Join Us

Empowering the Next Generation of Women in Audio

Join Us

Laura Moeller • Live Sound • Theatre • Education

Laura Moeller (She/Her)
 Live Sound • Theatre • Education

Laura Moeller is an Audio Educator and Partnership Coordinator at Tech 25, where she combines her passions for live sound, theatre, and teaching. With over a decade of experience in audio, Laura has built a career that bridges both technical expertise and community-driven education, working full-time while also taking on freelance projects.

Laura’s love of audio began in 6th grade, when a teacher introduced her class to GarageBand. That spark grew into a career path after discovering the Commercial Music Technology program at Penn West California (formerly California University of PA). She went on to earn her B.S. in Commercial Music Technology, majoring in guitar and minoring in voice.

While at university, Laura was deeply involved in music and performance. She was a four-year member of the university choir and a two-year member of the auditioned vocal ensemble, Cal Singers. She also sang in the a cappella group Isolated Incident, competing in the ICCAs, and played guitar in the folk band Buffalo Run.

Her passion for music and sound traces back even further: Laura learned to play her mother’s electric organ before she could read, picked up the guitar at age 10, and found encouragement from community members who supported her early performances. Throughout high school, she explored choir, theatre, and even violin, though she found her home in fretted instruments and vocal performance.

Today, Laura continues to build on that foundation, working at the intersection of live production, theatre, and audio education. Her work reflects not only her technical skills but also her commitment to mentoring and creating pathways for the next generation of audio professionals.

Career Start

How did you get your start? 

College helped pave the way for opportunities, but my start came by a chance meeting. I was working a summer job in between semesters, and struck up a conversation with a customer. Came to find out that he owned his own small live sound company. I ended up interning and eventually working for his company for several years. I still freelance with them on occasion too. I also started working on the overhire list for IATSE Local 3 around the same time, and got to experience huge, professional level productions.

How did your early internships or jobs help build a foundation for where you are now?

When I was in school, I really thought that I’d end up recording/mixing/mastering. I wanted to be more on the post-production side of things. The thought of doing live sound scared me, to be honest. But meeting Mike and getting an internship doing live sound made me fall in love with it. Experiencing the excitement and sheer technical complexity around stadium shows with IATSE motivated me to learn more. It changed my path toward live event production instead.

What did you learn interning or on your early gigs? 

I learned a lot about the technical side of live sound and production. I became more familiar with terminology, safety, and the general process of a show from prep to load out. However, I think the most important lessons I learned were soft skills. How to network, how to negotiate, and how to communicate effectively. Unfortunately, I also had to learn a bit about when to move on from situations and people that weren’t there to help me succeed.

Did you have a mentor or someone that really helped you? 

Quite a few! Mike Johns of Mastertrack Productions gave me my internship and helped me get on tour with my first artist. Caitlin Jones (Freelance A1) walked me through her workflow, and inspired me to be a better engineer. Tom Fury (house sound engineer for Heinz Hall), allowed me to shadow him, and recommended me for my first job with a production company. Toby Ekmann (Former Project Manager, Tech Extraordinaire), taught me so much in just a few years of working with him. And finally, Carolyn Slothour (Freelance Audio Engineer/Educator). We met while we were in college, and formed a friendship that continues to benefit our professional development. We were co-chapterheads for SoundGirls Pittsburgh for a while. We’ve worked together for a long time, and I count her as one of my greatest allies in the industry.

By far, however, I think SoundGirls was the best mentorship I had in my early career.. I found out about the organization when I was working as a stagehand on Warped Tour with a few women on the sound crew. The rest is history. I got involved, started the chapter here in Pittsburgh, met so many inspirational people, and found a huge community that was so willing to help and support me in my early career.

Career Now

What is a typical day like? 

That’s a tough question. I don’t think I really have a typical day. Some days, I’m up at the local arena doing a load in for a major tour at 6 AM. Other days, I’m helping out with a high school musical. In a few weeks I might be at a music festival in the middle of nowhere. But this week, I’m teaching classes on audio at Tech 25, planning and coordinating partnerships, and trying to catch up on my backlog of emails.

How do you stay organized and focused? 

My life is Google Calendar. Between coordinating events and classes at Tech 25, and the myriad of other work that I’m juggling, I try to keep everything on my radar. I make lots of to-do lists, and log all of my freelancing through QuickBooks.

What do you enjoy the most about your job? 

I love the challenge and variety of each day. I’m a problem solver, so I really enjoy troubleshooting and fixing issues with audio gear, computers, networks, etc. I also love seeing the impact I make as an educator. It’s really rewarding being able to watch someone learn and progress through their career; taking on new challenges and opportunities, and being excited to share that with us.

What do you like least? 

Sometimes, the hours are unpredictable and long. Often, I’m staying on a show site until every last piece is packed up on the truck and ready to roll. Getting home at 3 AM is pretty common for me.

What is your favorite day off activity?

I love to go tent camping with my wife, and my dog. We usually find a nice trail to hike, or we just chill at our campsite all day while cooking some delicious food over the fire.

What are your long term goals? 

I’d love to own and operate my own venue someday.

What if any obstacles or barriers have you faced?

Unfortunately, in my early career I encountered pretty blatant homophobia and misogyny. Also occasional gatekeepers who would laugh and try to embarrass you when you did something wrong, instead of correcting or helping you.

How have you dealt with them? 

I realized that I needed to start valuing myself more. A job/experience wasn’t worth staying in an abusive environment. There are far more good people out there that want to watch you succeed. People who value your safety and worth; folks willing to mentor you.

Advice you have for other women who wish to enter the field?

Never stop learning. Audio is a constantly evolving landscape. It’s changing just as quickly as the other technologies around us. There are so many fantastic resources out there to learn and grow.

Also, when you’re first starting out, value yourself and treat yourself with kindness. You deserve a living wage, sleep, and time to relax. You don’t have to know everything. Truth is, no one does.

Must have skills?

Networking is your best friend. Make sure you follow up and keep in contact with friends, colleagues, and your communities. All of the work I have today, I got through a professional contact or mutual friend. Also, take time to train and care for your hearing. Invest in a good set of earplugs, and make sure you always practice your critical listening.

