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Not Your (Grand)Parents’ Dream Job

Working toward a career goal in entertainment comes with a lot of baggage. Movies depict a certain sequence of events, ads promise a kind of instant gratification, and our elders say they were able to work their way up the ladder, buy a house, pay for college for the kids and retire. Never mind that movies aren’t real, that ads are intended to manipulate (at worst) and influence (at best) our spending habits, and that the jobs our elders had no longer exist. In spite of widespread understanding of these facts, our careers are still prodded and picked at by well-meaning friends, family, and even other creative professionals. The unspoken assumption is that there is a correct way to build a career and that if you do it that way then you will predictably meet a series of milestones on your course of upward growth.

Maybe there was a golden era of the American workplace in which upward growth was essentially frictionless. My grandfather started at IBM in the 1960s as a computer engineer and worked for 30 years, during which time he bought a house, supported a family of four, put two children through four-year college programs, saved for retirement, and had access to legitimate health benefits. It wasn’t easy, but his job did make it all possible.

My grandparents on my dad’s side, 1982, on the last day of their first international trip. Their oldest child (my dad) had just graduated from college, a state school which they were able to pay for, and their youngest was 15 and stayed with her grandmother. This was the first of many trips they have taken over the years since their kids have grown up.

The people I know whose careers fell on a similar timeline to his have similar experiences. But the years before this “gold era” were similar to how things are now: people with socio-economic advantages are able to move upward at a fairly rapid pace, and everyone without socio-economic advantages is able to exercise upward mobility only after figuring out how to catch up. The college student with a job that pays her rent does not have access to the same opportunities as her classmate whose rent is paid by his parents so he can attend an unpaid internship for a semester.

I mention this because we now live in a free labor economy. Companies and individuals in power positions have a bad habit of bullying workers for free labor, even when it’s technically illegal. Perhaps this fear mechanism was born out of the crash of 2008 (when many of the people in power positions were still in college), or perhaps we are becoming exponentially shameless in our power hunger, with each passing year putting greater distance between the richest and poorest among us and more attention is given to the loudest people with the greatest number of followers. It is money and popularity, not skills and experience, that are winning in the job market right now.

So what can we do to combat this?

Prioritize fair pay in your business. Even if you are relying on the generosity of a friend at the moment, make it a priority to pay them what their work is worth as soon as you are able to.

Name your price and back it up. I hope you never have to experience someone in the music business bullying you, but it can happen to anyone. Someone will tell you that they can get someone else to do it for free. Often this is just a negotiation tactic. You’re worth more than nothing, so make a case for you over this imaginary free laborer. (One exception to this rule is when you are being generous to a friend!)

When money is tight, consider an exchange of skills instead. Are you an audio engineer who wants production experience? The more that you develop your skills the more bartering power you will have when you want to acquire new ones.

Jordan Cantor engineering and I producing at Killphonic Studios in Los Angeles last year. We are in our second year of her engineering me in exchange for me engineering her.

Communicate. This is very important. Your communication style will be different from other peoples’, and will likely evolve over time. You want to be as clear as possible. With experience, you’ll be able to read situations quickly and avoid problems before they become too big to solve.

Decide what your values as a business owner (and/or colleague) are, and resolve to never be lazy about upholding them. If someone you work with is not meeting those standards, don’t be afraid to talk about it and challenge them to do better. (The flip side of this is, obviously, that you must live by these standards as well!)

It is my hope that through the shifting tides of our current economy, we develop new and effective ways to uphold fair business practices. I’m always curious to hear from others about their experiences doing this (positive and negative), so please feel free to leave comments or email your stories to me at elanabellecarroll@gmail.com!

Killphonic Studios

Five Things I’ve Learned About Editing from Mixing

I have been a sound effects editor and supervising sound editor for a long time now.  But, I have recently begun mixing a television series here at Boom Box Post.  I am enjoying how much I learn each and every time that I sit down at the board, and I am by no means ready to start spouting mixing advice to anyone.  But, I can say that I’ve come to appreciate certain editorial practices (and absolutely abhor others!) through my new vantage point as a mixer.  Things that I thought of like a nice way to make your mixer happy have turned into practices that are essential to me being able to start my mixing day right.  Seriously, these five things can be the difference of hours added to my predub day.  So, here are five editorial practices that I’ve realized are absolutely essential to a smooth mix.

#1: Stick to the template.

In short, don’t add tracks!  Adding tracks to an established template causes numerous headaches for your mixer during the setup, and it’s easy for issues to crop up later without him or her realizing it.  Every time a track is added, your mixer needs to adjust his or her inserts, sends, groups, VCAs, markers, and more.  That is a ton of extra work, and if one of those hasn’t been checked and adjusted before beginning to mix, issues can crop up along the way.

Adding more tracks to your session to squeeze in those 18 dirt debris sound effects that you added to a car peel out is a huge no-no.  I am especially annoyed when I see that tracks were added just to put one or two sound files on them in the entire session.  Your mixer or supervising sound editor has thoroughly thought through the needs of the project before creating your template.  So, if you feel that you need more space to spread out, you probably need to re-think the way you’re approaching your builds (see number four below…).  But, if having more tracks seems absolutely essential to you, make sure that you reach out to your mixer ahead of time and clear the change with him or her.

