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Empowering the Next Generation of Women in Audio

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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

Sign-Up Here

Basic Networking For Live Sound Engineers

Part 1: Defining A Network

By Arica Rust

 

The World of Audio Over IP:

There is a certain sense of security that comes from physically plugging a cable made of copper from one device to another. On some level my engineer brain finds comfort believing that, “As long as I patch this end to that end correctly and the integrity of the cable itself has not been compromised, the signal will get from Point A to Point B.”  I believe one of the most daunting aspects of understanding networked audio, and audio-over-IP in general, stems from the feeling of self-induced, psychological uncertainty in one’s ability to “physically” route one thing to another. I mean, after all these years consoles still have faders, buttons, and knobs because people enjoy the tactile feedback of performing a move related to their task in audio.

The psychological hurdle that must be overcome is that a network can be much like a copper multicore snake, sending multiple signals all over the place. The beauty and power of it is that it has so much more adaptability than our old copper friend. We can send larger quantities of high quality signals around the world: a task that would be financially and physically impractical for a single project using physical wires. In this first blog, part 1 of a 3 part series, I will attempt to overview a basic understanding of what a network is and how we can create and connect to a network.

 

What Is A Network?

     A network can refer to any group of things that interconnect to transfer data: think of a “social network” where a group of individuals exchange ideas in person or over the Internet. Cisco Systems (one of the biggest juggernauts of the industrial networking world) defines a network as “two or more connected computers that can share resources such as data, a printer, and Internet connection, applications, or a combination of these resources” (Cisco, 2006[1]). We commonly see networks created using wired systems, Wi-Fi, or a combination of these. Wired systems build a network using physical Ethernet connections (Cat5e/Cat6 cabling) or fiber, while Wi-Fi uses radio frequencies to carry signals from device to device. “Wi-Fi” is a marketing term for the technology that the Institute of Electrical and Electronics Engineers (IEEE) define in standards 802.11, and we could dedicate an entire blog just to discussing this topic[2].

 

Unicast vs. Multicast

 

In a given network using the TCP/IP protocol, which stands for “Transmission Control Protocol/Internet Protocol”, devices exchange packets of data by requesting and responding to messages sent to one another. In a unicast message, one device talks directly to another as a point-to-point transmission. In a multicast message, one device can broadcast a message to multiple devices at once. To understand how devices exchange messages to one another, we must understand how IP and MAC addresses work.

I like to think of a data network like a department in a tour: there are the audio, lighting, video, and other departments, and each department has its own participants who communicate with each other within their own department. Let’s look at the analogy of a network compared to the audio department. Each individual, (the monitor engineer, PA techs, systems engineer, FOH Engineer, etc.), act as discrete hosts performing tasks like a computer or amplifier talking to one another on a data network. Every device has a unique MAC address, which stands for “Media Access Control” Address and, like the name of each person on a crew (except 48-bit and written in hexadecimal[3]), is unique to the hardware of a device on a network. An IP address is a 32-bit number written as 4 octets (if translated into binary) and is specific to devices within the same network[4]. Think of an IP address as different from a MAC address like a nickname is to a given name. There may be several folks nicknamed “Jay” on a crew, maybe Jennifer in Audio and John in Lighting, but as long as “Jay” is talking to people locally in the same department, the other hosts will know who “Jay” is being referred to.

 

 

These two networks (or tour departments) are not local to the same network

 

MAC addresses are specific to hardware, but IP addresses can be “reused” as long as there are no conflicts with another device of the same address within the same local network. A group of devices in the same IP range is called a LAN or Local Area Network. LANs can vary from basic to complex networks and are seen everywhere from the Wi-Fi network in our homes to a network of in-ear monitor transmitters and wireless microphone receivers connected to a laptop. So how do these devices talk to each other within a LAN?

 

IP Addresses and Subnet Masks within a LAN:

Let’s create a simple LAN of a laptop and a network-capable wireless microphone receiver and dive deep into understanding what composes an IP address. The computer has an IP address that is associated with it via its MAC address and the same goes for the receiver. In Figure A the two devices are directly connected from the network adapter of one to the other with an Ethernet Cat 6 cable.

 

Figure A

 

The IP address of the laptop is 192.168.1.1 and the IP address of the receiver is 192.168.1.20. Each of the four numbers separated by a period actually translates to an octet (8 bits) of binary. This is important because both devices are on the same subnet 192.168.1.XXX. A subnet is a way of dividing a network by having devices only look at other devices that are within their same network as defined by their subnet mask. There are 254 addresses available on the subnet mask 255.255.255.0. According to a Microsoft article, “Understanding TCP/IP addressing and subnetting basics”, XXX.XXX.XXX.0 is used to specify a network “without specifying a host” and XXX.XXX.XXX.255 is used to “broadcast a message to every host on the network”[5]. So, in this network example, neither the computer nor the receiver can use the IP addresses 192.168.1.0 or 192.168.1.255 because those addresses are reserved for the network and for broadcast. But how does the computer know to look for the receiver in the 192.168.1.XXX IP address range? Why doesn’t it look at 10.0.0.20? This has to do with the subnet mask of each device.

