Saigon. It was a tense, quiet scene between Chris and his wife, Ellen, and I grabbed the wrong fader and, instead of Ellen comforting Chris, another woman was loud and proud talking offstage about her dress for the opening party. Again, mentally curse, and move on. After the show, I highlighted that line and made sure I absolutely could NOT miss the fader number was in my script. That served as a reminder for me every time to make sure I threw the right fader.

On a less obvious note, in Mean Girls, one of the lines changed from when I first learned the show, and “I noticed you failed your last few quizzes. Is everything okay?” became just, “I noticed you failed your last few quizzes.” For some reason that the last sentence was so ingrained in my head, that there were multiple times where I forgot it was cut and had to scramble to get the next fader up in time. To solve that, I made a concentrated effort to consciously remind myself to bring up the next fader on the word “few” and, with show after show of that constant thought, it eventually became habit.

In both cases, the mistakes (or close calls) were singular events, blips that didn’t snowball into larger catastrophes, but being able to keep your cool under pressure can help you have less of those blips in the first place. When Les Mis had the official press opening for the tour, it was just like the Saigon preview at FOH, only more people. Designers from every department, directors, production management, producers, you name it, if there was an open space, it wasn’t empty long. And despite their best efforts, they’re never completely quiet: pencils scratching on notepads, fingers tapping notes on tablets, whispers back and forth. Even with all the distractions, I focused on the job at hand and had a solid, clean show. Afterward, one of the production managers told me a few people had mentioned to him that they were impressed that I could be so calm with so many eyes peering over my shoulder. You don’t always get the feedback, but people are watching and they’ll notice how you handle yourself in a stressful situation.

The best thing you can do for yourself is to walk into every show with clean feet, or “leave your baggage at the door.” Did you miss a line or two in the last show? Were the dynamics not what you know they should have been? Did you have an absolutely flawless performance? Great. That was the last show. This is a new day and a new show. Come to it without resting on your laurels or harping on yourself for the mistakes of yesterday; each new show is another chance to get it right, another chance to feel that satisfying rush as everything comes together. It’s unfortunate, but sometimes the stress of our jobs can discourage aspiring mixers before they even have the chance to learn how to master it. Remember to be patient and show yourself some grace, especially when you’re learning. Good things take time.

 

The ABCs of Women in Theatre

Maybe it’s the quarantine getting to me, or maybe it’s the fact that two of my quarantine cellmates are six and eleven years old, but for this month’s blog, I decided to go a little Dr. Seuss on you!  I’ve given you the name of a woman of theatre you should definitely know of for (almost) every letter of the alphabet.  I’ll give you just a taste of the genius that each and every one of these women were and are, but if I were you, I’d take these names straight to Google to soak up every bit of info you can after you read this blog.  Enjoy!

A is for Aphra Behn to start this off right.  She was a seventeenth-century woman playwright.  It seems she was a leader in feminism too and wrote on hot topics, arranged marriage, to boot.

B is for Bradley, Lillian Trimble’s last name.  Being America’s first woman director is what gave her fame.  She loved Melodrama.  To her, it was the best.  She broke into the scene with her play, The Woman On The Index.

C is for Cheryl (and her last name) Crawford, too.  She was a producer when for women, it was new.  She founded Group Theater and Actors Studio when she moved to New York from Akron, Ohio.

D is for Dianne, her last name is Glancy.  She’s a Native American Playwright, specifically, Cherokee.  She’s published over ten plays and written even more.  She also writes literature and poetry galore.

E is for Eugenia Rosenthal, she went by Jean, for short.  She pioneered a path of the technical sort.  Born in 1912, she was always a climber, she paved the way for women lighting designers.

F is for Frances Goodrich, you want to know her.  She’s a 1956 Tony and Pulitzer Prize winner.  She and her husband, and this takes the cake, won those two prizes for their Diary of Anne Frank. 

G is for Georgia, in this case, Georgia Stitt.  She’s an American composer, and she’s the real sh*%!

H is for Hrotsvitha, a very FIRST first.  To leave her unmentioned would be just the worst.  She’s probably the very first woman playwright, a tenth-century nun, her art was a sight.

