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Learn Sound Online—Free! (or really cheap) 

Over the years, I’ve met many people that felt limited in their sound careers either because of their limited training or inability to continue training/education.  I completely get it. Trying to stay current is extremely difficult, especially if you have a full-time job, kids, limited funds, or freelance/tour work that keeps you out of the running for regular university coursework.  Thankfully, the internet saves us again. Check out these excellent resources, because in this ever-changing industry, knowledge is power, and power isn’t cheap!

Skillshare

Skillshare is a super cool website that hosts thousands of online classes in all kinds of fields, including Sound Engineering, Sound Design for Theatre, Gaming, Film, Mixing, Producing, Editing, and more!  There are many videos available for free, and way more if you sign up for a premium account, which costs $99 a year + a free trial month. If that’s a fee you can’t swing, there are also scholarships available.  If you are already a super expert, you can sign up to be a teacher and make some extra cash.

Coursera

Coursera partners with top universities like Berklee, CalARTS, and Carnegie Mellon to offer different levels of online learning, and every course is taught by instructors from these universities.  There are hundreds of free courses available, and even more that come with a fee. Paid courses provide a shareable course certificate upon completion, which is an excellent resume item. Like Skillshare, financial aid is available for qualified individuals.  Coursea puts their training into different tiers, including:

Specializations- for mastering a skill in 4-6 months for a starting price of $39 per month

Professional Certificates- for getting job-ready in less than a year for a starting price of $39 per month

MasterTrack Certificates- for receiving a Master’s degree level learning in less than a year for a starting price of $2,000 with an option to pay in installments.  This certificate also counts toward a master’s degree if you decide to pursue that later.

Online Degrees- for earning a Bachelor’s or Master’s degree over 1-4 years (you choose your schedule) starting at $15,000 with the option to pay in installments.

MIT Open Courseware 

This is a super cool way to gain access to the material taught in MIT’s classes—completely free! Some course titles include:

While you won’t earn a degree or certificate through this open courseware, you will gain a ton of knowledge from one of the country’s most cutting edge technology schools.  What’s not to love?

SoundGirls Note:

The Production Academy

The Production Academy is an online resource that provides clear and reliable information on all the technical things you need to know to work in Live Sound or the Touring industry. SoundGirls uses The Production Academy for our Live Sound Camps for Girls and recommends The Production Academy to all our members.

SoundGym

I think this is probably the 400th time I’ve mentioned SoundGym in a blog…clearly, I’m a fan.  They now offer a completely free online course called Synthesis & Sound Design.  This is an advanced course to help take experienced producers to the next level. The course was curated from free content by sound experts and educators, and some of the subjects touched on include sound synthesis methods, modular synthesis, and samplers.  The course takes 12 hours to complete, and then you get big brain bragging rights when you’re done! SoundGirls also offers free subscriptions to SoundGym. Check the Member Benefits

Khan Academy

Much like MIT OCW, Khan Academy provides completely free courses online in all kinds of disciplines.  These courses are super user-friendly—even kids can do it! For this reason, Khan Academy courses make an excellent teaching supplement.  While much of KA’s coursework is geared toward regular academic training like math, English, and science, get creative with your search language to find exercises like:

Whether you’re just trying to brush up your skills, learn a new skill, or earn a new degree, training doesn’t have to completely halt your life plans.  These six resources are only scratching the surface of what is available. The most important thing is to keep learning. There is no ceiling and never too much information.

 

Adriana Viana: Engenheira de Som Brasileira Independente

Read English Version Here 

A Brasileira Adriana Viana trabalha como diretora técnica, e técnica de PA e monitor freelance. Situada em São Paulo, já trabalhou com diferentes artistas da música Brasileira, como Teatro Mágico, Flora Matos, Plutão Já Foi Planeta, Rodrigo Teaser – Tributo ao Rei do Pop, e mixou shows de artistas internacionais no Brasil, incluindo Mark Lanegan, a banda jamaicana Toots and the Maytals e o guitarrista de blues Jimmy Burns. Atualmente está em turnê com uma das maiores compositoras brasileiras, Adriana Calcanhoto além de operar o PA das bandas Far From Alaska e Rashid. Ela também assina a direção técnica do Women’s Music Event, onde monta uma equipe de mulheres qualificadas para operar toda parte de audio do evento.