SoundGirls Virtual Conference – Early Bird Special

The SoundGirls Virtual Conference is Back – Bigger and Bolder!
December 13 & 14, 2025 | 9 AM – 6 PM PDT

Join us for two full days of inspiring sessions, industry insights, and networking at the SoundGirls Virtual Conference — your one-stop event for everything audio!

Whether you’re mixing front-of-house, crafting sonic worlds in post production, diving deep into mastering, or exploring career growth, we’ve got something for everyone with dedicated tracks in:

️ Live Sound
Recording Arts
Post Production / Film & TV
Career Development
Diversity, Equity, and Inclusion
Special sessions in Spanish from our Mexico City Chapter

Featuring All-Star Presenters:

Get inspired by leaders in the industry, including:
Karol Urban, Piper Payne, Anna Frick, Greg Nelson, Michelle Sabolchick, Sean Quackenbush, Beckie Campbell, Lenise Bent and many more to be announced!

Plus:

Sessions from Sennheiser, Shure, Meyer Sound & more

Mentoring sessions with industry veterans

Networking opportunities to connect with fellow audio professionals

And a welcoming community excited to support your journey!

Early Bird Special:

Save 30% when you pre-register now!
This helps us plan the best platform experience possible. Once registration launches, you’ll receive your discount code.

Pre-register now!

Interested in Contributing?

Don’t miss your chance to learn, connect, and grow with SoundGirls!
We can’t wait to see you there.

#SoundGirlsConference #WomenInAudio #AudioCommunity #ProAudio #LiveSound #PostProduction #RecordingArts #SoundGirlsUnite

Alexandra Fehrman – Re-Recording Mixer and Supervising Sound Editor

Alexandra Fehrman (She/Her) is a seasoned Re-Recording Mixer and Supervising Sound Editor with over two decades of experience in the audio industry. Her journey began in high school when a glimpse into a recording studio’s control room sparked a lifelong fascination with sound. That early curiosity led her to spend countless hours apprenticing in studios—learning the craft from the ground up and finding a natural affinity for the technical and creative demands of audio engineering.

Alexandra’s background is deeply rooted in music. From childhood, she was surrounded by a family that cherished sound—her grandfather a guitar player, her father a passionate music lover, and an uncle who introduced her to the engineering side of audio through his work on musical instruments and technology patents. Though she began with guitar and cello lessons, it was the process behind the music—the how and why of sound—that truly captivated her.

After attending junior college and earning a certificate in Recording Engineering from Musicians Institute, Alexandra continued her career in music recording studios before transitioning into post-production audio in 2006. Since then, she has worked with top-tier clients including Apple TV+, Amazon, A24, Sony, Netflix, CBS, Lionsgate, and Searchlight, among others. Her recent work includes frequent collaborations with Signature Post and Sony.

Known for her technical precision, creative intuition, and collaborative spirit, Alexandra brings both artistry and expertise to every project. Whether mixing complex soundscapes or overseeing editorial workflows, her passion for storytelling through sound is evident in every frame she touches.

Career Start

How did you get your start?

My start in music was well, because I asked, and I was willing to trade time for knowledge. At first I wasn’t making money at the recording studio, and I was eager to learn so I would take care of the studio by tidying up, wrapping cables, loading gear and I just kept showing up. The lead engineer was happy to share a lot of mixing theory with me, and eventually after he taught me to use the board and 2” machine, he trusted me to track bands, and then assist him mixing. After that I went to school, and then started interning and eventually working at some studios in LA. I was working tough hours at multiple jobs, and at the same time saw a couple of films that got me very interested in mixing for film, so I started to look for jobs in post-production.

It took me a long time to find an “in” to Post Production. I couldn’t find a job in sound for film right away so I took a job at a video post production house and trained to be an overnight telecine operator, which meant I would transfer film to tape while syncing the original audio from set to the picture. I was an assistant to a colorist. My shift was from 3am-11am. I had strategically gotten a job at a video post house that at the time was owned by the same company as a sound facility I had long wanted to work for, called Todd AO. I then checked the internal job postings nightly before I started my shift until I spotted a listing. I ended up training there after my overnight shift during the days for 6 months (unpaid) until something opened up, and then I became a stage technician.

How did your early internships or jobs help build a foundation for where you are now?

I learned that hard work really does pay off, people will notice and trust you if they see you show care for your work, even when it’s just organizing the sugar packets. One studio I worked at had a velvet couch that us interns were responsible for vacuuming perfect stripes onto using a small brush attachment. Some interns thought it was trivial, but it was really a way for the studio owner to measure attention to detail.

I also learned a lot about the business outside of the control room, as an intern you’re more in touch with the requests of the clients, it was good to learn what kind of expectations people had, and how important food is to any session!

What did you learn interning or on your early gigs?

One big thing I learned is that trust is earned, and it’s important to learn how to navigate that uncomfortable time while you are gaining artists, or clients’ trust. In my first job, when I was given the honor of tracking bands as a teenager, often people would be upset paying for a session being engineered by someone so young, and it was always a bit awkward assuring people I could do the job. I learned how to be comfortable and confident even during that pressure, and no matter what kind of engineering you do, that pressure is part of the job, so it was really helpful for me to learn to work through that early on.

Did you have a mentor or someone that really helped you?

There have been so many people who have shared knowledge and helped me along the way in different stages of my career.

My first mentor was Don Lithgow who was the owner of the first studio I worked at called DML Studios. He really taught me a lot about mixing, and running a room both technically, and energetically.

Another mentor that stands out is Greg Schorer, a Supervising Sound Editor. He spent a lot of time teaching me how to edit sound fx, and foley. He would give me scenes to practice cutting and spend time critiquing my work in a way that was very helpful and gave me a skillset that would help me continue to grow as a sound designer and supervising sound editor.

I also had the great pleasure of meeting and working with picture editor Darrin Navarro when I was mix teching on a film called Killer Joe. He later introduced me to some filmmakers with whom I collaborated on various short films that eventually led to mixing dialogue, music and fx on my first television show.

Career Now

What is a typical day like?

On a mix day, COFFEE, then I check the layouts on my board, I check my session set up, I take a listen to a sample of my production sound, set some start parameters, and then start digging into the mix. During the first days of a mix of either an episode, or a reel of film, we are really in the tracks sculpting our first pass of the mix. On playback days, it’s a little different, we’ve cleaned up our mix, investigated all of the tracks, balanced and made thousands of choices to present while still keeping many options open, and easy to call up should the direction of a scene change sonically.