J Jeanine Tesori and Lisa Kron are the first women writing team to win the best score for Fun Home.  Another first definitely not to be missed, this musical featured the first lesbian protagonist.

K is for Kitty Clive, a diva of her era, she was one of the first to play the lead in The Beggar’s Opera.

L is for Lorraine Hansberry and remember this one.  The first black woman produced play on Broadway was hers: Raisin in the Sun.

M is for Micki Grant, she helped pave the way.  She’s one of the first women composers of Broadway.

N is for Nell Gwynne, 1650 English born.  At 14 she hit the stage, acting, of course.

P is for Peg, Peg Woffington of England.  She pioneered “breeches” roles, cross-dressing women.

R is for Rebecca.  Can you say Lenkiewicz?  Have you heard of her 2008 play, Naked Skin?  It was produced at National Theatre on the Mainstage, a first for a woman playwright during that day and age.

S is for Sara Barielles, we all love this queen.  She led the all-women creative team for Waitress in 2016.

T is for Tony (Antoniette) Perry.  You’ve heard of the Tony Awards, right?  Same Person.  That’s scary.

V is for Vinette Carroll, she directed on Broadway.  The first black woman to do so, by the way.

Z is for Zelda Fichandler.  In 1950, she founded Arena Stage in Washington DC.  Arena Stage won the first regional Tony in 1976 and was the first to move to Broadway a show of their pick.

These women are heroes, bad-ass superstars.  Let’s always make history remember who they are.  Through pandemic ramblings, or word-press, or pen, keep spreading the word of these powerful women.

 

Minimalist Mixing Techniques 

Hi SoundGirls! Back in January, I wrote about the recording process for a 16 song album I was working on at the time. Although I promised that my next blog would be about the mixing process, that took a pause because my last blog ended up being about my friend Tangela’s new podcast, “Women in Audio”. I was lucky enough to be her first guest, so for my March blog, I broke down some essential topics we talked about in the podcast, and provided links to it at the end. If you haven’t listened to the Women in Audio podcast yet- I suggest you do. She has multiple interviews streaming now, plus the conversations are fun and intriguing! You’ll definitely enjoy them.

With all that being said, we are circling back to the album I just wrapped and today’s blog will be about the mixing process, (YAY!).

You might’ve noticed the title for this month’s blog is called “Minimalist Mixing Techniques”, so you already know what I’m about to dive into…the art of NOT using 10,000 plug-ins on ONE song! Now, there is nothing wrong with that at all! If the song is calling for production, or if you want to just be creative with plug-ins…do it. There are certain artists or bands I work with that I like to get very creative with plug-ins, but in this instance- we didn’t go that route, and I wanted to talk about the steps I used to get the band their final product.

Here is the list of steps I would take from when I would first open up the session to when I sent them their first mix of the song:

Clean up your session

What I mean by “clean up your session” is- get rid of tracks you don’t need. Not using that DI track you captured? Hide and make inactive. If you have two tracks that could become 1 (ex. two mono overhead mic tracks)- create it as a stereo track. Make your starting base simple, so you can move through it seamlessly.

Set up your effects

Now that you’ve gotten rid of things you don’t need. Start adding in things you do need to create some depth in the mix. I would recommend only 2 (maybe 3) effects tracks since we are keeping this mix minimal. A reverb, delay, and a slap delay are pretty effective for any mix.

Start with the drums

The way I mix is I start with the drums soloed and then I move through the mix adding in each instrument at a time. For the drums, I would recommend bussing together the things that are the same (kick in/kick out, snare top/ snare bottom, etc), but don’t get too “bus” happy. One of the reasons I sometimes like to mix minimally is because it’s easy to have control over your mix when you don’t have too many things bussing into one another (aka phase issues, and your mix could get muddy if you lose control of the low end).

EQ

Eq is always incredibly important in any mixing process. I think it’s usually best to eq minimally, and if you’re capturing things well in the studio you shouldn’t have to do TOO much of it on the back end anyways. With this, I would recommend practicing using pro-tools stock eq so you can focus on using your ears instead of your eyes. You’ll question the eq moves you make more than you would vice versa (which results in minimalist eq techniques). That will also help you avoid phases that you may create yourself by eq-ing too much.