Quem vê Adriana operando uma mesa de som pode ter a impressão de que ela passou a vida inteira mixando. Mas quando ela começou a trabalhar na área há 12 anos, ela não tinha autorização para mexer no equipamento de áudio. Adriana sempre teve interesse pelo audio ao vivo – não apenas ia aos shows, mas também acompanhava seus amigos nas montagens e nas passagens de som. “Eu pensava, o que esse cara faz? Ah ele arruma o som… eu já entendia a profissão, sabia que tinha um cara que montava, um cara que fazia o som, um cara que fazia a luz, e achava super interessante.”

Quando soube que haviam duas vagas em uma locadora de equipamento de áudio, ela foi fazer uma entrevista no intuito de entrar no mercado, entender melhor a profissão e aprender.

Chegando lá, descobriu que as duas opções eram: recepcionista ou almoxarife. “Eu falei que queria ficar no almoxarifado! Me perguntaram se eu tinha experiência, eu falei que não, mas que era muito organizada e queria aprender para entrar no ramo.

Eles precisavam de alguém que conferisse tudo que tinha lá, contar cada coisinha. Então quando vinha um técnico, eu perguntava: o que é isso? ‘É um Shure SM58’. Esse outro também? ‘Não esse é um beta 58’. E aí eu fiz a contagem, deixei tudo organizado, dava entrada e saída nos gaveteiros.” Todos enfrentam dificuldades ao começarem uma carreira no áudio, mas Adriana aponta que mulheres ainda têm uma dificuldade extra que é enfrentar assédio e machismo. Adriana não foi ensinada sobre a parte técnica, e como solução para aprender, ela lia todos os manuais que encontrava. Sem apoio na empresa onde trabalhava e sem dinheiro pra fazer um curso de iniciação ao áudio, comprou um livro de fundamentos básicos do áudio e começou a estudar. “Eu ia aprendendo do jeito que eu podia, pegava apostila, livro, ia lendo o que eu encontrava. Eu ia acompanhando nos eventos e ficava observando.”

Um dia, em um dos eventos que Adriana costumava acompanhar, um técnico freelance percebeu seu interesse em aprender e convidou-a para acompanhar seu trabalho em uma casa de show “nos sábados, às 14h. Ele não operava, ele era roadie de palco, fazia todo cabeamento, patch, monitor, e tudo que ele sabia ali ele me ensinou. Ele falava, ‘isso é um XLR, isso é um P10, isso é um multicabo’. Ele me passou a visão geral do sistema, as conexões e eu fui aprendendo. Eu trabalhava de segunda a sexta na empresa de som, e todo sábado por meses eu ia de graça pra aprender. Cabeava, microfonava, ligava os monitores, AC, ficava na house vendo o técnico operar. Só olhando. Quando sentia uma brecha, eu perguntava.” Logo, o técnico que ensinou Adriana precisou de sub – e quem melhor para substituí-lo do que a pessoa que ele treinou? “Eu comecei a trabalhar como técnica de montagem de palco e logo eu comecei a operar, depois entrei no Centro Cultural São Paulo e fiquei fixa no setor do som. Aí comecei a trabalhar em várias empresas de som, fazer muito show. Eu sempre saí para trabalhar e aprender, eu lia manuais, não tinha dinheiro pra fazer IAV, nunca fiz, então eu lia apostilas. Tinham pessoas que me ensinaram algumas coisas, eu pude acompanhar grandes técnicos trabalhando, então você vai absorvendo. Mas foi muito na cabeçada também, de meter a mão e ir pra cima.”

As pessoas notavam o bom trabalho de Adriana e as propostas de trabalho iam aparecendo. Um dia, mixando uma banda na casa de show em que trabalhava, a banda gostou tanto de seu trabalho que passou a chama-la para trabalhar em seus shows. “Eles tinham equipamento próprio, eu ia junto ligava e operava.” Ela enfatiza, “tudo foi aprendizado, todos os processos pelos quais eu passei, todas as bandas. As oportunidades foram aparecendo e eu aproveitava.” Quanto mais ela trabalhava, mais bandas notavam seu trabalho e mais propostas de trabalho ela recebia. Logo, ela começou a viajar com a banda Teatro mágico como técnica de monitor, um divisor de águas em sua carreira. “Era outro esquema, todo mundo de fone, pan pra lá e pra cá, clicks, procedimentos diferentes de trabalho, RF, sistema sem fio; ali eu aprendi muito, eu fiquei três anos lá e quando eu saí muita galera me chamava pra fazer monitor.”

Agora que Adriana é um técnica reconhecida e com muita experiência, conversamos sobre os aspectos técnicos do seu trabalho e as particularidades de trabalhar com som ao vivo no Brasil.