How do you stay organized and focused?

I lay down a lot of markers, I use color coding, and region groups to leave notes for myself, and for sound editors to communicate with me. I also take a lot of notes while I watch the film or show for the first time ahead of the mix so I know what we’re about to tackle.

What do you enjoy the most about your job?

I enjoy having the ability to share feelings with an audience through sound. It’s so satisfying to know that we are creating the aural environment for how the audience is experiencing a film. I love that we can support the story invisibly.

I do sometimes mix or visit other facilities, and what I like best about that is seeing different work flows, or set ups, being able to have conversations with a new group of mixers about new plug-ins etc.

What do you like least?

Especially in the winter, it’s really tough working in a room without windows during all of the daylight hours.

When I’m working on a stage I haven’t mixed on before, it always takes a moment to adjust, learn the unique sound characteristics of the room, and calculate what it means for the translation outside of that room.

What is your favorite day off activity? 

An ideal day would include a hike, laying outside with a book maybe, and listening to some records.

What are your long term goals

My long term goals are to keep growing, and continue working with filmmakers who really like to collaborate during the sound process. I also have a dream of one day opening a sound post-production workshop allowing new filmmakers to go through the process of what to expect during sound post, and to learn how much sound can shape a film.

What if any obstacles or barriers have you faced?

Throughout my career I have faced many barriers, it’s a competitive field, and with high levels of competition, always comes barriers, especially when you show up and you weren’t exactly what they expected. I used to just go by Alex.

How have you dealt with them? 

I don’t think it was the correct way to deal with it, but I took it as a challenge, and knew I had to work that much harder for my work to be noticed.

Advice you have for other women and young women who wish to enter the field?

Don’t get discouraged if things don’t develop right away, it takes a lot of time to make connections. Get your work in front of as many people as you can. A lot of people like to work with people they have worked with before because they can trust the quality of the work, so having sessions or examples of your work ready to share is really helpful.

One other thing to note is that sometimes you have to take a step back to take one forward, these career paths are often nonlinear, and in my case, every time it seemed I was taking a step back, I learned something new that helped strengthen my skillset in the long run.

Must have skills?

Pro-tools is a must in film post-production, being proficient and able to utilize quick keys for fast navigation is expected. For mixing, familiarity with the s6, and Dolby Atmos is also expected.

Favorite gear?

Plug-ins- Love the Valhalla stuff, verbs and delays. Like so many of us, I love fabfilter eq’s and compressors, and the Saturn 2 saturator is great too.

Physical gear- Moog Sub Phatty- not specific to my job, but my favorite impulse pick-up ever.

Parting Words

I’m so excited to be interviewed by SoundGirls, it’s such an incredible organization, and I’m always inspired by the stories I’ve heard throughout the years. Thank you.

Christina Masha Milinusic – Sound Engineer and Audio Educator

Christina Masha Milinusic is a seasoned professional with 20 years of experience in Live Sound, Recording, Location Sound Recording, and Audio Education. As the owner of Unity Sound, Christina has contributed her expertise to various institutions, including the City of Calgary, the Calgary Stampede, the University of Calgary, the University of Lethbridge, Mount Royal University, The Grand Theatre, and Stage West. Currently a member of IATSE #212, Christina is also a Sessional Instructor in Digital Audio Arts at the University of Lethbridge, specializing in technical ear training.

As a teenager, I organized and mixed all-ages shows with “Just a Bunch of Kids,” a non-profit formed by a group of alternative-minded youths passionate about music. Despite being a homeschooled ballerina from the suburbs, I felt a magnetic connection to the established punk/no-wave/indie scene at the Multicultural Centre in Calgary’s East Village.

In my early 20s, I was offered the install and house tech position at the Broken City Social Club in downtown Calgary (now Modern Love), where I had the privilege of mixing some truly incredible bands. This period marked a turning point as doing sound was a job that provided me with the means to move out and support myself.

Entering my 30s, I was employed full-time as an Electronics Technician for the Calgary Stampede. Here, I earned respect as an audio professional and was recognized as a capable member of the events team. This position brought an awareness that I have forged a successful career and have unique skills that contribute to the field of audio and sound community.

Career Start

How did you get interested in audio?

My journey was sparked by my lifelong fascination with the theremin—an entirely non-mechanical electronic instrument that is played by manipulating the electromagnetic field it generates, much like a radio using a heterodyned circuit. Imagine dancing or, more commonly, as most theremin players stand very still, moving your hands very precisely in the air to produce music. Being an integral part of an electronic circuit while playing is a fabulously connective experience that ignited my interest early on.

My fascination with the science and art of sound extends beyond my instrument of choice. I continually deepen my knowledge through a combination of in-person and online training courses. I’ve attended classes with Meyer Sound and Robert Scovill at the Banff Centre, participated in the AES Immersive Audio Academy, Jon Halliwell’s Audio System Engineering class, and most recently completed PK Sound Dynamics Training where I learned about robotic line arrays.

Did music and audio interest you while you were growing up?

Yes, as a child my siblings and I put on plays and dance recitals in our basement. I was always listening and dancing to 33 and 45-rpm records on our little Strawberry Shortcake record player. We all played piano, but my brother was an exceptional talent. When he entered grade eight of the Royal Conservatory curricula, our family bought a baby grand piano for him. I still can recall an internalized reverberation of the sound; I would sit underneath the piano listening to him practice and feeling the soundboard resonating… perhaps getting up to watch the strings vibrate and hammers move. As a teenager, my older sister (who went on to host a radio show in Sackville, New Brunswick during her university years) and her cultured, cool friends (who are also still some of our best friends), introduced me to a lot of great music like Guided by Voices and Sonic Youth… my list of favorite music is long and groovy.

Did you attend a University/College/Trade School?

Yes, I studied Liberal Arts, Cultural Studies, and Psychology for my undergraduate degree at York University, St. Mary’s University, and the University of Calgary, earning an Honors Bachelor of Arts in 2015. I recently completed my Master’s degree with a focus on Digital Audio Arts at the University of Lethbridge, graduating this past October.

How did your early internships or jobs help build a foundation for where you are now?

I had an invective experience as an unpaid intern at an analog recording studio in my late 20s and early 30s. I became good at soldering, recording session preparation, and strike, as well as tea-making. It was a rare opportunity to listen to some gorgeous analog gear that shaped and altered my way of listening forever. I discovered a deeper layer of existence that supported the sounds I heard in venues, and found an awareness of the electronic components hidden under the surface of equipment.