#2: Cut foley in perspective.

Foley is often one of the things that makes a project really come to life.  It truly helps the action to feel more real.  But, it’s also something that is often mixed so that we feel it instead of truly recognizing it with our ears.  Your mixer probably won’t be using the footsteps to make a sonic statement during a big monologue or music montage.  But, it does often make sense to feature them when characters are moving in or out of a scene.  It helps the audience to track where they are located in the story and aids the flow between shots.

In these instances, the panning is often at least as important than the volume.  And in order to pan people walking, for instance, off screen-right and then immediately into the next shot from screen-left, the foley needs to have been cut for perspective!  I’ve had numerous foley editors say that they’re uncomfortable cutting in perspective because they want to give the mixer options.  But, you’re truly not giving your mixer options.  Instead, you’re tying his or her hands (or, rather, making them need to scoot over to the computer and recut it themselves when they’d rather focus on mixing)!

But perspective cutting for foley can be a bit confusing.   So, let me break it down for you: you should cut your foley in perspective if there is a drastic change in volume necessary, or if characters need to be panned in our out of a shot.  Panning within a shot does not require perspective changes (e.g., a character walks around a room during the same shot).  Zooming in does not require a perspective change (this can be done with a fader move and is not a change between shots).  Here are some examples that would require perspective changes:

  • Perspective change for volume: We start on a long shot of a character dancing on stage, shot from deep in the audience.  Then, we cut into an extreme close-up on his feet.  Bam!  Perspective change!
  • Perspective change for panning: Two characters and standing around talking, and they realize they’re late for an important meeting.  They run off screen-right.  Then, we immediately cut to them running into a different room from screen left.  Give that sucker a perspective change!

#3: Color code your builds.

This is not by any means an industry standard, but I seriously appreciate it. I see it!  Want your mixer to love you now and forever?  Then color-code your builds!  I would recommend color-coding the regions that make up each BG location the same color each time that location is used as well as color-coding the regions within each FX build.

For BGs this is helpful to your mixer because he or she can easily copy and paste the volume automation onto each instance of the same location in just minutes!  This is such a great time-saver for getting to a reasonable starting point on BG balance.

For FX, make sure to color-code your regions according to what the build is covering on-screen rather than the kind of elements they are.  That way, it’s easy for your mixer to identify what to adjust by just glancing at your session (without necessarily soloing every single file).  For example, when cutting a door open, you may have a handle turn, a wood door open, and a long creak.  Color-code all three of those suckers brown!  Extra points go to color-coding something that makes sense for the thing you’re covering (blue for water, brown for a wooden door, yellow for a yellow remote-control truck, etc.).  And make sure that each time that same door opens happens, you color code it the same way.  By doing that, your mixer can easily find a balance he or she likes and then paste it onto every instance.  That makes adjusting it to work in a specific scene so much easier.

#4: Choose fewer, better FX.

Let me say this: more is not better.  Not by a long shot.  Yes, in a lot of cases, you should cut more than one layer to get a textured and full sound without tying the hands of your mixer.  But, you also don’t want to veer too far in the opposite direction and cut way too many elements.  Sound effects editorial is an art-form, and like any true art, it takes forethought and vision to do it well.  That means deciding which layers you want before you start digging through your library, and then editing yourself to create the most robust but clear and simple build possible.  I never start pulling sounds without a game plan, no matter how simple the build might seem.

In general, I like to stick with a rule of three: choose three files max that cover three frequency ranges (low, medium, and high) and also three different sonic textures.  For example, when cutting a steady forest fire, I would choose a low-end rumble element to give it size, a mid-range thick whooshy element (maybe with a little phase for motion) for fullness, and a high-frequency steady crackle to give it motion, life, and to help it poke through the mix without needing to turn the volume way up.  Without a game plan, I might be left throwing in a dozen elements because they seem like good choices.  But with a little forethought, I can easily cut down the number of elements I use and make each one count.  Honestly, it also makes things sound a lot better.

Sticking with the rule of three also helps your mixer!  After all, he or she can easily grab up to four faders (three is even easier!) and adjust the volume without needing to create a group and then disable it after making the adjustment.  So, there’s basically no reason not to cut like this.  It helps you and your mixer to work better, smarter, and faster!

#5: Use clip gain instead of volume automation to balance FX builds.

So, you’ve toiled over creating the perfect balance between your elements in a single build.  And mixers love it when you do some of the work for them!  They’ll definitely want to adjust that balance to make it work within the mix, but having a solid starting point is key.  The problem with adjusting your balance during editorial with volume automation is that as soon as your mixer grabs the faders, that balance is completely erased and replace with whatever his or her fingers do.  So, do yourself and your mixer a favor and balance within builds using clip gain.  That lets your mixer have all faders sitting at zero (and not popping up and down all over the place during playback), and thus each adjustment he or she makes is on top of what you’ve already accomplished.