  Ao ser perguntada  sobre quando começa a adiantar a pré-produção de um show, ela nos contou que “assim que eu recebo o contato, já faço. Tem show que eu recebo um mês antes, tem show grande que a produção técnica do evento já pega os contatos e já começa a pré, tem uns que é três dias antes do show. Eu peço o email, já envio o rider e peço o contrarider, via e-mail ou WhatsApp. Quando não dá pra fazer visita técnica eu peço foto, eu vejo online qual a casa de show. Tudo é formalizado por escrito, tudo que foi acordado, com todo mundo ciente, contratante, diretor técnico, dono da empresa de som ou técnico da casa, envio uma lista com tudo que eu preciso. Depois, se tiver algum problema com algum desses equipamentos, tem que avisar, e se precisar de substituição, tem que avisar com antecedência. E na passagem de som, se algum dos ítens não estiver funcionando perfeitamente, tem que ser resolvido na hora, senão não dá pra fazer o show. Eles sempre dão um jeito, mas tem que ficar em cima, e eu deixo muito claro, eu sou chata. Tem uns caras que dizem ‘ah tá bom, vai tá tudo certo’, e você chega lá e o equipamento é ruim. Então eu digo: se não trocar, não vai ter. Eles dão um jeito e trocam.”

A falta de profissionalismo na pré produção já serve de alerta para Adriana. “Respondem de forma genérica, ‘tem 4 monitores’, mas não dizem qual falante, qual drive, qual tamanho. Aí eu peço foto, porque as vezes só de olhar você já sabe, e já diz se tem que alugar outras caixas, porque essas não vão servir. Se você falar com outro profissional, você envia seu rider, ele manda o contrarider, você negocia o que não te atende e as opções para substituição, e você chega num acordo, só que quando não é um profissional, você não tem como negociar, é difícil, aí eu vou direto no contratante e informo o que está no contrato e o que não está sendo atendido.” Outro problema é quando as pessoas não são nem qualificadas para saber a diferença entre bom e ruim. “Você joga ruído rosa numa caixa e ela não reproduz corretamente, e o técnico diz que tá boa e tá funcionando. Como que um cara que trabalha com som não ouve? Ele não ouve o que tá ruim, ele não ouve nem um humming.”

Em quais consoles Adriana prefere trabalhar? “Eu gosto muito de encontrar mesas boas, gosto muito das mesas Soundcraft linhas Vi, 3000, 2000, gosto muito de Digico SD8 e SD9. Midas e SSL são ótimas mas difíceis de achar.” E o que ela mais costuma encontrar? “Yamaha M7CL e LS9, são equipamentos de muito uso, e se não fazem a manutenção direito, não dá. É o que eu mais pego, mas não entram em nenhum dos meus riders, nem com banda pequena, eu não peço, porque normalmente é o que vai ter. E até atende o input e o output, efeitos, equalizadores gráficos, mas o problema é o mau estado delas.”

Adriana não costuma encontrar equipamentos periféricos além do console, talvez um par de equalizadores gráficos, que muitas vezes não estão funcionando direito, então ela se adaptou a resolver tudo direto no console.

“Eu nem peço, porque pode ter um cabo de insert ruim ou mal colocado, aí o som não chega e você só perde tempo. Melhor ir no console, estou acostumada a trabalhar com qualquer console. O que tiver, você vai e faz. Tenho minhas preferências, mas o que tiver eu faço, não fico dependendo de equipamento. Claro que muda, né, as ferramentas, quanto melhores, mais fácil seu trabalho. Mas eu tô acostumada a torcer M7, LS9 e X32.”

As bandas brasileiras têm uma queixa comum antes de contratar Adriana como técnica de monitor. “O maior problema que as bandas tem é se ouvir. Uma banda que só pode ter um técnico, não vai ter um técnico de monitor, normalmente esse técnico vai fazer o PA. Muitas vezes é um técnico que faz só um show e depois vai embora. Músico que tá acostumado a ter técnico de monitor, se acostuma a se ouvir bem, e no dia que não tem, passa um perrengue.” Por isso, quando Adriana é a única técnica de som na equipe, ela levanta uma mix básica de monitor antes de ir para o PA, porque “enquanto eles não tiverem se ouvindo, eles não vão tocar. Não adianta o PA estar bom se eles estiverem errando, se eles não tiverem se ouvindo. Eu penso assim. Tem gente que não se importa porque foi contratado só pra mixar o PA, mas eu acho que tudo isso agrega no trabalho, se você chega e faz um trabalho mais completo a banda vai te dar muito mais valor e falar ‘a Adriana resolve tudo pra gente, quando for um show maior com cachê melhor a gente aumenta a equipe, mas por enquanto ela é o suficiente’”.