What did you learn interning or on your early gigs?

During another internship at an audiology clinic, I learned about human hearing and the importance of protecting our (and our audiences’) ears. While navigating this clinical environment, I discovered that my aptitude for, and interest in, cleaning out earwax was negligible. Additionally, my unique hearing preferences became apparent—I require more precise equalization parameters than most hearing aids offer, with a minimum requirement of 1/3 octave bands.

Did you have a mentor or someone that helped you?

I am blessed to have a distinguished and diverse group of friends and colleagues in my life, from whom I continually learn. Two individuals, Fred Boehli in technical services and Ronan McGurk, a systems technician, stand out as particularly supportive sound professionals who have been working with me for decades. A wonderful byproduct of working across various companies over the years has been the opportunity to absorb the different workflows utilized for both live events and recordings. For instance, the way I structure input and output routing on a console varies significantly depending on whether I am at FOH mixing a live broadcast with multiple media and record feeds, or am the monitor technician for bands.

Career Now

What is a typical day like? 

My schedule fluctuates. Today I have a noon-hour concert, a short shift, but many of my days are very long, 10-14 hours. Weekends may find me working from 6:00 pm to 2:00 am, followed by early starts at 6:00 am on certain weekdays. On days when I am not on a live event or recording, I am in my home studio preparing lectures for my technical ear training class which involves making presentations, grading, designing laboratory activities, as well as organizing resources to empower my students in their career endeavors.

What do you enjoy the most about your job?  

The equipment, the spaces, and the camaraderie with people I work for and with.

What do you like least? 

Perhaps unsurprisingly, the same three elements. While I have a preference for mixing on real consoles with physical knobs and faders, there are situations where using an iPad/tablet with its skeuomorphisms is the optimal choice. Years ago, I encountered a few colleagues who were hesitant to communicate and share gig-related information with me, which created challenges, particularly when assumptions were made—that behavior ranks high on my ‘least liked’ list. Additionally, discovering broken or unreliable gear that lacks proper labeling and is subsequently put back into ‘service’ is particularly displeasing.

What is your favorite day off activity? 

I am getting better at making a deliberate effort to rest and rejuvenate on days off. I find joy in creating art, heading to the mountains with my partner and our pup, attending shows, catching up on sleep, cooking, reading, or playing the theremin along to my favorite songs.

What are your short-term goals?

Now that I’ve graduated, my short-term goal is to work full-time with a fantastic team dedicated to delivering exceptional performances and sonic experiences. I believe in my capability to work in various settings, whether in live environments, recording studios, or on set. My preference is to consistently work with professional consoles and PA systems, allowing me to quicken my response time and develop a more meticulous workflow.

What are your long-term goals?

My long-term goals are ambitious. I aspire to become a go-to mixer for the bands I admire and work as a member of the audio teams for prominent Calgary venues like the Saddledome, Jubilee, and Jack Singer Concert Hall.

On a more artistic note, I envision controlling spatial audio systems using my theremin, leveraging new and developing technologies. As a service-minded sound professional, I want to contribute meaningfully to the audio community, producing engaging recordings and sound art that showcase collaborative efforts. Another aim is to become ‘Dr. Sound’ through a potential Ph.D., exploring how sound, a profoundly physical energy, may shape human perception.

What if any obstacles or barriers have you faced?

I hold myself to very high standards, grappling with self-deprecation, lack of confidence, and periods of intense depression. While facing numerous challenges, some shared by fellow sound professionals, I recognize that my self-treatment has been the most significant obstacle.

How have you dealt with them? 

I maintain a mindful practice where I actively correct negative self-talk and consistently remind myself to extend the same kindness and encouragement to myself as I do to others.

Advice you have for other women and young women who wish to enter the field? 

Go for it! You have the potential to be brilliant and successful in this field.

Just start where you are and keep learning, maintaining gratitude and humility throughout your journey.

I am immensely grateful to SoundGirls for its existence, connecting me with inspiring women who triumph over challenges and stand as crucial role models. Being part of this community is a true honor, and I am exceedingly humbled by the experience.

5 takeaways from SXSW Sydney 2023 relevant to the Entertainment Industry

I had the privilege to attend SXSW Sydney in October last year, and here are my top five takeaways that affect the entertainment industry

Tiktok has changed how young people listen to music.

In a panel titled TikTok soundscapes, WPP House gave the participants blindfolds and headphones and played us a series of narrations with soundtracks. That was a good way to demonstrate how music elevates storytelling by augmenting emotional connection. It also shows how pairing songs with narration can completely alter the meaning of the song, bending it to the storytelling. In a way, that’s what the platform does, especially with its audio trends. You know, those bits of audio that consist of a song or voiceover, and that users can add video to. Musician Ashwarya mentioned that if she heard a song first on the platform, she would tend to associate it with the mood of the videos using it, even if that wasn’t the original intent of the songwriter. And everyone who’s been on Tiktok long enough will agree.

Licensing and sync are currently some of the best income streams for working musicians 

Songtradr CEO Paul Wiltshire, who recently purchased Bandcamp, told us how his platform uses AI to scan audio files and extract data points like bpm and genre to determine who is the best target audience for that track. More than that, they use that data to match these tracks to brands looking to evoke a specific feeling in their customers. With streaming platforms paying pennies and physical media sales dwindling due to the cost of living crisis, it’s smart to explore every revenue stream available. Oh yes, he also reassured us he has no intention to change the experience that Bandcamp offers their users, so indies out there can breathe a sigh of relief.

Science-based marketing gives us the chills

No, literally. Speaker manufacturer Sonos teamed up with Eric J Dubowsky and creative agency Amplify to design a track specifically to elicit physical responses like goosebumps, chills, elevated heart rate, and I get butterflies in my stomach. Campaigns like this aim to grab our attention in an increasingly noisy landscape, using a scientific approach to make them impossible to ignore. And with spatial sound becoming more ubiquitous, their impact is greater. It’s fascinating but also a bit dystopian if you ask me.

Check it out here.