Let me give you a little history about these numbers: believe it or not, but there is an organization whose main gig is to assign IP addresses in the public Internet. The Internet Assigned Numbers Authority (IANA) manages IP addresses that connect you and your Internet Service provider (ISP) to the World Wide Web. In order to prevent conflicts with the IP addresses that connect with the Internet, the IANA enforces a set of standards created by the IETF (Internet Engineering Task Force). One set of standards referred to as RFC 1918[6] reserves a specific set of IP ranges for private networks, like the example 192.168.1.XXX. That means that anyone can use them within their own LAN, as long as it does not connect to the Internet. To understand more about how our computers connect to the Internet, we have to talk about DNS and gateways, which is beyond the scope of this blog. The key for our laptop and receiver to determine whether another device is local to their LAN lies in the subnet mask. Both devices in Figure A have a subnet mask of 255.255.255.0. Each set of numbers, like the IP address, corresponds to an octet of binary. The difference is that instead of indicating a specific number, it indicates the number of available values for addresses in that range. The subnet mask becomes a lot easier to understand once you think about it in its true binary form. But trust me, once you understand what a subnet mask ACTUALLY refers to in binary, you will better understand how it refers to available IP addresses in the subnet.

A subnet mask is composed of 4 octets in binary. If we filled every bit in each octet except for the last and translated it to its true binary form we would get a subnet mask that looks like this:

255.255.255.0 can also be written as 11111111.11111111.11111111.00000000

Binary is base two and reflects an “on” or “off” value, which means that each position of each bit in the octet, whether it is zero or one, can mathematically equal 2^n (2 to the nth power) until you get to the 8th position.

The octet XXXXXXXX (value X in octet of either 1 or 0) can also be written as: (2^7)+(2^6)+(2^5)+(2^4)+(2^3)+(2^2)+(2^1)+(2^0)

Binary math is simply done by “filling in” the position of the bit in the octet with a “true” value and then calculating the math from there. In other words, a binary octet of 11000000 (underlines added for emphasis) can be interpreted as (2^7)+(2^6)+(0^5)+(0^4)+(0^3)+(0^2)+(0^1)+(0^0)=192

OK, OK, roll with me here. So if we do the binary math for all values in the octet being “true” or 1 then in the previous example,

11111111=(2^7)+(2^6)+(2^5)+(2^4)+(2^3)+(2^2)+(2^1)+(2^0)=255

So if we refer back to the first subnet mask example, we can discern based on the binary math that:

11111111.11111111.11111111.00000000=255.255.255.0

When a value is “true” or 1 in a bit in an octet, that position has been “filled” and no other values can be placed there. Think of each octet like a highway: each highway has 8 lanes that can fit up to 254 cars/hosts total on the highway (remember it is base 2 math and the values of 0 and 255 are accounted for). A value of 1 means that the lane has been filled by 2^n cars/hosts where n=lane position on the highway and the lanes count starting at 0 (because it is a computer). So to add another car, it must move to the next lane to the left or bit position. For example, if you climb up from 00000011 to 00000111 each 1 acts like cars filling up a lane, and if the lane is filled, the next bit moves on to the next left lane.

 

 

Each position of a bit is like a lane on a highway (left), when the value of the lowest bit is “filled” or True (remember this is an analogy, really it’s either binary On or Off), the ascending value “spills” over to the next bit (right)

So why do we care about this? Well if a device has a subnet mask of 255.255.255.0 or 11111111.11111111.11111111.00000000 that means that all the binary values of the first 3 octets must match with the other devices in order for them to be considered to be “local” to the same local network. The only values or lanes “available” for hosts are in the last octet (hence the zeroes). So going back to Figure A our computer and wireless network both have a subnet mask of 255.255.255.0 which indicates that the first 3 octets of the IP address on both devices MUST be the same on both devices for them to talk to each other AND there are only 254 available IP addresses for hosts on the network (192.168.1-254). Indeed both the laptop and receiver are local because they both are on the 192.168.1.XXX subnet, and the subnet mask 255.255.255.0 only “allows” them to talk to devices within that local network.

In this example we talked about devices given static IP addresses as opposed to addresses created using DHCP. In a static IP address the user or network administrator defines the IP address for the device whereas a device set to DHCP, or Dynamic Host Configuration Protocol, looks to the network to determine what is the current available address for the device and assigns it to that device on a lease basis[7]. In the world of audio, the type of network addressing you choose for your system may vary from application to application, but static IP addressing is commonly preferred due to the ability for the operator to specify the exact range they want the devices to operate in as opposed to leaving it up to the network to decide. Returning to our earlier analogy of the audio department on a tour, each host needs a way to communicate with one another and also to other departments. What if the PA tech needs to talk to someone in the outside network of the lighting department? This is where routers and switches come into play.

A switch and a router often get referred to interchangeably when in fact they perform two different functions. A switch is a device that allows for data packets to be sent between devices on the same network. Switches have tables of MAC addresses on the same local network that they use to reference when sending data packets between devices. A router works by identifying IP addresses of different devices, and “directing traffic” by acting as a way to connect devices over separate networks. Routers do this by creating a “routing table” of IP addresses and when a device makes a request to talk to another device, it can reference its table to find the corresponding device to forward that message[8]. Routers are kind of like department crew chiefs where you can give them a message to be delivered to another department.

