Empowering the Next Generation of Women in Audio

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Martin Luther “ML” Procise, 1953-2015

ml_prociseDallas, TX and Lititz, PA (March 8, 2015) — Martin Luther (“ML”) Procise III, legendary live engineer and Executive Director of Touring for Clair Global, died peacefully in his sleep at his home in Dallas on March 5, 2015 at the age of 62.

Procise was a fixture in the live sound reinforcement industry, beginning his work in the early days of Showco and enjoying a career that spanned more than four decades and 4,500 shows. He rightly earned a reputation as not only an innovator, but also a dedicated mentor who introduced many of today’s top engineers to the touring industry as young protégés.

ML served as a live engineer for a roster of superstar artists that included Genesis, The Bee Gees, Michael Jackson and The Jacksons, The Beach Boys, ZZ Top, Guns ‘N Roses, Green Day, Rage Against The Machine and Soundgarden. He also worked as Senior VP of Sales for Showco, prior to the company’s acquisition by Clair in 2000.

Procise often referred to himself as a “lifelong student of audio,” and was defined by being completely prepared for any mix challenge, for innovation, and for perfecting a stadium/arena sound that has become an industry standard.

ML’s work was recognized by his peers as well. He was the recipient of numerous industry awards, including multiple “Engineer of the Year” and “Sound Reinforcement Man of the Year” nominations, as well as an induction into the Tour Link Hall of Fame. He was also extremely proud of his work through Don & Carolyn Davis’s yearly Sound Reinforcement workshops from its inaugural years and in his membership in the Audio Engineering Society.

“Every industry has its legends, and ML was truly one of our own,” said Troy Clair, President and CEO of Clair Global. “He will certainly be missed by the numerous sound engineers, techs, production and artist managers who were privileged to have known and worked with him, be it on the road or in the studio. On a personal level, our relationship evolved over the years from competitors to colleagues to friends. On behalf of all of us at Clair Global, our thoughts are with ML’s family.”

He was preceded in death by his wife of 33 years, Debby and is survived by children Raleigh, Luke, Parker, and Evan.

Our deepest sympathies to the family.

The Need to Really Support Women

bulliesHow can we encourage women and young girls to support each other without aggression? (more…)

See the SSL Live console

SSL-Live-ConsolesWould you like to check out the new SSL Live L500 Console?  Join Michelle as she visits the demo room at SSL in NYC on March 26th.  Space is limited so reserve yours today.

If you’d like to go, send an email to:   Soundgirls.org@gmail.com with SSL in the subject heading.

What:  SSL L500 demo

When: Thursday, March 26th, 2015

Where: Solid State Logic, Inc.
Live Product Specialist
320 West 46th Street
New York, NY
10036-8398

SSL Live Consoles
Stunning audio performance meets exceptional human user interface.
SSL Live consoles bring a new level of audio quality and operational flexibility to live sound production. The speed with which operators can achieve outstanding results with our consoles has been praised by leading engineers around the world. Our live consoles share their DNA with all the ground breaking SSL consoles created in our 37 year history in studio, broadcast and post production. Our forte is delivering a sublime combination of exemplary hardware performance, elegant human user interfaces, efficient processing engines and superb signal processing tools. The result is technology that provides exceptional creative immediacy, stunning sonic performance and is a pleasure to use and listen to.

 

There are now two models available in the SSL Live console range, the larger L500 and the more compact L300. At SSL we believe that offering a more compact console should not mean compromising and reducing quality or features. Both consoles offer the same immaculate, huge SSL sound and the same superb operator experience. There are no compromises in build quality and both consoles use and can share the same Remote I/O. The L300 is physically smaller than the L500, so it is a more compact, lower cost option… with no hidden performance compromises – it’s that simple.

Living with sound – What I learned from a six-dollar app.