VR and AR are still very niche but growing steadily

There was a special section in the expo for VR exhibitors and there was a lot of competition to get to a headset. People are excited about these technologies and I particularly didn’t test any experience that had immersive sound, which in my view would elevate the experience exponentially. An interesting take on the possibilities of VR was given by artist Lynette Wallworth, who creates interactive experiences in partnership with indigenous communities to translate their worldview to Western minds. She says that the new technologies open space for new ways of working with them, and producing for them. That makes them more flexible to work within different cultures. An Amazonian shaman told her that VR headsets work just like Ayahuasca, changing your perception to deliver a message, and afterward, you come back to your reality.

AI in music is more a partner than a threat

One of the highlights of my SXSW was the panel on AI in Music production, by Justin Shave and Charlton Hill from Uncanny Valley studios in Sydney. Both have been at the edge of the intersection of Music and Technology for decades; and have been involved in projects such as Music of the Sails, a generative piece made for the 50th anniversary of the Sydney Opera House, and developing their own AI Music Engine, Memo. Their argument is that generative AI tools like DDSP, Lyrics generators, Voice replicators, Musicgen, Source separation, and others are to be seen as tools instead of competition. They use synths and Napster as examples of technologies that disrupted the music industry and stirred fears that they would end it, but in the end date didn’t. Playing with any of the above-mentioned, it becomes clear that they are useful resources; but if they might one day replace a skilled human, that day is still far away.

 

Mix With the Masters Scholarship Available- Craig Silvey

SoundGirls Members have the chance to receive a 2,000€ scholarship provided to SoundGirls members from Mix With The Masters.

There is one scholarship available for the week-long session with Grammy and Multi-platinum Producer/Mixer Craig Silvey. (Travel and remaining tuition balance not included)

This is a week-long seminar valued approximately at 4,000€ and includes lectures and workshops, accommodation within the mansion, catering (breakfast, lunch, dinner) the fitness room, swimming pool, and shuttles from Avignon to the studio. (Travel and remaining tuition balance Not Included)

You must have an advanced understanding of audio and work as producer/mixer/engineer to attend Mix with the Masters.

Session Dates: May 20 -26, 2022

Apply for the scholarship here

Deadline to apply is April 17th

You are responsible for Travel to France and the remainder of the balance to Mix with the Masters.

Session Includes

  • private bedroom, on-site within the mansion for 6 nights
  • Full-board accommodation with meals prepared by gourmet chefs on-site
  • Return shuttle services from Avignon to Studios La Fabrique
  • Unlimited drinks and snacks throughout the week
  • Approximately 50 hours in the studio with the guest speaker
  • One-on-one time between you and the master to assess and work on your own material
  • Professional photography done throughout the week, including portrait shots of you with the Master
  • Hundreds of full-resolution photos shared with you afterward via download link, to keep and use as you please
  • A certificate of completion issued on behalf of Mix With the Masters and Studios La Fabrique, signed by the Master if you wish
  • Exclusive MWTM merchandise given only to seminar attendees: embossed Moleskine notepads, pens, mugs, t-shirts, USB keys and stickers.
  • Use of the La Fabrique swimming pool, garden, fitness centre, and scenic walks
  • Nearby access to the enchanting town of St. Rémy de Provence

About Craig Silvey:

Craig Silvey is a London-based record producer and mix engineer from the Bay Area of northern California.

He first set foot in a recording studio as the keyboard player of a high school band. The facility was owned by his bandmate’s father, who allowed the use of his equipment but wouldn’t go as far as operating it for the group. Silvey was keen to accept the challenge.

He soon became an apprentice engineer at Russian Hill Recording in San Francisco, taken under the wing of George Massenburg. In the early ‘90s, Silvey progressed to working at Skywalker Sound for Lucasfilm, where he got involved on records and movie projects for Mariah Carey, Linda Ronstadt, Jennifer 8, and Rising Sun.

In 1994, he co-founded Toast Studios in San Francisco, where he worked with a diversity of artists including R.E.M., Money Mark, and Suzanne Ciani. In 1998, Silvey moved to London, basing himself initially at Konk Studios and then The Garden. His reputation as a top-flight mixer began to grow as he completed landmark projects such as Portishead’s ‘Third’ and Arcade Fire’s ‘The Suburbs’.

He has since mixed records by Arctic Monkeys, Bryan Ferry, Florence + The Machine, The National, and Noel Gallagher. As a producer, he has worked with Baxter Dury, Bear’s Den, and John Grant.

Program

The process of greatness fostering greatness has long been recognized and is the reason why masterclasses are organized. The Mix With The Master’s seminars is part of this tradition, offering an exchange of in-depth first-hand studio experience and knowledge that is unparalleled and not available anywhere else. Each seminar is conducted by one of the world’s top music mixers and producers, ready to share their professional secrets with a select group of a maximum of 14 carefully-screened, professional-level participants, who come from all over the world.

One factor that contributes to the enormous success of the seminars is that all tutors support the general MWTM ethos, which is about the love of music, music technology, and want to help others. Participants also are in part selected on displaying similar, positive attitudes. The fact that the seminars last a full week is another major contributory factor because it offers tutors the time and space to go into real depth, and the participants the opportunity to spend a prolonged time watching a master at his peak, and to ask any question they can think of.

The tutors share exclusive, insider information on any subject: detailed technical knowledge, how to run sessions, how to handle artists, how to manage a career, the right attitude, how to remain successful, and more. The tutors also assess the work of the participants, by listening to their mixes and mixing recording sessions that they bring, and providing extensive feedback to each participant on where they are at, and how they can get to where they want to be. This is invaluable and offers participants wanting to become world-class professionals in their own right a unique advantage.

Another primary factor in making the MWTM seminars exceptional is that they take place at La Fabrique, a large, comfortable, high-end recording studio located in a picturesque historic building, surrounded by huge, lush grounds, and set in the south-east of France in one of the world’s most beautiful environments. The secluded and idyllic location offers the participants and tutors a lot of space to relax and recharge, far away from the hustle and bustle of daily life and the all-demanding intensity of their regular professional environments.

Because the courses are residential, the participants and tutors work, eat, socialize, and sleep in the same environment. While tutors, and participants, will at times opt to retire to their private quarters, there is ample opportunity for social interaction outside of the studio environment. Participants interact extensively with each other and the tutor, making it easier to assimilate the intangible qualities necessary to be successful at the highest level—presence, focus, social skills, intelligence, creativity, the right attitude, and so on.

