Coachella
SoundGirls.Org members submitted their sound related questions about Coachella. Rat Sound’s Daniella Peters and SG member, Jon Monson Head of Touring, and Dave Rat took time from their busy schedules to answer them. A big thanks to Rat Sound. (more…)
By: Karrie Keyes
On November 5, 1993, Pearl Jam performed the first music concert on the grounds of The Empire Polo Field. The site was chosen as the band embarked on a tour boycotting Ticketmaster, and the seed was planted for a large-scale music festival. Paul Tollet of Goldenvoice was the driving force in creating Coachella and six years after the Pearl Jam concert, The Coachella Valley Music and Arts Festival was launched. (more…)
Barbara Adams has a full plate. Not only is she the Full-time House Engineer at Tin Angel- a listening room in Philadelphia, part-time engineer at World Cafe Live, also in Phili, she occasionally works as a freelance Engineer/System Tech for two production companies and does freelance work mixing FOH for regional bands touring the North East and Mid Atlantic states. Barbara is also the owner and business manager of Burn Down Studios in Germantown PA, Adjunct Professor of Sound Reinforcement at Drexel University AND as if that’s not enough she is a mother to a five-year-old son.
Even though she wasn’t a musician, growing up, Barbara Adams was all about music. At around 14 years old, while flipping through a copy of Rolling Stone magazine, she came across an ad for Full Sail which sparked her interest in music production. As graduation grew closer, it wasn’t easy convincing her mother that audio engineering was what she wanted to do, but she was hooked on the idea of working in music production, and enrolling in Full Sail seemed to be the best route. “ Being fairly shy at that time in my life, I wasn’t comfortable going to a studio and trying to learn that way. I was more apt to learn in school.” “When I was 20, I finally had the opportunity to go to Full Sail, and let’s just say, I learned not to be so shy anymore. I took every opportunity I could while I was there to get out and learn. When I graduated, I came home and started as an intern at a studio.”
Following her graduation from Full Sail in 1995, Barbara started as an assistant engineer at Sonic Recording Studios in Philadelphia. Three years later, she found herself feeling stuck and very unhappy. While attending Full Sail, she had found her passion was in Live Sound, and the studio life just wasn’t cutting it. “ I was thrilled when I started working with local bands at various clubs in the Philadelphia area. Around 1998 I got a job as monitor engineer at the Trocadero and moved to doing live sound full time.” “I love the challenges I face every show. It is what drives me to be better. This industry is constantly changing, and to move forward, you have to adapt. Although it is not given every time, one of the best things is to hear an audience member tell me how great the show I just mixed sounded. And band members who smile when they see me because they know it’s going to be a great night.”
Several years later, Barbara expanded on her education by receiving a Bachelor of Business Administration, Legal Studies & Entrepreneurship; Management from Temple University. “I had been working in the music industry for about five years, and I was seeing a lot of the businesses I worked for being run very poorly. I decided to get a degree in business because of that. I think it helped me to understand entrepreneurship better.”
During this time she was also working as a Monitor Engineer for Electric Factory Concerts. “In 2005 I left Electric Factory for a production manager and front of house position at a smaller club called Grape Street, while still freelancing with bands and various production companies. When Grape Street closed in 2008, I started at the Tin Angel. “ At the Tin Angel, I work every show we have which can vary week to week, but averages about 4 shows a week.” At World Cafe Live, where she’s worked since 2010, “I do mostly morning shows which can be private events, Live Connections sessions, or their weekly kid’s show. The kid’s show is one of my favorites because my son gets to come to work with me and helps me set up.” For the past ten years, Barbara has also been working freelance with DBS Audio and FSP Productions, doing monitor mixing and system tech for festivals such as DC’s Jazzfest, Boston’s Summer Arts Festival, Appel Farm Festival, Bethlehem, PA’s Musikfest, and many other events.
