Empowering the Next Generation of Women in Audio

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SoundGirls Mentoring Post-Production/ Film & TV

If you have questions about how to navigate your career in Post-Production and Film & TV, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change

Katy Wood is a freelance sound supervisor and sound editor originally from New Zealand. Her career in sound for film and television has spanned the last 23 years and four countries. She has worked extensively in the United States, New Zealand,
Australia, and the United Kingdom.

Katy has covered all aspects of sound production and post-production on projects ranging from large feature films, such as The Lord of the Rings trilogy, American Sniper, Guardians of the Galaxy Vol 2, Creed II, and Ant-Man and the Wasp to compelling documentaries like Disarm, Girl Rising and No Dress Code Required. She has a Masters Degree in Film and Television Specializing in Sound from the Australian Film Television and Radio School. In addition, Katy has taught courses on sound post-production in Australia, Mexico, and Chile.

Shannon Deane is a Los Angeles-based audio engineer, specializing in sound design/editing/mixing for film, TV, web content and more.​ Originally from Austin, TX, she attended The University of Texas, where she received her Bachelor’s degree in Radio-Television-Film with a concentration in Audio Production. More than 15 years experience in audio post-production, and 20 years experience in music performance, recording, and composition.  

April Tucker: April is a Los Angeles-based re-recording mixer and sound editor who works in television, film and new media. April is a SoundGirls Representative to EIMPA and blogs at her website Pro Audio Girl

 


Leslie Gaston Bird: Leslie owns a post-production company (Mix Messiah Productions), serves the Audio Engineering Society as Vice President of the Western Region, and was an Associate Professor at the University of Colorado Denver until 2018. She currently resides in Brighton, England with her husband and two children.


More Mentors TBA

SoundGirls Mentoring Manufacturing and Sales

If you have questions about how to navigate your career in Pro Audio Manufacturing and Sales, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change


Dawn Birr Pro Audio, Channel Development, and Business Analysis for Sennheiser

Dawn began her career in the audio industry in 2000, joining Sennheiser fresh out of college.  She started as a temporary receptionist and began to learn her way around and through the company. Shortly afterward she moved into Customer Service and began learning how the customers and company worked.  Thanks to a nurturing company culture and strong role models who encouraged her to learn as much as possible whenever possible, Dawn was promoted over the years to Neumann Product Manager, Professional RF Product Manager, VP of Sales for U.S. Installed Sound, Global Commercial Manager for Audio Recording, Channel Manager for the Americas for Sennheiser Business Solutions and most recently to a global position for Pro Audio, Channel Development and Business Analysis.  Dawn completed her MBA in 2006 and is a proud Advisory Board Member for the Women’s International Music Network and member of Soundgirls.org.


sara-coversdolliesimg_1024 Sara Elliot COO and Co-Founder of VUE Audiotechnik

With more than 20 years of experience in professional audio, Sara has held strategic marketing and operational positions with numerous sound production companies including Burns Audio, A-1 Audio, and PRG.
Sara also served as Director of Marketing and Sales for Live Sound International Magazine and ProSoundweb.com, two of the industry’s most respected news and technical information sources. Sara brings to VUE Audiotechnik a wealth of industry relationships and a deep understanding of business operations.


Samantha Pink – Colleagues call me Samantha. Family and friends call me Sam. My personal favorite though is Mom. I’d say that I am a happy combination of all three. If I were able to meet my adolescent self, I would encourage her to pay attention to the wise advice of her grandmother, mother, and aunts. Listen to your inner voice and trust your instincts!

I have worked in the MI/Audio industry for 19 years, gaining experience in Purchasing, Inventory Management and Operations. Currently, I am the Director of Business Operations at JAM Industries USA. I love helping teams find solutions to problems, improving customer satisfaction and finding ways to increase profitability. I have also held positions at Full Compass Systems as Vice President of Purchasing, and The Music People as Director of Operations.

Becki Barabas At 20 years old, Becki turned her passion for music into a career in audio, with a job managing the office
at Score One Recording. She has since worked in MI, Tour Sound, and with Integrators and Audio Rep firms, doing everything from Sales to Marketing.
She has held many positions since coming to HARMAN 10 years ago. She started the HARMAN Professional Ambassador and Influencers Program in 2016, signing such names as Chuck D, Parliament-Funkadelic and Black Rebel Motor Cycle Club. She is currently Managing Business Development for
Recording and Tour.