 

Routers can connect separate networks to allow them to talk to one another

Routers often get confused with their close relative the access point and though you can use a router to function similarly to an access point, an access point cannot be a router. Routers and access points come up often in wireless applications as a way to remotely get into a network. The difference is that access points allow you to get into a specific local network or expand the current network. Unlike a router, access points do not have the capability to send messages to another network outside the LAN.

So now if we wanted to add another device to our network in Figure A and we don’t need to cross into another network, let’s say we add an in-ear monitor transmitter, we can add a switch to connect all the devices.

 

Network from Figure A with a IEM transmitter added, all talking via a switch

The switch connects the three devices all on the same local network of 192.168.1.XXX. You can tell that they are all local to this network because they have the subnet mask 255.255.255.0, therefore all devices are only looking to “talk” to messages on 192.168.1.XXX since only the values in the last octet are available for host IP addresses. Voilà! We have created our first LAN!

It may seem daunting at first, but understanding the binary behind the numbering in IP addresses and subnet masks is the key to understanding how devices know what other hosts are considered to be on their local network or LAN. With the help of switches and access points we can expand this local network and with the addition of routers we can include other networks. Using these expanding devices allows us to divide our network further into different topologies. In the next blog, this concept will be expanded further in Basic Networking For Live Sound Part 2: Dividing A Network. Stay tuned!

If you want to learn more about networking, there are some GREAT resources available to you online! Check out trainings from companies such as:

https://www.audinate.com/learning/training-certification

https://www.cisco.com/c/en/us/training-events/training-certifications.html

https://avnu.org/training/

And more!

 

[1]https://www.cisco.com/c/dam/global/fi_fi/assets/docs/SMB_University_120307_Networking_Fundamentals.pdf

[2] https://www.cisco.com/c/en_ca/products/wireless/what-is-wifi.html

[3]https://www.audio-technica.com/cms/resource_library/files/89301711029b9788/networking_fundamentals_for_dante.pdf

[4] Ibid.

[5]https://support.microsoft.com/en-ca/help/164015/understanding-tcp-ip-addressing-and-subnetting-basics

[6] https://tools.ietf.org/html/rfc1918

[7] https://eu.dlink.com/uk/en/support/faq/firewall/what-is-dhcp-and-what-does-it-do

[8]https://www.cisco.com/c/en/us/solutions/small-business/resource-center/networking/how-does-a-router-work.html#~what-does-a-router-do

 

 

Resources:

Audinate. (n.d.). Dante Certification Program. https://www.audinate.com/learning/training-certification/dante-certification-program

Audio Technica U.S., Inc. (2014, November 5). Networking Fundamentals for Dante. https://www.audio-technica.com/cms/resource_library/files/89301711029b9788/networking_fundamentals_for_dante.pdf

Cisco. (n.d.) How Does a Router Work? https://www.cisco.com/c/en/us/solutions/small-business/resource-center/networking/how-does-a-router-work.html

Cisco. (2006). Networking Fundamentals. In SMB University: Selling Cisco SMB Foundation Solutions. Retrieved from https://www.cisco.com/c/dam/global/fi_fi/assets/docs/SMB_University_120307_Networking_Fundamentals.pdf

Cisco. (n.d.) What Is Wi-Fi? https://www.cisco.com/c/en_ca/products/wireless/what-is-wifi.html

D-Link. (2012-2018). What is DHCP and what does it do? https://eu.dlink.com/uk/en/support/faq/firewall/what-is-dhcp-and-what-does-it-do

 

Encyclopedia Brittanica. (n.d.). TCP/IP Internet Protocols. In Encyclopedia Brittanica. Retrieved April 26, 2020, from https://www.britannica.com/technology/domain-name

Generate Random MAC Addresses. (2020). Browserling. https://www.browserling.com/tools/random-mac

 

Internet Assigned Numbers Authority. (2020, April 21). In Wikipedia. https://en.wikipedia.org/wiki/Internet_Assigned_Numbers_Authority

 

Internet Engineering Task Force. (1996). Address Allocation for Private Internets (RFC 1918). Retrieved from https://tools.ietf.org/html/rfc1918

 

Microsoft Support. (2019, December 19). Understanding TCP/IP addressing and subnetting basics. https://support.microsoft.com/en-ca/help/164015/understanding-tcp-ip-addressing-and-subnetting-basics

 

Thomas, Jajish. (n.d.).What are Routing and Switching | Difference between Routing and Switching. OmniSecu.com. https://www.omnisecu.com/cisco-certified-network-associate-ccna/what-are-routing-and-switching.php

 

 

Basic Networking For Live Sound Engineers 

Part One: Defining A Network

The World of Audio Over IP

There is a certain sense of security that comes from physically plugging a cable made of copper from one device to another. On some level my engineer brain finds comfort believing that, “As long as I patch this end to that end correctly and the integrity of the cable itself has not been compromised, the signal will get from Point A to Point B.”  I believe one of the most daunting aspects of understanding networked audio, and audio-over-IP in general, stems from the feeling of self-induced, psychological uncertainty in one’s ability to “physically” route one thing to another. I mean, after all these years consoles still have faders, buttons, and knobs because people enjoy the tactile feedback of performing a move related to their task in audio.