In short, for seven days participants can experience mixing with a master in both senses of the phrase, mixing and interacting with them. Get more information about Studio La Fabrique

 

 

Zoe Thrall – Love of Gear, Recording, and Music Makers

Zoe Thrall is a groundbreaker and a legend with 40+ years working in the music industry. She spent years working as an engineer and studio manager for Power Station Studios and Hit Factory Studios in NYC, then touring with Steven Van Zandt and his band, The Disciples of Soul. In 2005, she relocated to Las Vegas taking over the reins at The Palms Studio until it was shuttered due to COVID. Zoe has moved to The Hideout as the Director of Studio Operations, where artists from Carlos Santana to Kendrick Lamar have recorded. Zoe is an artist, engineer, and is well versed in studio management.

Zoe was introduced to audio as a career path while a freshman in college, (State University of New York at Fredonia) where she had a friend who was majoring in audio engineering. She applied to the music department and then transferred to audio. While she attended all four years, she was offered a job in her fourth year and never finished her last eight credits.

Zoe was always interested in audio, she remembers as a kid “tinkering with my cassette machines and my records taking two tape machines and recording from one to the other.” Her parents loved music and she was exposed to all kinds of music growing up from pop standards to Broadway. At age eight Zoe says “I tried to learn any instrument I could get my hands on.  Turns out I was best on woodwind instruments and pursued learning them more seriously.” As we will learn woodwind instruments led her to record with Steven Van Zandt.

Working with Steven Van Zandt

Zoe was working at a studio as an assistant engineer that Steven was working on several albums he was producing, as well as his first solo album. Zoe remembers that he was looking for a specific sound, and his guitar tech mentioned that she played oboe and she ended up on the record. After the record was finished Steven asked her to go on the road. She was 22 years old and says “that was not something I ever considered.” Zoe would continue to work with Steven for eleven years, playing on and engineering several albums. Zoe says “I learned everything about the business from Steven, about music production and contracts and publishing. Steven was extremely politically active and so I also got involved in a number of social and political organizations, mostly in human rights.  I got to see that side of the world and meet Nelson Mandela. It was a whirlwind of 11 years and something I never dreamed of doing in terms of touring and being a member of a band.”

“Having a mentor like Steven was absolutely critical in my professional growth.  He would push me to do things that I would never thought I could do, but he trusted I could and that gave me the confidence to try.  There were so many invaluable lessons.  He would push me as a musician (playing keyboards on a Peter Gabriel track), as an engineer (building a home studio and recording his projects there), as a manager (rehearsing, hiring/firing band members), and even in the political arena where I was least comfortable.  One time he sent me to meet with Archbishop Desmond Tutu as the representative of our foundation, The Solidarity Foundation.  I was scared to death.  But I was able to discuss some of the programs we had instituted in the anti-apartheid movement.  These are just a few examples of what could get thrown at me at any given time”.

Zoe has been recognized for both her work and her humanitarian efforts including planning and co-organizing a fundraiser for Nelson Mandela, receiving a commendation from the United Nations for work done in the anti-apartheid movement, and serving 3 times as co-chair of 2005, 2006, and 2021 Conventions of the Audio Engineering Society.

Career Start

How did your early internships or jobs help build a foundation for where you are now?  

The internship was essential to my growth and my future.  It introduced me to some extremely talented engineers and producers who were my early mentors.  That specific internship led to every other door that opened for me.  11 years later I was back as that studio’s manager.

What did you learn interning or on your early gigs? 

Keep your mouth shut and your ears open.  Let a helping hand anywhere you can.  Put in as much time as you can and someone will notice.  Be honest, don’t try and do something you don’t know how to do (then learn how to do it later).  Be willing to do everything and anything asked of you (to a degree). Don’t count the hours.

Did you have a mentor or someone that really helped you?  

Initially, as I stated above I was fortunate to have been around some pretty talented (and tolerant) people from day one like Bob Clearmountain, Neil Dorfsman, James Farber, Tony Bongiovi.  But really my main mentor is Steven Van Zandt and then eventually worked with him for 11 years.  Everything I know about the music/recording industry I learned from him.

Career Now

What is a typical day like?  

You have to wear a lot of hats managing a commercial recording studio.  I’m the first one to come in the morning because I like to check the rooms and the rest of the facility before anyone gets here.  Then I make sure we have everything we need for the sessions coming in.  I keep an eye on when the staff is arriving to make sure they get here on time for their sessions.  I book studio time and negotiate the deals with the clients. I review the sessions from the previous day and do the billing.  As the day goes on I will check with the clients to see how their sessions are running.  Then mid-day I will look to see what the next few days are bringing us to be sure we are prepared for them.  There are many phone calls, overseeing staff, vendors, etc.

How do you stay organized and focused?  

I write everything down.  People make fun of me for it but if I write it down I won’t forget something.  There are so many details that come at you during the day I couldn’t possibly remember everything.

What do you enjoy the most about your job?  

Even though I no longer engineer I still love gear and the recording process.  I love music makers.  I love creativity.

What do you like least?  

Clients that expect to sound like Drake in three hours.  Their expectations are not realistic. Also, the 24 hours, 7-days-a-week aspect of it.

If you tour, what do you like best?  

I did tour when I was younger.  It’s really hard but exhilarating at the same time.  It’s an easy way to see the world.  I loved learning about different cultures. The feeling you get just before you step on the stage is something I’ve never felt doing anything else, whether it was to an audience of 200 or 100,000.

Zoe Thrall on The SoundGirls Podcast

 

 

 

Noise Engineering SoundGirls Scholarships

About Noise Engineering:

Noise Engineering‘s mission is to make engaging tools for sound and music production. Started as a hobby in 2014(ish), we cut our teeth making Eurorack synthesizer modules in new and unusual styles. We love exploring new sound spaces and interesting ideas in synthesis to help broaden the universe of musical tone. We strive to put as much immediate functionality into every product as we can: we want to make fun products that inspire creativity; products WE want to play with. With products spanning a growing range of platforms, we aim to meet you, the artist, wherever you are. On the road, in the studio, in hardware or software, anywhere in the world, we have tools for you.