Erika Earl has been working in the professional audio industry for over 15 years. She has worked as the Director of Hardware Engineering at Slate Digital and has held key positions in the audio industry: Chief Tech at The Village Studios, working in live sound, and quality control and repair for leading audio manufacturers including Drawmer, Focusrite, Tube-Tech, and Daking.


EveAnna Manley began her career in audio manufacturing over 30 years ago when she was hired onto the assembly line building printed circuit boards and wiring up vacuum tube amplifiers. Fast-forward 30 years later, her own company Manley Laboratories, Inc. has dominated the high end niche recording markets around the world with legendary vacuum tube processors such as the Manley Variable Mu Stereo Limiter Compressor, Massive Passive Stereo EQ, and the VOXBOX. EveAnna has endured over the decades pushing technology and fresh engineering concepts in her products backed by a culture of integrity she has fostered in her company.

SoundGirls Mentoring Live Event Production

If you have questions about how to navigate your career in live event production, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change


Jeri Palumbo, a broadcast engineer, audio mixer and RF (radio frequency) tech

Jeri is a broadcast engineer, audio mixer and RF (radio frequency) tech who, for the past 25 years, has specialized in working on high-profile sports shows. Jeri is a technical whiz and a regular on the front lines of events like the Super Bowl, NBA, NHL playoffs and most recently the World Series. Jeri is part of the RF Coordination Team each year for the Rose Bowl.  She has also worked entertainment broadcasts including The Oscars, The Tonight Show, American Idol, and others.


20160717_113247-1Karrie Keyes – Monitor Engineer for Pearl Jam and Eddie Vedder – Executive Director and Co-Founder of SoundGirls

Karrie has spent the last 25 plus years as the monitor engineer for Pearl Jam. Karrie started out doing sound for punk bands in Los Angeles in 1986 under the tutelage of Dave Rat of Rat Sound, where she spent twenty years helping to establish the company. She was able to gain an immense amount of hands-on experience and technical knowledge at Rat, which eventually led to her becoming the monitor engineer for The Red Hot Chili Peppers from 1990-2000. She first met and started working with Pearl Jam who opened for RHCP on their 1991-1992 Blood Sugar Sex Magic Tour. She has worked with Sonic Youth, Fugazi, and more.


m-holmes-photoMeegan Holmes – Global Sales Manager Eighth Day Sound Los Angeles

Meegan graduated from California Institute of The Arts from their Technical Theater program in 1993; she entered the live production industry before graduation as a local stagehand with LA Stagecall in Los Angeles. In 1997, she began her 18-year audio career with Delicate Productions where she worked as a touring technician and engineer. Meegan wore many hats simultaneously during her time with Delicate Productions including Labor Coordinator, Project Manager and Account Manager.

Throughout her 24 years in the industry, she has worked hard to elevate others through hiring and mentoring. Her new position as a Global Sales Manager with Eighth Day Sound is no exception, hiring full-time staff and expanding the company’s west coast-based freelancer pool as well as building the company’s touring and west coast based clientel.


Whitney Olpin has been working in Live Sound for the last eight years, working as an Independent monitor engineer and stage manager. She has spent the last year touring with Fitz and the Tantrums. Based in Los Angeles, when she is not on the road she picks up local work through Live Nation.

 


Claire Murphy – Guitar Tech

Claire has toured as a backline/guitar tech and has recently finished teching with Vance Joy as support to Pink on her stadium tour across Europe. She has also toured with Raveonettes, Therapy, Dum Dum Girls, and The Answer. Claire runs Trash Tours that provide the live music industry storage facilities, crew, splitter vans, and logistical support.


unnamed-6Tiffany Hendren Live Sound FOH and Monitor Engineer

Tiffany Hendren is the head engineer at Del Mar Hall in St. Louis   She tours as the FOH Engineer for “A Silent Film.”She has also toured as FOH/TM for Betty Who. She has been involved in sound professionally for around nine years, full-time about seven. Tiffany is the Co-Director of SoundGirls.

 


Mary Broadbent is a Tour Manager and Backline Tech. Mary is the Tour Manager and Backline/Guitar Tech for The Mowgli’s and The Staves. She’s also worked with Chris Isaak, Fitz and the Tantrums, and Big Bad Voodoo Daddy. Most recently she jumped behind the soundboard for the first time on tour with Wrabel as TM/FOH.


 

McKenzee Morley Experienced live Sound Engineer

McKenzee is Skilled in Audio Engineering, Production Management, FOH Engineering, Monitor Engineering, Live Events, and Theatre. Strong arts and design professional with a Masters II Recording Program focused in Sound from Conservatory of Recording Arts and Sciences.