The psychological hurdle that must be overcome is that a network can be much like a copper multicore snake, sending multiple signals all over the place. The beauty and power of it is that it has so much more adaptability than our old copper friend. We can send larger quantities of high-quality signal around the world: a task that would be financially and physically impractical for a single project using physical wires. In this first blog, part 1 of a 3 part series, I will attempt to overview a basic understanding of what a network is and how we can create and connect to a network.

What Is A Network?

A network can refer to any group of things that interconnect to transfer data: think of a “social network” where a group of individuals exchange ideas in person or over the Internet. Cisco Systems (one of the biggest juggernauts of the industrial networking world) defines a network as “two or more connected computers that can share resources such as data, a printer, and Internet connection, applications, or a combination of these resources” (Cisco, 2006 [1]). We commonly see networks created using wired systems, Wi-Fi, or a combination of these. Wired systems build a network using physical Ethernet connections (Cat5e/Cat6 cabling) or fiber, while Wi-Fi uses radio frequencies to carry signals from device to device. “Wi-Fi” is a marketing term for the technology that the Institute of Electrical and Electronics Engineers (IEEE) define in standards 802.11, and we could dedicate an entire blog just to discussing this topic [2].

 

Unicast vs. Multicast

In a given network using the TCP/IP protocol, which stands for “Transmission Control Protocol/Internet Protocol”, devices exchange packets of data by requesting and responding to messages sent to one another. In a unicast message, one device talks directly to another as a point-to-point transmission. In a multicast message, one device can broadcast a message to multiple devices at once. To understand how devices exchange messages to one another, we must understand how IP and MAC addresses work.

I like to think of a data network like a department in a tour: there are the audio, lighting, video, and other departments, and each department has its own participants who communicate with each other within their own department. Let’s look at the analogy of a network compared to the audio department. Each individual, (the monitor engineer, PA techs, systems engineer, FOH Engineer, etc.), act as discrete hosts performing tasks like a computer or amplifier talking to one another on a data network. Every device has a unique MAC address, which stands for “Media Access Control” Address and, like the name of each person on a crew (except 48-bit and written in hexadecimal [3]), is unique to the hardware of a device on a network. An IP address is a 32-bit number written as 4 octets (if translated into binary) and is specific to devices within the same network [4]. Think of an IP address as different from a MAC address like a nickname is to a given name. There may be several folks nicknamed “Jay” on a crew, maybe Jennifer in Audio and John in Lighting, but as long as “Jay” is talking to people locally in the same department, the other hosts will know who “Jay” is being referred to.

These two networks (or tour departments) are not local to the same network

MAC addresses are specific to hardware, but IP addresses can be “reused” as long as there are no conflicts with another device of the same address within the same local network. A group of devices in the same IP range is called a LAN or Local Area Network. LANs can vary from basic to complex networks and are seen everywhere from the Wi-Fi network in our homes to a network of in-ear monitor transmitters and wireless microphone receivers connected to a laptop. So how do these devices talk to each other within a LAN?

IP Addresses and Subnet Masks within a LAN:

Let’s create a simple LAN of a laptop and a network-capable wireless microphone receiver and dive deep into understanding what composes an IP address. The computer has an IP address that is associated with it via its MAC address and the same goes for the receiver. In Figure A the two devices are directly connected from the network adapter of one to the other with an Ethernet Cat 6 cable.

Figure A

The IP address of the laptop is 192.168.1.1 and the IP address of the receiver is 192.168.1.20. Each of the four numbers separated by a period actually translates to an octet (8 bits) of binary. This is important because both devices are on the same subnet 192.168.1.XXX. A subnet is a way of dividing a network by having devices only look at other devices that are within their same network as defined by their subnet mask. There are 254 addresses available on the subnet mask 255.255.255.0. According to a Microsoft article, “Understanding TCP/IP addressing and subnetting basics”, XXX.XXX.XXX.0 is used to specify a network “without specifying a host” and XXX.XXX.XXX.255 is used to “broadcast a message to every host on the network” [5]. So, in this network example, neither the computer nor the receiver can use the IP addresses 192.168.1.0 or 192.168.1.255 because those addresses are reserved for the network and for broadcast. But how does the computer know to look for the receiver in the 192.168.1.XXX IP address range? Why doesn’t it look at 10.0.0.20? This has to do with the subnet mask of each device.

Let me give you a little history about these numbers: believe it or not, but there is an organization whose main gig is to assign IP addresses in the public Internet. The Internet Assigned Numbers Authority (IANA) manages IP addresses that connect you and your Internet Service provider (ISP) to the World Wide Web. In order to prevent conflicts with the IP addresses that connect with the Internet, the IANA enforces a set of standards created by the IETF (Internet Engineering Task Force). One set of standards referred to as RFC 1918 [6] reserves a specific set of IP ranges for private networks, like the example 192.168.1.XXX. That means that anyone can use them within their own LAN, as long as it does not connect to the Internet. To understand more about how our computers connect to the Internet, we have to talk about DNS and gateways, which is beyond the scope of this blog. The key for our laptop and receiver to determine whether another device is local to their LAN lies in the subnet mask. Both devices in Figure A have a subnet mask of 255.255.255.0. Each set of numbers, like the IP address, corresponds to an octet of binary. The difference is that instead of indicating a specific number, it indicates the number of available values for addresses in that range. The subnet mask becomes a lot easier to understand once you think about it in its true binary form. But trust me, once you understand what a subnet mask ACTUALLY refers to in binary, you will better understand how it refers to available IP addresses in the subnet.