Our core values are based on community. Music is a place for everyone. We believe that all people should be treated with acceptance and respect and we welcome everyone into our community. But synthesis can be difficult to wrap your brain around, and we believe that it’s our job to help lower the barrier to entry. We work hard to offer extensive outreach and education, but we know there is always room for more–there’s so much to learn! We created the SoundGirls Noise Engineering scholarship to help people dedicated to the SoundGirls mission follow their dreams.

Award: We are awarding two $500 scholarships to be used for audio education and continuing education.

APPLICATIONS For 2021

Noise Engineering is providing members of SoundGirls two $500 scholarships to be used for audio education and continuing education. Applications are now open

WHO IS ELIGIBLE?

Any member of SoundGirls that is attending or plans to attend educational programs in Professional Audio. There is no age requirement and includes college programs, trade schools, seminars, and workshops. Applications are open to all genders and non-conforming genders.

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Applications are now open- Apply Here

DEADLINE FOR SUBMISSION

The essay submission deadline is 12:00 midnight EDT July 30, 2021. The scholarships will be awarded in August 2021 and paid to scholarship winners. Scholarship winners will be required to send proof of enrollment in the educational program to SoundGirls or scholarship money must be returned.

SELECTION PROCESS & NOTIFICATION

The SoundGirls Board will review essays and will notify the winners via email.

ADDITIONAL DETAILS

The scholarship funds awarded can be used for educational programs related to professional audio. Scholarships are non-renewable. You will need to submit proof of enrollment in a program.

QUESTIONS?

Any questions on the scholarship essay can be directed to soundgirls@soundgirls.org.

Additional Scholarships and Resources

 

 

 

 

Jeri Palumbo – Sports and Entertainment Broadcast Mixer

Jeri Palumbo is a Broadcast Sports and Entertainment Mixer based in Los Angeles. Jeri has been working in audio for over 30 years, first as a trained musician and arranger before going into post-production and then moving into live broadcast. Working mainly within sports broadcasting, her clients include the NFL, NBA, MLB, NHL, NASCAR, The Super Bowl, World Series, Stanley Cup, and The Oscars. Jeri is also part of the RF Coordination team each year for the Rose Bowl. She has worked with entertainment shows including The Tonight Show with Jay Leno, Conan O’Brien, and American Idol. She has won a Telly Award for her mixing work on “Songs of the Mountains”, a live bluegrass show.

Jeri’s family background is made up of four generations of musicians and her grandmother and mother were both professional jazz musicians. Her great-grandfather was a musician and violin maker, and Jeri’s father was a folk guitar player. Jeri started piano at age three and by the time Jeri was in high school she was arranging and writing scores. Jeri attended The Juilliard School of Music majoring in composition and orchestration, landing her a contract as a musical director which led to her interest in sound engineering. She worked side by side with the sound engineer and was introduced to the Fairlight CMI, the first digital synthesizer and wave manipulator, she was fascinated by how the engineer was able to change pitch and EQ. This was a game-changer and inspired Jeri to learn more about engineering and the potential possibilities of sound manipulation with digital audio tools.

Her Parents

Jeri’s parents would warn her that a career in music was unpredictable and urged her to obtain skills needed for steady employment and the possibility of retirement. Jeri studied computer science and IT (for two semesters) and then landed a job working in IT/LAN platform trouble-shooting at First Union Bank. While Jeri loved working and learning the technical aspects of the job, she still craved the creativity music provided. She wanted to blend her technical skills with her creative skills and looked toward Post-Production.

Post-Production

Jeri enrolled at Winthrop University in Rock Hill, SC, and hit the streets knocking on doors of all the post-production houses in nearby Charlotte, NC. She offered to intern for free and most did not return her calls. One that did was Media-Comm where she interned for a semester and learned to use the video editor from AVID and AVID’S AUDIO VISION, their pre-cursor to ProTools. Eventually, Media-Comm hired Jeri where she focused on enhancing audio for TV shows. One show that broadcast out of Media-Comm was RaceDay, a live show that preceded NASCAR on Sundays. Eventually, RaceDay came knocking and asked Jeri to mix the show. While Jeri had never mixed a live show and she had her doubts, the director of the show said “Audio is Audio and you will be fine”. Jeri did her homework and was told by a former mixer that he would not touch it as it was live and found that several people had turned it down because of the live elements and fast pace. Jeri took the gig and pulled it off.

Sports Community Radar

RaceDay was a big, complicated national show, and Jeri ended up on the list of live sports mixers because of it. Within a week CBS Sports called and asked Jeri to work on the NCAA Final Four. Jeri caught the attention of CBS Sports, Fox Sports, and ESPN. All of this led to a career working across the country on high-profile sports events, primarily serving as an A1 working in the broadcast truck. She was also asked to A2 for a friend in need one day and eventually wore all the hats in broadcast audio; A1 mixer, A2, RF Tech and Comms. As an A1 mixer, Jeri is in charge of everything you hear in the final broadcast. Jeri has been particularly embedded in RF technology and coordination, which has numerous technical challenges, particularly with the shrinking RF UHF spectrum. She worked alongside major RF manufacturers and colleagues of RF gear and technology in the recent RF Spectrum auction and lobbying to save a portion of the RF Spectrum for production. One of Jeri’s close partnerships with regard to saving these RF changes was with the late, great Mark Brunner of Shure. Jeri’s in-depth tech articles on the RF spectrum and the impact of the changes have appeared in several trade magazines.

Her most recent stint in sports was as A1 mixer for eSports and Gaming. In an unusual and unprecedented move, (and to much debate from many of her colleagues), Jeri mixed a live broadcast in stereo while simultaneously mixing an embedded object-oriented surround to the HOUSE – with no FOH – from the same console (Calrec Artimis see article https://calrec.com/blog/craft-profile-jeri-palumbo/). What Jeri tried to convey, and what those on the outside didn’t know, was that the network launch for this major event was three weeks short of having their studio finished for audio. So she did what any professional would do, tried to make it work with what she had, from the broadcast truck.

It’s Not All Sports

Jeri with her mentor Les Paul

Jeri has also been involved in other fields of audio and has worked as an A1 on a bluegrass show called Songs of the Mountains. Songs of the Mountains was a live-to-tape bluegrass show broadcast on PBS. There were tough parameters on this show as the producers did not want to mic the traditional instruments. Instead, they wanted it to be organic and traditional, where the musicians would play around a central microphone and step forward for solos. The show was challenging with the various acoustical instruments and Jeri found herself riding EQ more than faders as the frequencies would often play against each other. They used an AKG C414 because of it’s adaptability in the ever-changing scenario of the different instruments used.  Jeri is proud of the work she did using simple techniques and she was awarded a Telly Award for her work.