SoundGirls Mentoring Recording Arts

If you have questions about how to navigate your career in recording arts, this session is for you.  Come ask the questions you need answers to from industry veterans. This one-hour session will help you navigate the waters and get solid advice.

This is a casual mentoring session in a small and safe environment. It is not a panel.

The benefits of mentoring are myriad. For individuals, studies show that good mentoring can lead to greater career success, including promotions, raises, and increased opportunities.

This session is open to SoundGirls Members (not a member register here) and holds 20 people. You must be registered and confirmed to attend.

Register Here

Mentors Subject to Change

 

Leslie Ann Jones Director of Music and Scoring, Music and Scoring Recording Engineer and Mixer at Skywalker Sound

Leslie Ann Jones has been a recording and mixing engineer for over 30 years. Starting her career at ABC Recording Studios in Los Angeles in 1975, she moved to San Francisco in 1978 to accept a staff position at the legendary Automatt Recording Studios. From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. In February of 1997, she returned to Northern California to accept a position as Director of Music Recording and Scoring with Skywalker Sound, where she continues her engineering career mixing music for records, films, video games, television, and commercials.

She is a past Chair of The Recording Academy’s Board of Trustees and is the recipient of 4 Grammy Awards, including 2 for Best Engineered Album-Classical. She serves on the Advisory Boards of Institute for Musical Arts, Ex’pression College for Digital Arts, and is an Artistic Advisor to the new Technology and Applied Composition degree program at the San Francisco Conservatory of Music.


jett-lab Jett Galindo -Primary Affiliation: Bakery Mastering – Los Angeles, CA

Jett Galindo is a Los Angeles-based mastering engineer who works alongside Eric Boulanger at The Bakery. With engineering credits spanning different genres and artists (Nile Rodgers, Green Day, Barbra Streisand, Selena Gomez, and Colbie Caillat, to name a few), Jett Galindo carries on the legacy left behind by her late mentor, mastering legend Doug Sax (The Mastering Lab).

Recipient of Summa Cum Laude honors and the 2012 Robin Coxe-Yeldham Audio Scholar Award from Berklee College of Music, Jett Galindo was mentored by luminaries in the music industry including George Massenburg; producers Javier Limon and Prince Charles Alexander; recording engineer Susan Rogers (Prince’s Purple Rain); and mastering engineer and Dean of Education for iZotope, Jonathan Wyner.

Jett kickstarted her post-Berklee engineering career in the world-renowned Avatar Studios in New York as the recording engineer for producer Jerry Barnes. As Barnes’ engineer, Jett engineered for veteran artists such as legendary singer-songwriter Roberta Flack, Nile Rodgers, Bashiri among others.

In 2013, Jett joined The Mastering Lab family as the sole right-hand man to pioneer mastering engineer and GRAMMY Technical Achievement awardee Doug Sax. Under the steady mentorship of the late Sax, Jett burgeoned to become the last engineer to join The Mastering Lab roster. During her years at The Mastering Lab, she worked on various albums and vinyl releases from artists such as Bette Midler, Neil Young, Pink Floyd, Carmen Lundy, and Seth Macfarlane, to name a few.

Outside of mastering, Jett is a contributing writer to SoundGirls, an organization for women working in the audio engineering field led by veteran live sound engineer Karrie Keyes (Pearl Jam, Red Hot Chili Peppers). Jett is also an accomplished lyric soprano who specializes in contemporary a cappella and choral ensemble music. Currently singing with Los Angeles-based professional choir Tonality, Jett has performed in various countries spanning across Europe, Asia, and the Americas.

More Info: http://thebakery.la/jett-galindo


 

download-40 Fela Davis Sound Engineer and Owner of 23db Productions

Fela Davis is a co-owner at 23db Productions based out of New York City. She’s a graduate of Full Sail University and has over a decade of experience in audio engineering. Her past experiences include working with industry powerhouses Clair Broadcast and House of Blues. When she’s not mixing or mastering songs for 23db Productions, she’s mixing front of house engineer for the 5-time Grammy award winning jazz artist Christian McBride, and Grammy-nominated Ottmar Liebert.


Catharine Wood Recording – Mix Engineer – Owner Planetwood Studios

Catharine Wood is an established Los Angeles-based composer/producer & studio owner. She launched her versatile career engineering on high profile commercials – including the first Apple iPhone spot. As a mix/mastering engineer, she has delivered over 500 (both original & client) commercially released songs airing on many major networks. Catharine is a Grammy®️Voting Member, P&E Wing Member and holds positions on the LA Recording School’s Professional Advisory Committee and the California Copyright Conference Board of Directors. Her facility, Planetwood Studios, LLC specializes in production & composition services for the Film & TV Industries.