Barbara has had some hurdles to overcome. “Attitudes… sometimes it is my own. It took me a long time to realize you can’t please everyone all the time.” Also, “Being a girl in the music business is an obstacle itself. I have been overlooked for positions I was well qualified for because I am female, and I have been through many instances of sexual harassment.” Barbara has dealt with these situations by enduring and learning from every obstacle, forging on to better herself and her craft. “I get schooled every day I work. I am constantly learning, even after doing this for nearly 20 years.” She also says, “keeping her head up and growing a tough skin” have helped her survive in the business. Working in sound reinforcement doesn’t leave much time for her to spend evenings with her family or social outings with friends. “ My schedule is the opposite of most people I interact with now, especially being a mom.”
If you want to enter the field of professional audio, Barbara recommends figuring out how you like to learn. “For me it was school, but if that isn’t your thing, then go out and meet some people. Be outgoing, but not arrogant. Be open to learning, be open to trying things. When things get tough…don’t give up. Keep learning and keep doing it. Listen to the good advice and throw away the negativity. Learn from your mistakes, and you will become better than you ever imagined. “
People skills are first and most important. This is a business of who you know and building a network is critical.
Listening skills, use your ears! Listen to the band and the audience and make adjustments where you can.
Know signal flow and gain structure. It will make your job so much easier.
“ While I was at Full Sail, I was able to attend my first AES conference as a representative from the school. The school took promotional photos of all of us who attended. The picture they took of me was used a year later in that very same ad that got me interested in production to begin with. It was my face that graced the Full Sail ad in the back of Mix Magazine in 1996.”
When asked about her long-term goals, Barbara replied “ At many points in my life, I have wanted to have my own venue. But knowing the amount of money and work that takes, I don’t know if I have that same strong desire anymore. Lately, education has been a focus of mine. I enjoy passing on the knowledge I have gained to the next generation. I am an adjunct professor at Drexel University and am currently looking for other opportunities to teach live sound.” Barbara is doing just that by creating SoundGirls.Org’s ‘Lessons in Live Sound.’
Barbara Adams can be reached at soundarella@verizon.ne
Barbara Adams is an audio engineer and educator with twenty-five years of experience in the music industry. She specializes in live sound and production management. Her strong and varied experience also includes recording engineer, stage management, and artist management.
Barbara is an Assistant Professor at Rowan University teaching Sound Reinforcement and Audio Recording in their Music Industry Program. She also is the booking manager for Rowan Music Group, the program’s record label, and artist management services. By night she is busy as engineer and production manager at The Locks at Sona, Philadelphia’s premier listening room. She occasionally works as a freelance Engineer/System Tech for several production companies and does freelance work mixing FOH for regional bands touring the North East and Mid-Atlantic states.
As the SoundGirls Philadelphia chapter president, she is always looking for ways to help mentor and guide new engineers in the field of live sound and bring together the Philadelphia community of SoundGirls. And as if this wasn’t enough, she is the mom to a very busy pre-teen son who enjoys helping mom at gigs if he isn’t playing hockey, playing music, or in school.
Day 5: Show 3- Dimapur, India
Here we are again, another perilous cab ride winding through a spider web of unmarked city streets to the venue- a stadium.
I had an anxiety attack on the way to the gig, worried that with all the chaos following the last two gigs if I managed to get left behind after the show I’d be so SOL. This isn’t my first third-world country. I’ve been to some dicey places, in some precarious situations, but I am honestly starting to feel like I am never going to see civilization again, like I’m stuck here and there’s no way out. I’d have no chance of finding a U.S. embassy. The closest one is probably five hours away by plane, and I wouldn’t even have a clue how to get to the airport and where the one flight/day could take me. We have no information. Our tour manager has been fighting to get anything out of the promoter since day one. We don’t get our flight info until the last minute, we have no idea where our hotels are and there are no contact numbers. It’s like a bad made for TV movie, “ Lost abroad” , or “Lost, a broad”, it could go either way.