A few caveats on this:

  • Make sure to use volume automation rather than clip gain when adjusting volume for perspective changes.  Always first balance your build with clip gain, then cut it in perspective and make any volume changes for perspective with the volume bars.
  • Do not ever clip gain a sound down to the point of being inaudible.  That makes it impossible for your mixer to turn up the volume with a fader without seriously compromising the signal-to-noise ratio.  Furthermore, if you find yourself turning anything down that much, just delete it!  You obviously don’t actually like it, and you need the space so you can follow #1 and #4!  Take the opportunity to edit yourself!
  • Do not clip gain BGs.  Use volume bars instead to adjust the balance.  This is a good practice for two reasons: First, BGs often need to be super low in volume, and if you use clip gain, your mixer won’t be able to turn them up enough with the fader.  Second, since these are long, steady elements, it’s nice to see where the volumes are on the faders rather than having them all at zero.  But mostly, this is a signal-to-noise ratio issue.
     

Staying Tough & Moving Sideways

If we are lucky, both our careers and ourselves will change and grow for the better. Life has a funny way of evolving and taking us on a different path than we might have ever expected. When I reflect on the dreams I had as a teenager, for example, there have been some that were smashed and excitedly crossed off the bucket list, and others that teenage me could never have foreseen from a reminiscent time of analogue study and scoring notation by pencil.

Working in most industries, but particularly music comes with its share of setbacks and rejection as par for the course, and we learn early on to be thick-skinned and roll with the punches. Some years I’ve been fulfilling my teenage and adult dreams, whilst others I’ve felt like I have been starring in a low-budget female remake of ‘Withnail & I.’ Jobs, people and projects come and go naturally, and stagnation is a dirty word. But what do we do when making a change feels like it’s out of our hands, and has been forced upon us?

 

Through a very dark, frustrating and seemingly endless limbo period of fruitless auditions and interviews following illness, injury and the subsequent closure of my business, I lacked an obvious answer to the question of what to do next. During this time, I was aware of a steady stream of media that kept bombarding me online, on TV and radio about Rick Allen, drummer of Def Leppard. Here was a man who overcame the most unthinkable adversity losing his left arm in an accident aged just 21, who personified the qualities of strength, adaptability and creativity to find a solution and continue working as a drummer in a mere matter of weeks following his hospital release, and become even more successful in the years that followed.

We can gain both perspective and a reminder that things are not as hopeless as they seem when we look at the success stories of inspirational people such as Allen and can resolve to model the qualities they possess in attitude and action.

Aristotle’s Golden Mean is a theory relating to character and discipline of the mind that highlights a need for balance in whatever we strive for. We all have needs to be met as individuals that will be relative to each of us. Aristotle proposed that equilibrium in our actions and reactions was the path to virtue and that this is found on a sliding scale between two vices, e.g., between cowardice and foolhardiness. Similarly, ‘The Middle Way’ is a Buddhist practice of ‘non-extremism that leads to liberation,’ an ideal of ‘bravely confronting life’s challenges by identifying the root causes and seeking means of resolution while summoning the transformative strength and wisdom of Buddhahood from within one’s life to create harmony.’ Put very simply; these ideals remind us of the importance of knowing when to yield and when to take action, learning to accept the things we cannot change and change the things we cannot accept.

They say that necessity is the mother of invention, and so it’s up to us to find comfort and a Plan B that feels right, and sometimes we must move sideways to move forward. In reality, then, we must embrace change in whatever form when it befalls us, and look at what existing skills we have that can be improved, honed and adapted to work for our futures.

Often a different area of expertise is not a million miles away, however much it may feel so whilst in the midst of watching a previous life crumble. The difficulty can be figuring out exactly what we do next, as we embark on the uncertain tightrope of virtuous equilibrium, shakily imitating the monks, great minds and super-humans who’ve gone before us.

Business gurus and industry experts are unanimous that research/asking for guidance is one of the most important parts of building anew. Had Rick Allen not asked for help from his friend involved with an electronics business, his bespoke adapted drum kit may never have come into being, and the story may have been a very different one. Chances are, there’s a plethora of friends, colleagues, and acquaintances from previous work that are an untapped potential of alliances sitting in your smartphone right now.  Set up that meeting to pick their brains over coffee, start shadowing and get informed – this is as useful for finding what doesn’t work as much as what does, and often chatting through ideas and experiences will be invaluable to planning your next move.

The second point of monophony from experts is that great things sometimes take time. There’s no shame in taking a break to work behind the scenes making things happen, whether that be retraining or attaining the funds and proficiency to set up a new business model. Nobody wants to launch a sub-standard product or service, so the cliché of building on a solid foundation rings true, and the world can wait until all the kinks have been ironed out, and the new venture is a strong one.

Ultimately, the only thing we can control in life our thoughts, so it is important to take inspiration and learn from those who have examined the parameters of happiness and our human potential. Unexpected changes are inevitable for us all at some point. With a hopeful mindset, a balanced attitude and the determination to work towards a clear, well-planned goal, alchemy can and does happen.