Producer/engineer LENISE BENT

Lenise is a groundbreaker.  She has worked as a recording engineer working on many iconic records including “Aja” by Steely Dan, “Breakfast in America” by Supertramp and “Tusk” by Fleetwood Mac. She was also the first woman to receive a platinum album for engineering on Blondie’s AutoAmerican.

Since then Lenise has moved into post-production audio, beginning with creating the foreign music and effects tracks for the entire Disney cartoon catalog, and eventually specializing in recording and editing Foley. She has worked on several films and animated series, such as “Robo Cop,” “Street Sharks,” and “Extreme Ghostbusters.” She has traveled the world for Dreamworks supervising and producing the foreign dialogue and vocals for “Shrek,” “Spirit: Stallion of the Cimarron” and “Shrek 2”. This rekindled her love of recording music, and she is now engineering and producing up and coming musicians as well as seasoned artists. Currently, one of her projects, a blues/rock band called the Primal Kings, is all-analog, recording and mixing to tape and cutting vinyl.

Sound Design in Another Medium

Sound Design is creating a world or character purely out of auditory vibrations.  We morph mood and meaning through music and sound effects. As showcased through pieces like Peter and the Wolf by Nikolai Rimsky-Korsakov, the aural medium can tell the story on its own.  More often than not, however, sound design is not a monolith and must integrate with visual mediums.  This opens the door for visual style elements to influence sound design.

When I took Sound Design as a course in college our main textbook was Understanding Comics: The Invisible Art by Scott McCloud.  McCloud boils comics down to its essence, choosing to focus on the assembly of narrative and representation rather than technique.  The philosophy behind choosing what to include and not is similar between the visual and the aural. Elements of design (rhythm, focus, contrast, form, movement) are also shared.  Using McCloud as a guide, take a look in the graphic novel section of the library as research for your next project. But why stop at visual, where else can we find inspiration?

The human body was gifted with several senses, and all of them can be used to evoke emotional responses.  Taste is an experience that occurs over time but is remembered as a static moment, much like a song. That particular meal has a temperature, different flavors competing and complimenting, and overall texture.  A song has dynamics, different instruments with melodies and harmonies, and an overall mood. Maybe the character in that particular film has a favorite meal that defines them. How should the accompanying theme add to the character development?  Think of Pippin singing to Denethor in Return of the King from the Lord of the Rings trilogy, a greasy meal, tomatoes popping and gristle squishing contrasted with Pippen’s haunting ode to his comrades in arms.

Another sense, smell, also shares similarities to sound.  While perfume is just as manufactured as a pop tune, it has the opportunity to provide insight into character design.  Imagine a femme fatale adorned with a power suit, her chosen scent is bound to be as bold as she is. Like sound, it also transforms through time.  When she first enters the scene, her interactions with those around her, and what happens in the wake of her absence correspond to the “top,” “middle,” and “base” portions of the bouquet.  Film cannot capture scent, yet, but the sound design can pick up on the “notes” of her cologne.

I recently have had the opportunity to try my hand at mixing mediums.  In August, I gave birth to a new little SoundGirl, and I wanted to share with her one of my favorite stories:  Roverandom by J.R.R. Tolkein.  I want her to follow along with me but also was have the story available if she was babysat by grandparents.  In my copy, the publishers thoughtfully included prints of Tolkein’s illustrations, and I used those as a guide for a fabric book and a radio play.  The mood and style permeate through the scene designs done in felt, while the narrative and characterizations are explored through sound effects, voice, and music.  Together the confluence is grander than the sum of its parts and makes me a better sound designer.

 

Shadow Michelle Sabolchick Pettinato on Elvis Costello

Members of SoundGirls have the chance to shadow Michelle Sabolchick Pettinato.

Michelle is currently on tour with Elvis Costello as FOH Engineer. She can have up to four people to shadow her on the dates listed below.  Please only apply if you are serious about shadowing. The info is as follows, no exceptions.  You will be expected to arrive by 11 am (if you are not 15 minutes early, you are 15 minutes late) and can stay until line check is over.  Unfortunately, the soundchecks are closed, and you will need to leave the venue before 4 pm.  If Michell can and space allows, she will provide passes to also shadow her at FOH for the show.