A subnet mask is composed of 4 octets in binary. If we filled every bit in each octet except for the last and translated it to its true binary form we would get a subnet mask that looks like this:

255.255.255.0 can also be written as 11111111.11111111.11111111.00000000

Binary is base two and reflects an “on” or “off” value, which means that each position of each bit in the octet, whether it is zero or one, can mathematically equal 2^n (2 to the nth power) until you get to the 8th position.

The octet XXXXXXXX (value X in octet of either 1 or 0) can also be written as:

(2^7)+(2^6)+(2^5)+(2^4)+(2^3)+(2^2)+(2^1)+(2^0)

Binary math is simply done by “filling in” the position of the bit in the octet with a “true” value and then calculating the math from there. In other words, a binary octet of 11000000 (underlines added for emphasis) can be interpreted as

(2^7)+(2^6)+(0^5)+(0^4)+(0^3)+(0^2)+(0^1)+(0^0)=192

OK, OK, roll with me here. So if we do the binary math for all values in the octet being “true” or 1 then in the previous example,

11111111=(2^7)+(2^6)+(2^5)+(2^4)+(2^3)+(2^2)+(2^1)+(2^0)=255

So if we refer back to the first subnet mask example, we can discern based on the binary math that:

11111111.11111111.11111111.00000000=255.255.255.0

When a value is “true” or 1 in a bit in an octet, that position has been “filled” and no other values can be placed there. Think of each octet like a highway: each highway has 8 lanes that can fit up to 254 cars/hosts total on the highway (remember it is base 2 math and the values of 0 and 255 are accounted for). A value of 1 means that the lane has been filled by 2^n cars/hosts where n=lane position on the highway and the lanes count starting at 0 (because it is a computer). So to add another car, it must move to the next lane to the left or bit position. For example, if you climb up from 00000011 to 00000111 each 1 acts like cars filling up a lane, and if the lane is filled, the next bit moves on to the next left lane.

 

Each position of a bit is like a lane on a highway (top), when the value of the lowest bit is “filled” or True (remember this is an analogy, really it’s either binary On or Off), the ascending value “spills” over to the next bit (bottom) 

So why do we care about this? Well if a device has a subnet mask of 255.255.255.0 or 11111111.11111111.11111111.00000000 that means that all the binary values of the first 3 octets must match with the other devices in order for them to be considered to be “local” to the same local network. The only values or lanes “available” for hosts are in the last octet (hence the zeroes). So going back to Figure A our computer and wireless network both have a subnet mask of 255.255.255.0 which indicates that the first 3 octets of the IP address on both devices MUST be the same on both devices for them to talk to each other AND there are only 254 available IP addresses for hosts on the network (192.168.1-254). Indeed both the laptop and receiver are local because they both are on the 192.168.1.XXX subnet, and the subnet mask 255.255.255.0 only “allows” them to talk to devices within that local network.

In this example, we talked about devices given static IP addresses as opposed to addresses created using DHCP. In a static IP address, the user or network administrator defines the IP address for the device whereas a device set to DHCP, or Dynamic Host Configuration Protocol, looks to the network to determine what is the current available address for the device and assigns it to that device on a lease basis [7]. In the world of audio, the type of network addressing you choose for your system may vary from application to application, but static IP addressing is commonly preferred due to the ability for the operator to specify the exact range they want the devices to operate in as opposed to leaving it up to the network to decide. Returning to our earlier analogy of the audio department on a tour, each host needs a way to communicate with one another and also to other departments. What if the PA tech needs to talk to someone in the outside network of the lighting department? This is where routers and switches come into play.

A switch and a router often get referred to interchangeably when in fact they perform two different functions. A switch is a device that allows for data packets to be sent between devices on the same network. Switches have tables of MAC addresses on the same local network that they use to reference when sending data packets between devices. A router works by identifying IP addresses of different devices, and “directing traffic” by acting as a way to connect devices over separate networks. Routers do this by creating a “routing table” of IP addresses and when a device makes a request to talk to another device, it can reference its table to find the corresponding device to forward that message [8]. Routers are kind of like department crew chiefs where you can give them a message to be delivered to another department.

 

Routers can connect separate networks to allow them to talk to one another

Routers often get confused with their close relative the access point, and though you can use a router to function similarly to an access point, an access point cannot be a router. Routers and access points come up often in wireless applications as a way to remotely get into a network. The difference is that access points allow you to get into a specific local network or expand the current network. Unlike a router, access points do not have the capability to send messages to another network outside the LAN.

So now let’s say we want to add another device to our network in Figure A and we don’t need to cross into another network. For example, we want to add an in-ear monitor transmitter. One method we can use is to add a switch to connect all the devices.