 

 

 

Interview with Engineer & Producer Missy Thangs

Missy Thangs is an engineer, producer, songwriter, and keyboardist based in Raleigh, North Carolina. Thangs is currently a house engineer and producer at The Fidelitorium, an amazing and unique studio (complete with guest house!) located in Kernersville, NC, about 90 miles west of Raleigh. Throughout her career, Missy has had the opportunity to work with bands like The Avett Brothers, Ex Hex, Ian McLagan (Small Faces), The Tills, Las Rosas, and Skemäta. Thangs has been a prominent member of the Raleigh, Durham, and Chapel Hill (aka The Triangle) music community since the early 2000s, having performed with The Love Language, Toddlers, No One Mind, and Birds of Avalon. Missy has helped shape the sound coming out of the region not only through her songwriting and musicianship abilities but also from the sound she has crafted in production roles.

What first opened you up to the idea of becoming a recording engineer?

I grew up around pop music; my dad is a pop music freak. He had thousands of CDs and records and was way into MTV when it first came out. There was always music on, and my dad’s happiness was sort of funneled through music, so it was such a part of growing up. He was my informer. He was playing everything from Weird Al Yankovic, to DEVO, to Bowie, to Melissa Etheridge — non-discriminating. If it was a good song, had a good melody, and sounded good, he was all about it, and I think I got a lot of that from him.

I think on a real deep psychological level I’m trying to recreate that feeling. Hearing and making sounds that are exciting and make you feel really good. Often those sounds are big and colorful or raw; those are the things that stand out in my memory. So, it wasn’t listening to music from the perspective of how it was recorded; it was more the way music made me feel that got me into the recording aspect of it.

I hadn’t considered recording as a career until I was in college. I was studying meteorology and French at UNC Asheville and looking for something more. I came across the Recording Arts Program, and I remember looking at the course catalog and feeling like it resonated with me. I was like, “What have I been doing?” I want to be in music, and I want to record music, and so I just jumped into that program.

What was your program like at school at that time? Were you learning ProTools at all?

The program was really small; I was the only woman in my graduating class of 25. We started out on an old Tascam 24-track tape machine and an ADAT machine; then we got the first ProTools in maybe 2000 or 2001, which was the start of working on DAWs for me. As soon as we got ProTools, I was like, “Great!” I didn’t use tape or ADAT at all after that. I instantly felt familiar with and comfortable on the computer.

At that point, had you recorded at all as a musician in the studio, or did you just dive in once you started school?

No, it wasn’t until after I was in the program that I started meeting a lot of other musicians. I started playing in a band called Piedmont Charisma, and that was when I had my first recording experience as a musician. We recorded at a super small space in downtown Asheville. It wasn’t around for very much longer after we recorded there. This was before Echo Mountain was in town and there wasn’t much in terms of recording studios. In school we went to a CD processing plant, we got to visit Bob Moog before he passed away, and we went to a voice-over recording studio, but I hadn’t seen a real sexy recording environment ever, and I was like, “What am I going to do?”

It makes sense that you decided to pursue music for a while if you didn’t quite have the resources to jump into something immediately.

That’s right. I was self-taught in recording up until college, and I didn’t have a really strong relationship with any of my professors, so I was kind of on my own, trying to figure out how to get good sounds and how to run a session. I had some friends and colleagues I had made along the way to bounce ideas off of, but I wish I had sought a mentor or someone to talk to. The idea never really crossed my mind.

You moved to the Triangle after school and gradually started playing in more and more bands, and as your career took off, you had the opportunity to record in bigger studios. Was there anything that you took away from your time as a musician in the studio at that time that you think about now when you’re engineering?

Definitely. My abilities to empathize with how the musicians feel and how to anticipate their needs are tuned in, and I think that is everything. For example, I can understand the feeling of having a bad headphone mix, an inner-band conflict, or not being able to get the right take. My past experiences inform the way I handle all those things.

I think it’s so important to be a recording engineer and also be on the other side of the glass. Sometimes you forget what it’s like to get that nervous feeling while in the band; everyone’s staring at you from the other room, waiting for you to get the right take. It’s a good reminder of how to be while you’re leading a session and how to treat the people you’re working with.

Making a record with people is such a vulnerable experience. It’s so essential for the vibe to be dialed in and everyone to be as close to the same page as possible.

Yeah, everything about this job is about people and vibe. When you are working with a group of people or one artist you are constantly picking up cues on their mood and working with that information and trying to get the best out of them. That’s so much of our job! From bringing people a cup of tea or telling everybody to take a break. There’s a lot going on behind the scenes, but the musicians don’t need to know that; it’s not what they’re there for.

You work with a lot of bands at the Fidelitorium doing live-tracking sessions, do you think this is due to your experience of the music you listened to growing up or the bands you’ve played in, is it the nature of the studio, or a combination?

The community that I live in and play in is so intermingled. Everyone is in everyone else’s bands and supports each other, and a lot of people in this community are just here playing music because it’s our lives and it’s what we want to do. My network has sort of facilitated my sound in a way. A lot of people that I’m working with I know personally, and we’ve only got three days, and it’s a five-piece band, and they have a small budget, so we have to make it work. What’s happened as a result of it is that I’ve sort of cultivated this sound for fast-moving sessions. It’s like; you’ve got to track live because we don’t have time to do it any other way!