11/5/19 Atlanta, GA – Coca Cola Roxy Theater
11/10/19 St Petersburg, FL – Mahaffey Theater
11/11/19 Orlando, FL – Hard Rock Live
11/17/19 Louisville, KY  The Palace Theater
11/19/19  Cinncinati, OH- Taft Theater
11/23/19 Minneapolis, MN-State Theater

Apply Here

Living In and Out of A Big Fat Suitcase

Tips for packing smarter

I love travelling, I love going on tour, but I hate packing. I think it boils down to my inability to make decisions, which is what packing is after all; deciding what you’ll need for maybe months at a time. You might leave home during a heatwave and not come back until the middle of winter, taking in all sorts of weather in between. How can anyone know what they’ll need through all that?

I tried to pack light for years, partly so I wouldn’t put my back out dragging everything around, but partly because I didn’t want to be seen as the clothes-addicted, materialistic woman. As I’ve grown older (and stopped caring what other people think so much) and spend more and more time working away, I’ve come to realise that my suitcase is the closest thing I have to a home on the road. I’m not a follower of fashion or a hoarder by any means, but if having more than one day-off outfit and a bath bomb or two makes a big difference to my quality of life, damn it, I’m going to bring them. I now look for smart swaps that I can make that will streamline my packing while leaving space for a few creature comforts.

I read travel and backpacker sites to get inspiration for lightweight, collapsible, or multipurpose versions of things I need. Some of them can be very expensive, but if you can afford the initial outlay, buying great quality items that will last for years will save you hassle and money in the long run, and have the added bonus of being better for the environment than buying multiple cheaper versions. A lot of the high-end brands also have lifetime guarantees, which can be invaluable. I have a wishlist and keep an eye out for any discounts or sales that will make them affordable. Here are the main changes I’ve made, whether packing for one night or three months:

Water Bottle

An increasing number of festivals and venues in the UK have stopped supplying disposable water bottles, and rightly so. Besides, bringing your own means, you don’t need to waste time searching for the water stash when you run out. Just find a tap. I got a silicone one that rolls up when it’s empty so I’m not losing space in my bag to air.

Coffee Cup

Again, reusable cups are much better for the environment, but they take up a lot of space. I bought a collapsible cup, with a wide foot so I’m less likely to knock it over.

Laundry Egg

I’ve replaced washing detergent and fabric softener with a reusable, eco-friendly laundry egg. They last for months and months before needing a top up, so I know it’s sorted for my whole time away.

Ereader

I know some people can’t be parted from paper, and I love reading real books too, but having the ability to choose from thousands of stories while taking up less space than a paperback is worth it for me. You can also load them with user manuals and catch up in your bunk if you’re struggling to get to sleep.

Coat

Unless you’re touring through the arctic circle, you shouldn’t need a big bulky coat. The key to packing smart while being prepared for any weather is lots of thin, breathable layers. I invested in a super thin jacket from Arc’teryx, which has lots of smart features like moisture-wicking material and a hood that will fit over my hard hat, while rolling up to the size of my headphones. I can use it all year round, and add thermals in the winter to keep warm.

Base Layers

You can avoid having to bring thick warm clothes ever again by getting some good thermal base layers. Merino wool ones are super toasty while staying breathable. Apparently, they also keep you cool in summer and can be worn for a week or so without smelling, but I have too much respect for my colleagues to put that to the test. More and more sports and outdoors brands are making ‘smart’ clothing, which can be super thin, moisture-wicking, breathable and quick-drying and many are made from synthetic material or bamboo, so don’t involve animal products.

Zip-off Trousers

Ok, you’re not going to win any best-dressed awards in zip-offs, but they are really useful. Not only will you save space compared to packing separate shorts and trousers, you have options for when the temperature suddenly changes without having to run back to the bus or hotel. I got a couple of pairs from an outdoors shop that are lightweight and quick-drying, so if I get caught in a downpour, I’m not soggy for the rest of the day.

Safety Shoes

If your role requires safety shoes, it’s non-negotiable. However, there are lots of lighter, trainer-style shoes out there so you don’t have to lug massive steel-toed boots around. I have some great springy, composite-toed, high-top style ones (because I don’t trust people not to push flight cases into my ankles) from Jallatte, which are not only lighter to carry in my bag, they’re a pleasure to wear.