Network from Figure A with an IEM transmitter added, all talking via a switch

The switch connects the three devices all on the same local network of 192.168.1.XXX. You can tell that they are all local to this network because they have the subnet mask 255.255.255.0, therefore all devices are only looking to “talk” to messages on 192.168.1.XXX since only the values in the last octet are available for host IP addresses. Voilà! We have created our first LAN!

It may seem daunting at first, but understanding the binary behind the numbering in IP addresses and subnet masks are the key to understanding how devices know what other hosts are considered to be on their local network or LAN. With the help of switches and access points, we can expand this local network and with the addition of routers, we can include other networks. Using these expanding devices allows us to divide our network further into different topologies. In the next blog, this concept will be expanded further in Basic Networking For Live Sound Part 2: Dividing A Network. Stay tuned!

If you want to learn more about networking, there are some GREAT resources available to you online! Check out training from companies such as:

https://www.audinate.com/learning/training-certification

https://www.cisco.com/c/en/us/training-events/training-certifications.html

https://avnu.org/training/

And more!

Endnotes

[1]https://www.cisco.com/c/dam/global/fi_fi/assets/docs/SMB_University_120307_Networking_Fundamentals.pdf

[2] https://www.cisco.com/c/en_ca/products/wireless/what-is-wifi.html

[3] https://www.audio-technica.com/cms/resource_library/files/89301711029b9788/networking_fundamentals_for_dante.pdf

[4] Ibid.

[5] https://support.microsoft.com/en-ca/help/164015/understanding-tcp-ip-addressing-and-subnetting-basics

[6] https://tools.ietf.org/html/rfc1918

[7] https://eu.dlink.com/uk/en/support/faq/firewall/what-is-dhcp-and-what-does-it-do

[8] https://www.cisco.com/c/en/us/solutions/small-business/resource-center/networking/how-does-a-router-work.html#~what-does-a-router-do

Resources:

Audinate. (n.d.). Dante Certification Program. https://www.audinate.com/learning/training-certification/dante-certification-program

Audio Technica U.S., Inc. (2014, November 5). Networking Fundamentals for Dante. https://www.audio-technica.com/cms/resource_library/files/89301711029b9788/networking_fundamentals_for_dante.pdf

Cisco. (n.d.) How Does a Router Work? https://www.cisco.com/c/en/us/solutions/small-business/resource-center/networking/how-does-a-router-work.html

Cisco. (2006). Networking Fundamentals. In SMB University: Selling Cisco SMB Foundation Solutions. Retrieved from https://www.cisco.com/c/dam/global/fi_fi/assets/docs/SMB_University_120307_Networking_Fundamentals.pdf

Cisco. (n.d.) What Is Wi-Fi? https://www.cisco.com/c/en_ca/products/wireless/what-is-wifi.html

D-Link. (2012-2018). What is DHCP and what does it do? https://eu.dlink.com/uk/en/support/faq/firewall/what-is-dhcp-and-what-does-it-do

Encyclopedia Brittanica. (n.d.). TCP/IP Internet Protocols. In Encyclopedia Brittanica. Retrieved April 26, 2020, from https://www.britannica.com/technology/domain-name

Generate Random MAC Addresses. (2020). Browserling. https://www.browserling.com/tools/random-mac

Internet Assigned Numbers Authority. (2020, April 21). In Wikipedia. https://en.wikipedia.org/wiki/Internet_Assigned_Numbers_Authority

Internet Engineering Task Force. (1996). Address Allocation for Private Internets (RFC 1918). Retrieved from https://tools.ietf.org/html/rfc1918

Microsoft Support. (2019, December 19). Understanding TCP/IP addressing and subnetting basics. https://support.microsoft.com/en-ca/help/164015/understanding-tcp-ip-addressing-and-subnetting-basics

Thomas, Jajish. (n.d.).What are Routing and Switching | Difference between Routing and Switching. OmniSecu.com. https://www.omnisecu.com/cisco-certified-network-associate-ccna/what-are-routing-and-switching.php

Fernanda Starling- Staying Versatile

From the mountains of Brazil to the hills of Los Angeles, Fernanda Starling has come a long way in her career in audio.

Fernanda was raised in Belo Horizonte (or “beautiful horizon” in English), the capital city of Brazil’s Minas Gerais state. Surrounded by mountains, “Beagá”– as it is known to locals – is a cultural capital. It is particularly known for giving birth to the progressive-jazz-folk musician collective Clube da Esquina, who are regarded as the founders of one of the most important Brazilian musical movements. In the shadows of this popular music scene, a number of heavy metal bands were founded, including the legendary Sepultura.

Fernanda spent her teenage years going to a variety of concerts and eventually started learning how to play bass. In 2002, she formed her first original band with two other musicians. They recorded their demo with André Cabelo, a well-known local audio engineer and owner of Estúdio Engenho. This was her introduction to the world of professional audio. “For the following one-and-a-half to two years, I kept bumping into André at live concerts,” she recalls. “One of those nights, he mentioned that his studio was so busy that he was thinking about getting an intern. Even though I was already working as a journalist full-time, I didn’t think twice about taking the opportunity.”

She immediately immersed herself in the process of studio recording and editing for music. At the end of 2004, after several months of assisting on recordings and mixings, Fernanda was hired by Cabelo: “his studio became my audio school.  It was a non-stop recording environment: we often did three sessions per day, generally with three different artists, of all genres”.