 

I have curmudgeonly hate for modern technology. I like roll-up windows and faucet handles and telling stupid electronics what to do, when, and at what volume. I avoid the automated doors at stores in favor of the pull-handle ones. I park far and walk more. I’d rather be in the driver’s seat than the recliner. I think there’s something to human beings, to humans BEING, that technology at its zenith can’t beat. In the world of life, this makes me a dinosaur. In the world of audio, it makes me an amoeba. (more…)

Two Year Anniversary of SoundGirls.Org

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March Marks our Two Year Anniversary! It has been unbelievable to see this community grow. We want to thank all of our members for being a part of the last two amazing years!

We are excited to see where we will be next year.  To celebrate our two year anniversary for the month of March all of our Merchandise is 20% off, and all proceeds go to introducing girls and young women to sound.

A big thank you to all our members and supporters.

Karrie and Michelle

Attitude is Everything

HFA Edit

Amanda Davis is an independent sound engineer based in Atlanta, GA. She graduated from Roosevelt University with a BA in Vocal Performance in 2008.  She went on to attend SAE Atlanta, where in 2010 she graduated with an associates degree in Audio Technology. She recently joined the Wondaland team, and is currently the FOH Engineer for Janelle Monae. (more…)

How to Create the Sound of Murder Without Actually Killing Anyone

KirstyGillmore-Feb2015-pic1I love working as a sound designer in fringe theatre. It’s underfunded, often underpaid and over-looked, and it can also reveal unexpected and rewarding creative challenges. (more…)

Research Project – Women in Audio – Contributors Needed

Stefania Marghitu is working on a research project and is looking for insight from women working in audio. If you are interested in contributing to her research – you can answer the following questions and email them to her.

Stefania Marghitu's profile photo
smarghitu@gmail.com

Sound Girls Questions

NAME

AGE

PROFESSION

LENGTH OF TIME WORKING IN SOUND

What first drew you to a profession in sound? Did this stem from a love of music, or film and television?

Was your training and education in sound self-taught and/or through experience, or did you learn your field through high school and beyond?

Can you describe your respective industry (be it TV, film, music, theatre) when you first entered into it within sound engineering?

What were your first experiences like working as a sound engineer? Did you work on the road, freelance, or as a steady position?

Did you have fellow women audio engineers working with you, or were you mostly the only woman behind the scenes? Did you hold any affinities towards women musicians, or women directors or writers or actors, etc.?

Did you experience discrimination when you first started out from male peers or higher ups? Do you think there was a point that you began to be known for the work you’ve done rather than your gender?

Did you encounter male allies who believed in equality for women in the music, media and sound industry?

Were there any musical eras, genres, or acts that were female-centered that inspired you to pursue a career in sound? If you pursued a career in film or television, did any particular film or series inspire you?

Why do you think so few women pursued professions in sound engineering? Are there any gendered components of the profession that you believe hinders this specifically? The biggest issue I have found is the physicality of it, carrying heavy equipment.

For women who came up in the digital era, do you think this helps or hinders their careers? For example, a laptop can grant greater access to the technologies behind audio engineering, but the tech world is still a primarily male-dominated field?

Do you think open discussions about gender inequality in the professional fields and the rise of women aligning themselves with feminism has helped women become more determined to pursue male-dominated careers such as sound? Sound Girls for example was founded during this time of popular feminism, where Beyonce performs with an all-female band at the Super Bowl and aligns herself as a feminist at the MTV Awards, while other acts like Lady Gaga and Taylor Swift also align themselves with feminism. Is this a golden age of feminism for pop artists?

For film and television, have you seen a rise in women directors, screenwriters, and higher ups? Do you think this correlates to more open conversations about feminism and gender equality for women working in the industry?

Do you think that music subcultures outside of the mainstream have been more welcoming and open to women working as sound engineers? For film, did working with indie projects make a difference than a blockbuster, if you’ve had experience in both? Or for TV, was working in a non-traditional, non-network series different than the previous norm?

If there is a heightened awareness for gender equality, do you see an improvement for women working in sound on the horizon? What is the role of Sound Girls within this?

 

Everything you may have missed in February.

February 2015 Highlights (more…)

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