I got word this week that I’ll be working at a corporate conference in Novi, Michigan March 20th-22nd. It’s a two-day conference for a prominent beauty line. I will be working the gig with my fellow co-worker and long-time veteran of live sound, Rod Price. He’ll be showing me the ropes and teaching me to fly my first V-dosc rig. (more…)
I had a coworker tell me one time that being an audio engineer is like being a duck – you look calm and peaceful on the surface, but underneath, you’re paddling like crazy. I’ve thought of that little nugget more than once during this process of getting the audio for RENT off the ground. And it’s actually comforting to know, really, when you have Indian music in your keyboard feed, channels that don’t output, dying mic packs, skipping CD players, and “now-you-hear-me, now-you-don’t” monitor cabinets that this IS the gig. People have been doing it with crappier gear, smaller budgets, and in pricklier situations longer than you’ve been alive. And the shows have gone on. So we’ve kept on paddling, and the result so far is a show that isn’t suffering one bit for all the trouble, and I’m extremely proud of that. (more…)
What does FOH Engineer stand for?
FOH stands for Front of House and the FOH Engineer, (sometimes referred to as Band engineer or soundman/soundwoman) is responsible for mixing the sound for the audience at a concert. What you hear coming out of the PA speakers is for the most part under the control of the FOH Engineer. Other factors can have an impact on the mix such as; the quality of equipment, venue acoustics, stage volume, how well the band plays, etc… These are at times beyond the control of the FOH Engineer.
What does an FOH Engineer do?
Simply put: Each individual instrument on stage has it’s own microphone and input, from the lead singer all the way down to the individual drums and cymbals on the drum kit. The FOH Engineer manipulates the levels and equalization of the various instruments and vocals blending them together, adding reverb and effects as needed, to produce a mix of the band which is amplified through the PA system.
The level of creativity and freedom a FOH Engineer has with the mix varies from artist to artist. Sometimes a band or artist has a clear vision of what they want to sound like live. It is the FOH Engineers job to interpret and re-create this via the sound system. Sometimes a band leaves their sound entirely up to the FOH Engineer.
It is usually up to the FOH Engineer to decide or at least recommend what microphones to use on each instrument and vocal. On large tours the FOH Engineer provides a technical spec of what the sound system requirements are. This generally reflects their preferences in microphones, mixing console, outboard gear, plug ins, PA system, etc… and any other details pertaining to how the system should be set up.
FOH Engineers can be very involved in the set up and tuning of the PA System or they can rely on the system tech to do that and just mix the soundcheck and performance.
How is a FOH Engineer different from Monitors Engineer?
A FOH Engineer mixes the the band to be amplified through the PA system for the audience to hear. A Monitor Engineer mixes the instruments and vocals on stage for each individual performer to hear. A FOH Engineer is only responsible for mixing one mix for all of the audience to listen to while a monitor engineer is responsible for many different mixes depending on what the performers need to hear. They listen to these mixes through either speakers on the stage or in ear monitors, or a combination of both.
What kind of background or skills do you need?
An understanding of the basic concepts and terminology of audio and sound reinforcement, signal flow and proper gain structure as well as the technical knowledge to operate various mixing consoles and equipment. A well trained ear and ability to recognize frequencies.
You should comprehend the principles of equalization well enough to be able to create the tonal picture that is desired.
Good communication and people skills are a must. Not only will you be dealing with the artist but also various other representatives of theirs including but not limited to: their management, label reps, agent, family, and friends. Tact and diplomacy are incredibly beneficial.
A background in electronics, physics of sound, and mathematics is also helpful but not necessary.
Act 1 Sitzprobe totally…happened. And we all survived. Everything is relative, I’m filing that under “good news”.
And relativity is key when you have 16 mic’d actors on stage, who are getting their first chance to sing with the band, and the band, who are getting their first chance to play with each other, AND along with singers in a smaller-than-they-expected pit, and a new system getting its first chance to pump out all of it, and an operator/designer who is figuring out just how little all of her script notes mean at this point! It is key because unless I remember that all of this is part of the PROCESS, it can all get overwhelming really quickly. And an overwhelmed mind lacks three things needed to make the process fruitful – reason, sanity, and focus. So my tech mantra for Rent is…REASON. SANITY. FOCUS. (more…)
So I got to check out a Rent run-through for the first time last night.
WOW. These guys are killing it.
The cast, the set, the music, the direction, and the management of the show, all brilliant. I always have this moment, watching run-throughs, where I look around at all of the talent in the room, and what they’re making happen onstage, and it really sinks in for me what all they’re putting in my hands and trusting to me. “Butterflies” doesn’t begin to describe it. (more…)