Compression

When mixing minimally, compression is key. You want to keep the dynamics of the song, but you don’t want things poking out of the mix when they shouldn’t be! I think the most prevalent two things to compress in a minimal mix are the snare and the bass. Obviously, compress the kick, guitars, vocals, as need be, but I’d say the snare and the bass you will want to focus on most. Since we are keeping it simple, keep a small ratio, set your attack/release (all dependent on the instrument), and slowly add in the threshold. Keep it on the lighter side though. Remember, we want those dynamics there!

Bussing

I kind of went over this in the “drums” paragraph, but to go into more detail, I will say- bus together with the things that make sense and make the mixing process easier for you. The reason I would bus the kick in/kick out together is that I have more control over the total sound of the kick through eq AND compression. It would be the same thought process for two guitar mics on the same amp, and so on.

That’s the gist of mixing minimally. I hope this blog helps you go outside of your comfort zone, and trust your ears a bit more. That’s what mixing this way has done for me!

I hope everyone is staying safe, healthy, and creative out there! No matter what, never stop making music or doing what you love.

Until next time SoundGirls, and as always- feel free to email me at virginia@backbeat365.com.

 

 

SoundGirls Mix45

SoundGirls Mix45 Guidelines

Get together with 3 or 4 other audio engineers and spend 45 minutes mixing multitracks. Come together in conversation about what you enjoyed, what you found difficult, what you focused your time on, and your approach to the mix. Do a final “live” run-through recording your mix, sharing the file with the group. Everyone takes turns listening, commenting, and asking questions. Note, this is not a contest, but a way to keep mixing and exploring new techniques with a community.

Sign-Up Here

Sessions Available

Necessary Equipment

  1. A mixing console or DAW  capable of receiving digital multitracks
    1. e.g. X32, Pro Tools, SQ5, Reaper
  2. A computer to play multitracks, AND record the main LR output
    1. e.g. TracksLive, Audacity
  3. Headphones or nearfield speakers
  4. An internet connection
  5. Two hours

The Order

  1. Receive multitracks
    1. If multiple microphones are used for the same instrument, you may select which tracks you want to use
  2. Setup routing
  3. Meet the group, introduce yourself, and be prepared to start your 45 minutes
  4. 45-minute mixing session
    1. This time is to include naming, grouping, and any mixing you see fit
  5. At the end of 45 minutes, the group comes back together to discuss their process
    1. e.g. “What did you spend the most time on?”, “What did you tackle first?”, “What dynamics processing, if any, did you use?”, etc.
  6. Final run-through
    1. Record your LR out and do one last complete pass through the song. This is your chance to “mix it live” just as you would at a show.
  7. Upload the mp3/wav to the video chat
  8. Take turns listening to each upload (on the same monitors/headphones you used to mix if at all possible) and having a discussion about differences they noticed between their own mix, comments about placements, asking questions about technique, etc.
    1. e.g. “I hear you used some pretty heavy delay on the background vocals, I like the sound of it. What were your parameters?”, “The drums are sitting very far back in this mix, which is not necessarily something I would do. What genre do you normally mix?”, “What EQ did you implement on the bass to get it to sound like this?”

The Rules

  1. No mixing before the 45 minutes begins
  2. Only routing the multitracks and picking tracks with multiples (it is not necessary to use every single track) can be done ahead of time
  3. Naming, grouping, bus assignments, FX, etc. must be done within the 45-minute session
  4. Your individual group must decide the limitations of outside processing (e.g. “only stock plug-ins” or “anything is game”)
  5. Be kind. This is a game of speed, priority, experience, and general mixing technique. Some boards are easier to mix on, DAWs allow quick changes, etc.

Example

  1. https://youtu.be/4o8c_qnKlR8

Multitrack Sources:

  1. The ‘Mixing Secrets’ Free Multitrack Download Librarywww.cambridge-mt.com › mtk
  2. Telefunken Season 4
  3. Telefunken Season 3
  4. Telefunken Season 2

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