Then again, the studio does play into that because The Fidelitorium has a large, wonderful sounding room and you can get easily full band in there. There are also a ton of opportunities for isolation so you can get everybody in the space comfortably. It allows me to work quickly when I need to.

What’s happening to me is that my friends, or friends of friends, are hearing a record I did and are reaching out and saying, “Hey I like what you did with this band, we want that sound.” And the way I got that sound was with a quick turnaround live-tracking session. I’ve dabbled in lots of different genres and recording styles, but that’s sort of what I’m doing right now.

It seems like work has been consistently finding you then, which is a positive thing! Do you ever find yourself having to look for work or grow your network in that way? What is that process like for you?

I’m pretty shy; it’s really a lot of word of mouth. There have been one or two bands that I’ve gone up to and been like, “I want to record your band!” But, word of mouth is really everything. A lot of my clients come to me because they’ve heard really great things about other friends’ experiences, and their friends come to me and take a chance with me. It’s really humbling, and a lot of times I can’t believe it. I’ve been really lucky so far, at some point I think I’m going to have to step out of my comfort zone and figure out how to reach new people!

You are now a house engineer at the Fidelitorium, owned by musician and engineer Mitch Easter (REM, Game Theory, Let’s Active). Are you alone a lot in the studio or do you have opportunities where you’re learning directly from Mitch?     

Mitch has been my one true mentor. He took me in when I was really down on the industry and taught me what he knows and let me go. I go to him often with questions, and he usually Mr. Miyagi’s me, but every once in a while he offers me some direct advice. I want him to tell me all his deepest mixing secrets, but he’s like, “Who cares? Do your thing!”

I like that idea a lot. I read another article with you where you mention something along the lines of, “the bolder the color, the bolder stroke, the better… there’s no rule in the book.” Can you talk about how this philosophy informs your approach in the studio?

I’m always game for chance or making decisions based on how I feel, versus what’s technically correct. I try not to overthink things, and I’m not afraid to mess up. I think that’s the foundation of where I sit. Being fearless. I want to turn a head. I want people to hear the music from these bands I’m working with and be like “WHAT is that?!” And I think part of that is making bold sounds and being dangerous. It’s not always easy to do, but that’s what I’m striving for.

What should we be paying attention to that you’ve just finished working on? What are your goals for the year?

Well, my main goal for this year is to get back into the studio after having a baby!

A pretty big deal, haha.

I’ve got a lot of cool projects on the horizon! There’s a really talented woman named Reese McHenry I’ve been working with; her record will be out in April. I’ve also been working with this band called Pie Face Girls for a few years that are getting ready to return to the studio to finish a record. And another band I’m going to be recording in May. I’m really excited about – just stay tuned for that, haha.

I’ve worked with many groups with all guys over the years, and I’m finally working with more and more women, and I love it; it’s a nice change of pace. I love everybody I’ve worked with, and I try not to think about it either way, but I have noticed this year that I’m working with more women in the studio and it’s been a really good corner to turn!

What advice do you have for any new or up-and-coming engineers?

Get out there, play in bands, go to shows, and immerse yourself in your musical community! Collect as much gear as you can. Get inside of getting sounds, being experimental, and not being afraid to mess up. Hit up your friends and start asking to record people. I feel like that’s basic knowledge, but it’s an important reminder!

Connect with Missy:

 

Pitch Perfect

Using Pitch Shifter in Your Mix

If you’re looking to enhance your mix or simply just want to experiment with some effects, pitch shifter is a great place to start. The effect has been used for many years in dance music although it is slowly creeping into some major pop songs as well.

If you’re new to plugins and effects, a pitch shifter simply does what it says on the tin – it will raise or lower the pitch of your audio signal.

So why might this be of interest to your mix or project?

Well, I believe it can be a simple way to add depth and development to any style of music you’re creating.

The first technique is to add a pitch shifter effect under a main vocal. This can be quite effective for a second verse in a song as it allows the track to develop. This can be done by duplicating the vocal and adding the pitch shifter to this track and then adjusting the effect to the setting you prefer.

If you want to add more bass to a track, this is an excellent way of doing just that. By pitch-shifting the vocals down and playing around with the volume and panning, you can get quite a nice bass sound without doing very much at all.

You can also add pitch shifter to your instrument track. This is a great way of experimenting around with your instrument in a mix and who knows you might find the perfect sound that blends well with the music you’re creating!

You can chop and change this effect to benefit your mix in whatever way you find necessary. The great thing about pitch shifter is it is an easy way to change the sound of a track without really putting in much effort. So, if you’re looking for a way to spruce up a mix you have lying about perhaps add in a pitch shifter to a few of the tracks.

 

 

Making a Case For Audio School

Why I Think It’s a Good Idea.

It’s the time of year for application deadlines and acceptance letters. I have noticed a lot of discussions lately about whether it is worthwhile to enroll in school for audio engineering.