Toiletries

I’m trying to replace as much as possible in my washbag with solid alternatives. They’re more compact, use less plastic, last longer, don’t leak and you don’t need to worry about taking them through airport security. I have solid shampoo and conditioner and use soap instead of shower gel (I was really interested in a major chain’s solid shower gel until I realised that it was just an expensive way of saying ‘soap’). I use stick deodorant, but it’s best not to bring aerosols on tour anyway. It’s rude and inconsiderate to use sprays inside the bus. For liquids, I buy the smallest bottle or decant it into travel containers. Again, this saves space and means I can bring most stuff in my hand luggage if I’m flying. You can always buy more as you go along.

Menstrual cups not only take up way less space than pads and tampons, but they’re also better for the environment, and you don’t need to worry about running out.

I use packing cubes to keep all this stuff organised. It’s quick, it helps you compress your clothes down so you have more space, and it’s an extra layer of privacy while you’re rummaging through your suitcase at the side of the road in front of your colleagues and passers-by. I also bring a smaller canvas bag so I can take everything I need until the next day off up to my bunk and leave the suitcase in the bus bay. If you delve into travel blogs, you can get a wealth of information for packing lighter and smarter, but don’t get too caught up in minimising your luggage. We aren’t on holiday, we do this full time. While it’s a good idea not to have too much stuff weighing you down, we deserve to have a few luxuries or reminders of home to make us feel human.

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

October Feature Profile

https://soundgirls.org/bryony-october-tolerance-patience-the-ability-to-remain-calm/

The Blogs

So you Think you Want a Career in Live Sound.

The Secret to Being a Woman on the Road

My Take on Line-By-Line Mixing for Theatre

SoundGirls News

SoundGirls at AES

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up



SoundGirls Events

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

My Take on Line-By-Line Mixing for Theatre

Theatre sound

Since I had started as a live sound engineer for theatre, I didn’t really pay attention to other mixing styles. Line-by-line mixing made sense to me and was my natural technique. It wasn’t until I started working with musical artists and bands that I realized I needed to change my approach. I was not a live sound music mixer, I am a theatrical mixer, and there was a learning curve for me. Line-by-line at the most minimal means you are opening/closing mics for each person coming on and going offstage. Mute groups, DCA/VCA, and automated scenes REALLY help when you have a ton of radio mics. Mixing for an orchestra plus 15-25+ wireless mics were the norm for me while in college (& working professionally later).

We were taught to read a script a minimum of three times. Script analysis was integral for sound design, as it forces academic research. The first time you read a script is the most important as you are forming first impressions and understanding of the story. The second read-through was sometimes done with other designers, actors, director, etc. but I felt they often left out the tech crew. The second was to solidify the understanding of the themes, subjects, and tonality. The third and subsequent read-throughs of the script are for writing SFX cues, entrances, and exits (if not in the script OR noting they will go off and immediately return), orchestral solos, and grouping of singers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In rehearsals and the tech week process, there was always a lot of “hurry up and wait” while we all made adjustments. This was a valuable time for note-taking; if my script was thorough and accurate, I would be able to focus more on the mix rather than who the hell is onstage right now. An Audio Engineer for the theatre is a lot of things: FOH, foldback, A2, RF Tech, systems engineer, sound effects operator, comms, and so many other little things. Keeping organized was the most important because we have a lot of shit to handle.

Once you know who is doing what on stage, which solos or special parts the orchestra has (which is why attending the sitzprobe is integral for success, ( In opera and musical theatre, a sitzprobe (from the German for seated rehearsal) is a rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups, it is often the first rehearsal where the orchestra and singers rehearse together.) You can build your show file and program the console. The Stage Manager will be able to call your SFX cues (and sometimes even run them) so I make notes and place trust in my SM. I learned how to mix on an Allen & Heath ML4000 (?? TBH it was over 13 years ago), so my brain is focused on having as much as possible in front of me. Layers are where I hide things that don’t need to be actively mixed, as I do not like switching between layers quickly.

My Console Setup

Once everything is labeled and organized, I start with assigning VCAs/DCAs (Showing my experience/age). Wind, strings, rhythm, etc. will each get a DCA if it’s a larger orchestra. Orchestra overall gets a DCA. Ensemble (separated men/women), and quartet/trios should also get their own DCA. Some of these may be assigned to a group instead of processing, which will depend on the situation. Mute groups are your best friend, it takes some time to program them on older consoles, but it is worth the effort. Depending on your digital console, recording scenes or screenshots while in rehearsals would be the best option. You can always make small edits later if your timing isn’t quite perfect. From there, it’s all about the notes from rehearsal. Line-by-line was the most logical method for theatre & I still think this way during productions.

 

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