Her proven studio recording abilities also led her to receive a federal grant to work as the main Audio Engineer for the Federal University of Minas Gerais (UFMG) School of Music. There, she was responsible for recording and mixing classical albums as a member of an all-women research group between 2007 and 2009. This particular recording project was noteworthy, as it catalogued, recorded, and published more than 250 classical songs written by Brazilian composers for the first time.

As an avid learner, Fernanda also chose to complete an intensive certificate course called “Fundamentals in Audio and Acoustics” at the Institute of Audio and Video in São Paulo.

In the Heart of the Music Industry

In 2010, Fernanda moved to Los Angeles to continue pursuing her education in music production. She completed a certificate in Independent Music Production at UCLA Extension in 2012 and then started an Optional Practical Training program right after graduation, which allowed her to pursue work in her field.  Although some might think going back to school later in life would be difficult, Fernanda speaks highly of the experience: “I don’t regret going back to school full-time. It gave me the opportunity to immerse myself into a different culture and meet important industry professionals who still influence my life to this day.”

One of those key people is a music producer and audio engineer Peter Barker. Barker is the co-owner of Threshold Sound + Vision, where Fernanda interned. Under his guidance, she started working as a post-production sound editor and mixer assistant. By the end of 2016, Fernanda had worked alongside Barker on the 5.1 mixes for numerous DVD/Blu-ray projects, such as Dio’s “Finding the Sacred Heart – Live In Philly 1986”, Alan Jackson’s “Keepin’ It Country Tour!”, and Heart’s “Live at the Royal Albert Hall”.

Gradually, Fernanda found herself gravitating from studio recording to film and television audio, where there were more job opportunities. She invested in a full production sound kit and owns all the equipment that is needed to record professional audio on film sets. Since 2013, she has worked as a “one-man band”, providing field recording and mixing for independent short and feature films, commercials, TV shows, and documentaries.

Breaking into Live TV 

On the Broadcast side, Fernanda stays busy as a Pro Tools Operator/Recordist for live and live-to-tape productions. Her credits include big shows such as Celebrity Family Feud, Grease Live!, MTV Video and Music Awards, The Christmas Story Live! and The Oscars. Typically, she works from remote TV units: “besides the audio broadcast truck, responsible for the mixing of the production elements, music and concert productions also require an additional truck – or even two, depending on the complexity – to handle the music mix of the live performances.”

Fernanda in the Mojave Desert recording sound for the tv series “Big Red: The Original Outlaw Race” (NBC Sports).

Since 2016, she has also worked with Music Mix Mobile West (M3W), an award-winning remote facility company that specializes in recording and mixing music for broadcast. M3W regularly handles audio for award shows and live music performances on television, such as The MTV Movie & TV Awards, the Grammy Legends Award, iHeartRadio Music Festival, iHeartRadio Jingle Ball and KROQ’s Almost Acoustic Christmas. Asked why she likes broadcast audio, Fernanda states: “the complexity and live element make it both a challenging and fascinating environment. These types of television productions typically encompass 160 inputs (and up to 192!) and feature numerous live performances with quick changeovers, so the multi-track recording plays a crucial role. What you hear on air is always a live mix, but the mix settings are prepared in advance.”

In the lead-up to the event, she records the soundchecks & rehearsals. Once the act leaves the stage, she plays back the captured audio so the music mixer can revisit the songs, fine-tune the mix and create snapshots for the live show. Alongside M3W’s co-owners, the renowned audio engineers’ Bob Wartinbee and Mark Linett, Fernanda has recorded countless A-list acts such as John Mayer, Kanye West, Taylor Swift, Beck, Lady Gaga, and Alicia Keys.

Her credits also include working as an assistant and audio engineer for the multi-Emmy Award-winning sound engineer/ playback mixer Pablo Munguia, who she met while studying at UCLA.  She has worked alongside him in music playback mixing for The Grammy Awards, The American Music Awards, The Oscars, and The Emmy Awards, amongst others. For these award shows, Fernanda is responsible for building and testing the playback systems at the shop and then assisting Munguia on whatever he needs during the production.

A multi-talented engineer, Fernanda is grateful for all the opportunities she has had in the entertainment industry: “being able to stay true to my musical roots and working with legendary audio engineers is definitely one of the best parts of the job!”

You studied journalism at university. Do you wish you had had the opportunity to study audio engineering first?

Is audio engineering school really worth it? This is a common question and I have always wondered that myself. To be sincere with you, after I had finished high school and had to pick a career, I didn’t even know that audio was an option… The reality in Brazil is different from North America.  I became more familiar with the audio world while working as a journalist.

Back when I started my post-secondary education, there were no universities offering a bachelor’s degree in audio. There are a few private audio schools in Brazil, most of them in São Paulo or Rio de Janeiro, but they just offered short-term certificate programs. Today, if I am correct, there is actually one university in Brazil offering a degree in audio engineering.

The way I’ve always tried to compensate for the lack of having an audio diploma is taking multiple short-term courses and classes to fill specific gaps in my knowledge as I advanced in my career.

It seems that the audio industry is much different in Brazil then what we experience in North America. Can you speak to the differences? 