Institutionalized education can be a great way for many people to learn and while there are many audio schools to choose from, it can be overwhelming to figure out which one may be right for you. These are my unendorsed opinions on why I think you can benefit from an education in audio engineering.

Schools tend to publish their graduate job percentages as a tool to gain prospective students’ interest.  Follow some easy tips that may help you to look beyond those numbers and find out what a good audio school can really offer you.

Facilities:

A good audio school can help connect students with current and widely used technology. They will offer hands-on training in the most common DAWs (digital audio workstations) and other software, mixing consoles, outboard gear, microphones – you name it. Look for a school that provides use of and education in the most current versions of these tools.

Curriculum:

It could be argued that you can learn the same, if not more, from independent sources than simply from attending post secondary school. If you consider yourself highly motivated there is a plethora of information available online for learning new skills, refresher courses and tools to advance beyond ‘beginner’. However, what a good audio program can provide is a curriculum specifically designed to help you understand both the technical and the professional intricacies of a career in audio.  Some programs may be more specific than others (ie: music production vs. audio post) and If you are unsure of where exactly your interests lie within the audio industry, look for a program that offers a broad curriculum. Gaining knowledge over many subjects will help you find the one that you are most passionate about.

Internships:

Internships are arguably the best way for a less experienced person to find their way into the industry. Most of the time, these internships are unpaid, though recently there has been legislation put in place to oppose unpaid internships. One workaround for businesses to utilize unpaid internships is if they are part of an educational curriculum. Therefore, finding a school that requires an internship as a part of their program may help a student get that foot in the door. Of course, there are some businesses that will offer an internship regardless of education and there are some that will even offer paid internships. Also, a program that requires a co-op or internship will often have aides in place to help support the student, prepare their resumes and even help them find and apply for a work placement so consider that to be a great bonus!

Staff:

The program professors have been selectively picked by the institution for their expertise and experience. Most often, those professors are still active in the industry outside of teaching. Opening a window to the industry is definitely a perk for students in audio school. Your professors will be able to share the most useful information to ensure student success after school. They may also offer connections to their own industry contacts, which can prove to be highly valuable when you are entering the workforce.

Networking:

Apart from your professors, there is another group of people who you will be able to add to your network connections:  your classmates! Making strong connections with your classmates is great while in school, but even more amazing when they become your peers in the industry. There is no telling what benefits will come from these relationships.

Not all schools are created equal. I hope this information gives you the tools to begin your search for the right audio program. There are many resources on the Soundgirls website to help you on this journey as well – whether you decide on institutionalized education or not.

School is not for everyone. Some people are successful at learning on their own, some are not financially able to afford post-secondary education. There are many successful folks in the industry without a degree or diploma in audio. Knowledge is key to working in the industry but so is your drive and attitude. If you want to succeed, be a good person, have a good work ethic and never stop learning

 

Knowing your Limitations

As we are still at the beginning of the new year, it is now we should look at those new year’s resolutions that we made, our dreams that we want to become real and the goals we would like to achieve.

It is the time to evaluate what we need to get on with, to achieve our dreams and our goals. It is time to take a good hard look at yourself and your knowledge, time management, and work-life to see what can be improved.

Knowing your limitations is a good start for example; what is limiting your chances to achieve your goals? What does it take to get from point A to point B?

What do you lack to get to where you want to be?

Say you want to become the most celebrated pianist in the world, what does it take to get there? Take a look at your practising routine, are you putting in enough hours to become the greatest pianist in the world? Are you utilising your own time in the best way possible to be the most effective when practising? Are you already the greatest pianist in the world but no one knows it? Well perhaps then less time needs to be spent in front of the piano and more time in front of people networking.

This applies to any industry; if we want to improve we need to face the hard fact that we have limitations and flaws. We will always have weaknesses but that does not mean that we can not work on them and improve.

Give yourself some honest and constructive feedback, but do not talk down to yourself. Do not be upset with yourself because you are not getting something straight away. It is hard to admit your weaknesses to yourself, but we have to do it if we want to improve.

Do you know where point B is?

It is easier to follow a route if you know your destination. It is easy to get sidetracked if you do not have a north star to guide you and to keep you motivated. Want to work on a big festival stage? Absolutely, but maybe that big festival is point C.

So you start working at your local one-day festival. You can not get to point C if you have not been going through point A and B first.

The ability to achieve something is only limited by a lack of knowledge. You need to study to improve your understanding, but then you need to put that study into practice.

There is only so much you can learn in a safe and comfortable environment. You have to put yourself outside your comfort zone to improve and to learn from real life experiences. It is so important to be able to work under pressure and to find opportunities to fine-tune your skills.

As well as knowing your limitations, you will need to learn and respect your strengths. For some, not acknowledging your strengths is a weakness. You have got to be confident in your knowledge, you have to tell yourself ‘You know what, this is what I am good at’ and use that to your advantage and balance it out with your weaknesses.

If you struggle to see your weaknesses and strengths then ask a good friend; what are my strengths? In what areas do I need to improve? Be open to feedback from others as they see you in a different light than you do. Being open to critique can be incredibly difficult for some, but it will help you to be able to improve your skills.