New Projects

Recently Jeri has been instrumental in launching Arena Waves, a library of the highest quality music audio for Sports and Television content. Arena Waves kept Jeri extremely busy in 2020, while most live events were canceled due to COVID19, and was launched at the beginning of 2021.

Like so many in our industry, Jeri’s career path has been diverse. Her solid educational background in music and IT allowed Jeri to move into post-production and then into live broadcasts and engineering and again, back to music.  In her own words with Arena Waves, “It’s a perfect meld of everything I know”.

Arena Waves is high-caliber music licensing library for sports, gaming, television and film. With seasoned composers and session musicians on board, (most have played on your favorites records), Arena Waves debuted at launch in the mid-three-quarters to high range when it comes to catalog volume (over 70k+ and adding 50-100 new cuts per week). Several things make this catalog unique, one being its ease of use while also having mobile platform flexibility. But more importantly,  it’s worth noting the efficiency of the ready-made cut-downs for bumpers and highlights in the Producer’s Edge section. Cues are drop-in ready. Arena Waves also writes on-demand theme and cue requests and can provide quick turn arounds. With remarkably catchy themes from hard-driven rock, to dark and broody or moody, there is literally every style for every listener and media requirements and tastes. In fact, the catalog is so eclectic that, even though its intended purpose is sports, television and film, one can create personal playlists (register, it’s free) for their own listening pleasure. The music is that good and that diverse.

For more information, check out www.arenawaves.com and be sure to follow all their socials.

What is a typical day like?

Arrive early, unload the truck, run cables, interconnect with the facility, set up audio, fax if working in the field. In the truck, patch my patch bays, SAPS, routers and fader layouts. Load and set up music cues.

How do you stay organized and focused?

The pressure of live keeps me focused.  Also having a Plan A, Plan B, etc as backup options for live. For complex mixing (i.e. eSports or multiple routers of audio), I’m a big fan of populating my bottom layers to remain static while cloning to upper layers per need of each show.

What do you enjoy the most about your job? 

It’s live, it’s exciting and when it goes well, it’s instant gratification.

What do you like least?

It’s live, it’s exciting and when it goes badly, you SWEAR there’s not enough money in it EVER!

The best part of being on the road?

I’m on the road although I’m not on a bus, I am on planes a lot.  The best part is the road family, exploring new areas of the world and for certain eating local cuisine.

What do you like least? 

The hours, the wear and tear on your body, lack of sleep.

What is your favorite day off activity?

Exploring local cultures

What are your long-term goals? 

To try new things, push my personal limits and continue to follow current and new passions.

What if any obstacles or barriers have you faced? 

For CERTAIN misogyny and sadly, only from certain productions and a small posse of peers.  Also sadly, everyone else –  not just me – has experienced the exact same treatment from the exact same people from the exact same productions.  When a recent interviewer offline told me she encountered these issues WITH THE EXACT SAME PEOPLE 20 YEARS AGO on a sports event (this production travels), I challenge all the networks to wake up and investigate these “hand fuls” that are predictable, unprofessional and putting a black eye unfairly on the entire broadcast community (and is now into its second generation of newcomers being mistreated yet again, by the EXACT same people). I assure that the broadcast community is not what these few bad apples represent, but the network productions ignoring it won’t fix it.

How have you dealt with them? 

I ask questions not only of them but of those around them.  If they all “posse together”, then I move on to a team that is worthy…and good…and healthy.  I don’t stay in places where I know it will be IMPOSSIBLE to change.

The advice you have for other women and young women who wish to enter the field?

1) you have to have thick skin.   Sports and Rock n Roll comes with a lot of testosterone that often “react” in their environments of comfort (ie a football field before a game).  These people are in “game mode” and are not there to think of anything else.

2) production mal-treatment vs real emotions.  Please know the difference.  It’s intense and gets crazy and not every minor thing said is a reason for “HR”.  HOWEVER, abuse should never be tolerated.  Just know the difference and if you don’t know, get educated before entering this environment, hence “thick skin”.

3) know when you are in a toxic team – those that withhold information, constantly throwing their fellow members under the bus, not owning up to errors, etc.  Be aware that even though this exists to some extent everywhere, not EVERY production conducts itself this way and the good ones, with good leaders, will NOT tolerate this from their team.

4) move on when you know it’s not going to work out for you.  Get out earlier and find your tribe sooner

5) hone your skills

6) when you’re wrong, admit it. If you don’t know something, admit it.  When you DO know, help your teammates learn

Must have skills?

1) know your audio or tell those around you you are willing to learn what you don’t know

2) people skills

3) be kind and understanding to those around you

4) everybody has a bad day and everybody has a bad GIG…shake it off, learn from it, get up and do it again

Favorite gear?

OOOOOOoooooh….well, in-studio mixing,  I’m a big fan of Eventide gear.  I’m also a big fan of the AKG414 due to its wide range of patterns,m. I love Sennheiser wireless mics for field and lav needs. I love all Lectrosonics RF wireless IFB/In-ear products. Both Sennheiser and Lectrosonics wireless mics and IFB/IEMs are interchangeable to me in quality and robustness.  Radioactive Audio Designs uses a nice VHF and lower bands for communications that steer clear of broadcast bands….and Clear Comm and Telex have some nice workarounds with their comms systems as well. Shure’s Wireless Workbench is great for some concert venues (although I haven’t really used this on large scale events). I like seeing Studers in the studio broadcast environment while I like seeing a Calrec on  broadcast trucks or remotes.

More on Jeri

Jeri Palumbo | NAMM.org

The Life of an A1, in the Booth and on the Field

Women in Audio: Jeri Palumbo, Broadcast Engineer and Musician

Jeri Palumbo — Roadie Free Radio

Jeri Palumbo – Signal to Noise Podcast

https://open.spotify.com/episode/656bzuW0yjwfw74KHNZTT8?si=uZv1QV-cQs-z9XBC3UMKAw

https://open.spotify.com/episode/5zYGqU9njB1AUqdbZXFWUz?si=thDEBDaNRIqqTQpCPFyeww

Find More Profiles on The Five Percent

Profiles of Women in Audio

X