Like I mentioned above, there is little access to formal education in audio. Besides that, the limited access to professional high-end gear may be one of the biggest differences. Brazil’s tariff regime is ridiculous! Imported manufactured products are subject to a wide range of taxes at all stages of the chain. Because of that, the final price of an audiovisual product is two to three times more expensive than it would be in the US. Therefore, independent studios in Brazil are not as well equipped as the American ones. One of the first lessons I learned from my first studio mentor, André Cabelo, was that gear is not the most important thing in the business: neither for making a good mix or to build and keep your clientele. What counts most is mastering the craft, having a relationship of trust between artist and the engineer, and creating a welcoming environment.

Another difference is that federal government incentives play a big role in the Brazilian audiovisual and music production world, particularly in the independent scene. Maybe because of that and other cultural aspects, independent Brazilian artists get more of a chance to perceive music as more of an art then as a product?

Can you explain what you mean by these federal government incentives? 

There are numerous kinds of tax relief, i.e. tax benefits and incentives at all levels of government (federal, state, and local) in Brazil. Some grants, for example, are based on fiscal incentives that allow for companies or individuals to invest a share of their income in cultural projects in exchange for a tax reduction. Those benefits not only help to promote and democratize the access to culture but also directly supports independent artists. When an artist receives a grant, they can dedicate themselves to their craft, record & promote their album without worrying about working multiple jobs to fund their musical career. Besides helping musicians directly, these policies also benefit studio owners, audio engineers, and other professionals involved in the Brazilian music industry.

I will say I was shocked when I arrived in the US in 2010. I was used to a non-stop recording environment back in Brazil and it seemed that here, very few independent artists had the budget or opportunity to go to the studio and record full albums.

What about the TV Broadcast and film Industries? What are the biggest differences between America & Brazil? 

When we talk about TV programmers and filmmaking, it is almost unfair to compare the production capabilities of both countries. This is because of the difference in the size of their populations, and the difference in the ability to recover production costs domestically. It is often cheaper for Brazilian media companies to buy series & films from the US than to produce their own. In Brazil, the content produced outside the TV broadcasters, including film, is reduced and depends on government incentives.

Another difference is that broadcast TV is an extremely concentrated sector in Brazil, dominated by Rede Globo. They are one of the largest commercial television corporations outside of the United States and the largest producer of telenovelas (soap operas) in the world. Generally speaking, the US is famous for producing and exporting film, while Brazil is famous for producing and exporting telenovelas. It’s actually really impressive what the Brazilian TV industry has managed to create:  there are three original soaps going out every evening, and each series lasts approximately 200 episodes.

Can you tell us more about your experiences as a musician?

The FuDogs at the “Venice Beach Music Festival

Although music is my passion, I also had to focus on my careers, which were first journalist and then audio engineer. The best bands I played in were the ska ones. I Brazil I had a 7-piece ska band called Os Inflamáveis (The Inflammables). We had tons of fun playing together in small venues and festivals. Before I left Brazil, we were playing every Sunday at a local pub. I used to say that playing ska is my therapy: the bass lines are interesting to play, and the music lifts you up! I also joined other bands while I lived in Béaga and played as a hired musician for an artist called Makely Ka, but Os Inflamáveis was by far my favorite experience.

When I moved to LA, I really missed playing in bands. One day, out of curiosity, I checked the musician section on Craigslist and I couldn’t believe my eyes! There was a post about an opening for a bass player in a local ska band and went to audition.  I passed the audition and joined the Fu Dogs, we played together for five years at several special events in Santa Monica and Venice, as well as well-known venues like The Roxy.  I also played briefly with an original power trio called Bombay Beach Revival, and with FEMZeppelin, a female Led Zeppelin cover band.

It seems that Belo Horizonte had a vivid independent music scene. Besides playing in bands, is there anything else you miss? 

I would say that it’s quite easy to become a workaholic when you live in LA, especially when you love what you do. I definitely miss Beagá’s nightlife and the social life I used to have… There was always something to do! If I wasn’t going to my friends’ concert, I was bumping into them at cultural events or festivals or we were enjoying a good conversation at the bar. This popular local saying perfectly sums up life in my hometown: “se não tem mar, vamos pro bar” (we have no sea, let’s go the bar).

What is your favorite piece of gear?

I don’t have a particular one any recording device fascinates me for its capacity of capturing the uniqueness of a specific moment and then being able to play it back later!

I do use redundant Pro Tools Systems for broadcast recordings and Sound Device’s 633 mixer/recorder for my one-band-man field recording. At M3W’s studio truck, I oversee running a redundant Pro Tools MADI System (up to 196 inputs each) for audio recording (one as backup) and a satellite system for video playback locked to either of the recorders. I also like combining a flying pack of Pro Tools Madi and Sound Devices 970 when I have a gig that requires redundancy and a high track count below 64 inputs.

What advice would you give to young women looking to get into the audio field?

Try to learn from other people’s experiences. Surround yourself with those who know more than you. Read manuals. Be open to changes. Be professional. Understand the psychological aspect of working with artists… And remember that there is no right or wrong path, just keep working on your skills, take care of your emotional health, be worthy of trust, and be patient.

The SoundGirls Podcast Fernanda Starling: Live sound broadcast mixer, post-production, SKA bassist

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