Now is the perfect time to sit down and write it all down. Aim high but be realistic, some goals might not happen this year, but that does not mean it will not happen in the future. However, getting to know your limitations will put you on the right path towards your dreams and goals.

 

Behind the Board

Hey there SoundGirls! This month I chose a topic that I feel is super important to dive into, but before we dig into that let me tell you about the months following. For March, April, and May I’ll be writing about the process of recording a simple four-piece band. Each month I’ll break it down by instrument (March/drums, April/guitars/bass, May/vocals), but we’ll get to that more next month. This month I would like to touch on the importance of being an artist with a knowledge of what’s going on behind the board.

So you love music, you play music, you write music, music is what fuels you. Maybe you’re a tad interested in learning about the audio engineering world- but what are the benefits, you ask? Some positives to having audio engineering skills:

Since I started audio engineering four years ago, I think one of the most valuable things I’ve taken away is networking. I’ve had consistent internships at multiple studios in Austin, and because of that nearly every session I assist on, there is at least one person I have met before, that is playing in the band.

Why is that valuable you say? When an artist sees you multiple times at different studios or the same studio- you might not realize it, but you are building trust with them. Since music is such a personal and sensitive thing, it’s essential for an artist to trust you. If an artist trusts you with their music, their next project might be going to you instead of the person next to you. This is an opportunity to grow as an engineer, as well as build your client list.

As an artist, networking, building friendships, and professional relationships with people in the industry could help you with growing your network with bands you’re meeting in studios. You could become friends, and they may even want to play a show together if they like your music. You never know. Example: My band is very new to the Austin music scene, but for our first show we got to play with two amazing, established bands, at a great venue. I met both of these bands multiple times in and out of recording studios, went to their shows, and became acquaintances with them. It was full circle to share a bill with these bands, four years ago when I assisted on their sessions, who knew we’d be sharing a bill?

So that’s just ONE benefit to being an audio engineer as well as being an artist. I’m going to touch on two more reasons why I think it’s important to dive into audio engineering (even if it’s just a little bit of research or a couple of months of an internship). I’ll pose a question. Is being a jack of all trades a bad thing? I don’t think so; in this day and age- it’s important to be skilled in multiple areas of the industry.

One thing that I think deserves its own paragraph is the importance of being comfortable in a studio. Studios can be intimidating; I know this from my personal experience, (cue, storytime). I remember the first time I ever walked into a recording studio. I was taking a tour of my soon-to-be school for audio engineering and music production in Austin, Texas. I remember seeing all of the gear, and not knowing a single thing. I had never even messed around in GarageBand. I was so intimidated, but also had this hint of excitement the moment I walked into the studio. I was excited to learn; I was excited to be challenged, I was excited to grow, and be an artist that also has valuable knowledge of audio engineering.

Now that it’s been four years, I can speak from experience. Whenever my band is in the studio, or I’m recording vocals for my songs, I’m comfortable. I’m in my element. If you told me four years ago that I wouldn’t be completely nervous singing in a recording studio, I might not have believed you. I couldn’t even sing in front of my friends without turning around! Having that experience in the studio on the other side of the glass gave me confidence in myself, and gave me a sense of purpose. It also gave me a sense of trust in the person who is engineering my vocals, because I know exactly what is going on. I want every other girl/woman that steps into a studio to eventually work their way towards feeling that confidence too, and that’s why I think having audio engineering knowledge is so important.

Last, but not least. The importance of knowing how to record, mix, and master. By having these skills, you are taking the time to learn what is going to be the icing on the cake for your songs. Learning what microphones are going to best capture the way your guitar or vocals sound, and knowing how to mic up a drum kit. Understanding what mixing is, and creating your own mixing style — learning basic mastering skills. All of these things are incredibly beneficial. Not only that, but it’s honestly very exhilarating (and a struggle at times) to work on all aspects of your own music as an artist.

Also, I think I’ve learned more through mixing my own music than I have when mixing others. This might be because of how critical my own mind is towards my work. Not only that, but I believe I have become a better musician from learning audio engineering because my ears are trained, I know what to listen for, and for the simple fact that I am around music all the time. If you’re around something almost every day, you’re going to become good at it. Whether it be, audio engineering, guitar, drums, or singing. You’re going to become better. As an engineer, you will never stop learning. In this craft, you learn something new every time you step foot into a studio. That type of consistency keeps your mind flowing, as well as your creativity. That’s why I believe being an artist as well as having valuable knowledge of engineering is important. Your creativity will never stop.

 

 

Designing Signature Sounds

The Project

I recently had the pleasure of creating signature elements for a new animated series which will likely air near the end of 2019.  We were brought into the process at a very early stage, the first animatic, which was incredibly exciting. If you aren’t already aware, in animation, an animatic is essentially a video of storyboard panels timed to work with the recorded dialogue and then exported as a video.  An animatic is a very thorough blueprint for the animation studio to follow. Adding sound design to an animatic can do a number of things: it can bring the animatic to life for the animation studio which allows them to better understand how to animate important moments. It can help executives to better understand the action when reviewing the animatic for approval. And it can establish signature elements early on so that the sound can help to inform the animators’ creative concept for the series.  Having clients who appreciate the importance of bringing the sound team into the mix (pun intended!) early on is a wonderful thing for us here at Boom Box Post! So cheer to all of our amazing clients!

The Process

Step 1: Brainstorm about an Overall Aesthetic

The key elements of the series are birds and babies (sorry to be cryptic about the premise, but it’s too early to share too much about this project!). My mind immediately started churning about how to incorporate these in a way that would be nuanced and special.  When designing sounds for a new project, it’s also important to consider the audience. This series is geared toward preschool-aged children. So I also wanted to create a soundscape that would be friendly and familiar to viewers in that age group.

First, I decided to make all of the items in this animated world sound like they are made out of materials familiar to preschool kids.  This would involve recording a ton of children’s toys to really let these textures shine through in the mix. The set locations look high tech and designing in that aesthetic is always fun. But isn’t it much more fun to design a baby’s take on tech?  Now that would be a challenge.  Second, I decided to incorporate the bird aspect of the series by creating new sci-fi sound effects for all of the tech elements by processing bird calls.  I didn’t want the bird calls to be in your face. After all, it doesn’t take much creativity to just throw a bunch of hawk calls on everything. But, folding them into my tech builds sounded like a fun challenge that would result in a truly unique signature sound aesthetic for the entire series.

Step 2: Decide which elements should be stand-out signature designs.

I consider anything that will clearly appear in a series again and again to be signature.  And so, even if it’s a mundane item, to me it’s an opportunity to add a little special flavor.  You might think it’s a waste of time to create special door open sound effects or record all-new hand grabs. But creating a new palette from scratch for all reusable elements can ensure not just stand-out sound design moments but an overall signature aesthetic for an entire series.

For this series, I decided that the sounds for all of the things in the main location should be signature: all doors, all grabs of items and furniture, all mechanical elements, etc.  Basically, anything that will clearly be seen again and again needed to be custom.

Step 3: Create a Custom Recording List

When I’m creating a recording list, I like to brainstorm things to record which might add to the overall aesthetic I’m trying to achieve while keeping in mind what I need to cover.  Sometimes, if you map out exactly what to record for each signature element, you close off your brain to considering other options during the process. Think about the general aesthetic you would like to achieve and come up with items that you think may help to achieve that aesthetic–whether you think you’ll use them now or they may just be handy to have in the future.

Here was my list.  Notice that I’m focusing on what I want to hear and not marrying myself to specific items just yet:

  1. Toy ratchet
  2. Toy click into place
  3. Different plastic items for grabs
  4. Toy rolling
  5. A toy which “pops” or “thunks”

Step 4: Browse for Items to Record

I took this list to a local children’s consignment store and roamed the aisles looking for interesting items and listening to how they sounded.  I chose a consignment store because it was cheaper, but also because the toys were not in their original packaging, so I was free to test them out.  Often browsing for things to record is best done in your own home or a friend’s closet for this very reason. Keep in mind that the best recordings are made from items which are different from what you actually see on screen. You want to achieve a certain texture, a certain sound, a certain feel. You don’t want to just record the exact thing you see in the picture.  Think about how an old loose doorknob is often used for gun foley or a piece of celery is broken for a good bone crunch. When choosing items to record, shut off the visual part of your brain that’s telling you to go for the obvious, and start listening to everyday items with your creative hat on. Evaluate each item solely on its ability to give you the sound properties you’ve already brainstormed in the above list.

Step 5: Record new sounds

Step 6: Edit your recordings to work with the picture.

Once you’ve recorded all of your new (or old) props, bring everything into your DAW and start playing.  Often I find that elements I recorded in hopes of covering a certain signature element actually work best for something else.  Don’t be afraid to play around and try new things. Use the clean recordings, process them to the point that they are unrecognizable, or mix them together with sounds from your library.  In this step, you are the sonic painter. Give yourself the creative freedom to use your full palette and don’t be afraid to make a mess. That’s how the best discoveries are made!

Step 7: Collaborate with your clients.

Sound is never a job that’s pursued in a vacuum.  We’re part of a larger project team, and most often that project is the creative property of someone else.  Once you’ve come up with your most alluring signature sounds, share them with your clients and let the collaboration ensue.  It’s incredibly important to realize that the creative process doesn’t end with you: it’s easy to think that your signature sounds are the best they can be when you’ve finished designing.  In fact, I find that they often get even better when I present them to the clients and they offer tiny tweaks and new creative insights. Sometimes muting one element or incorporating something else that you never even considered is the key ingredient to the perfect sound.

The Sounds

Here are a few of the original recordings I made with the help of our intern, Sam, and the signature elements that I designed using those recordings.  The recordings and designs may sound simple, but remember that signature sounds compound with each other in order to create an often nuanced and distinguishable scape for the series as a whole.  It’s the totality of all of your creative ideas that form an overall new and exciting aural aesthetic.

 

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