Então as bandas contratam apenas um(a) técnico(a) por causa da verba ou por que acham que não precisa de dois? “Tem bandas em que os músicos estão acostumados a não se ouvir e não tão nem aí. Tem bandas em que eles fazem questão de ter um técnico de monitor, mas a produção não tem verba, prefere chamar algum outro profissional, tipo dançarino ou figurinista, do que priorizar a equipe técnica.” Adriana costuma trabalhar com bandas com uma atitude profissional, e enfatiza que mesmo as bandas pequenas querem cada vez mais ter uma equipe eficiente e buscam contratar no mínimo um técnico de som, um iluminador e um roadie. Quanto maior o show, maior a equipe. Ela faz questão de não ocupar o cargo de roadie, para não tirar o trabalho de outra pessoa e explica para as bandas a importância de ter uma pessoa na equipe dedicada a esse cargo. “No meio do show, se der um imprevisto, quem vai virar as costas pro público pra resolver? O artista não pode resolver isso, tem que ter um roadie pra ir lá resolver o problema no seu instrumento, afinar sua viola no meio do show. Eu tento ao máximo agregar equipe, sempre, eu to acostumada a ter equipe grande porque funciona muito bem e um ajuda o outro, tudo funciona melhor. Eu sempre tento aumentar a equipe e mostrar a importância e a diferença que faz.”

Comparando a realidade brasileira com a americana, Adriana aponta que “aqui você tem que saber fazer tudo: alinhar o sistema, coordenar o RF, mixar PA e monitor, várias coisas. Lá fora é tudo mais setorizado, o que acabando sendo mais organizado. Aqui a gente acaba fazendo tudo porque, se sou só eu e começa a fugir um microfone sem fio, é da parte do som e isso complica o meu trabalho, então eu já garanto o RF. Se for um evento maior, tem que ter uma pessoa pra fazer isso, a casa de show tem que me entregar o equipamento funcionando, mas em shows menores com banda menor que a gente leva nossos próprios microfones e in ears, eu não vou deixar o artista passando sufoco.”

Sobre os problemas técnicos que costuma encontrar, Adriana suspira “a gente passa por muitas coisas”, mas encara essas situações já prevendo como resolver: “se você passa por algo e aprende, você se antecede, previne e toma medidas para evitar que aquilo aconteça, senão você tem que parar o que você está fazendo para resolver um problema. Independente do que seja, você já tenta, os cabos são todos por aqui, já vou fazer o RF, já vou checar tudo, já vou testar antes, logo quando chegar, pra ter tempo, então você vai se antecedendo. Vai dar um monte de imprevisto, cabo que pára e não funciona, canal que entra humming, mas a experiência faz com que você consiga lidar com isso de uma maneira mais rápida. Ok, aconteceu algo, resolve dessa forma; RF tá ruim? Então põe a base no pé da cantora, sabe? Então tem coisas que você já vai tomando medidas mais bruscas para garantir, não dá para perder tempo resolvendo um monte de problema, porque normalmente é só a gente que tá lá pra resolver.”

Falando em prevenir, perguntamos a Adriana o que ela costuma levar para os shows: “Eu levo par de pilha nova sempre, fita, hellerman, toalha, listerine e alcool gel, duas grades de sm58 – se for outro modelo eu limpo, caneta, pen drive. Uma artista reclamou que o microfone tá fedendo? No outro show você já entrega um microfone limpinho. Uma cantora reclamou, eu liguei no dia seguinte pra produção e avisei que tava indo comprar duas bolinhas de microfone e pedi pra ela me depositar. Acabou! Então você tem que achar soluções práticas ao invés de falar que está com problemas. Acho que equipe técnica é isso, achar solução e evitar problema.” No início da ano, Adriana viajou para a Europa com os irmãos, e mesmo sendo uma viagem de férias, ela levou fita. “A gente usou tanto! Colei o tênis do meu irmão que tava abrindo o bico, o livro da minha irmã soltou a capa, passei fita! Meu óculos tinha aberto, prendi com fita. A gente usou tanto, e meus irmãos riram, ‘só você mesmo pra viajar com fita!’. Eu também ando com um multiteste, porque são coisas que podem te salvar. Quanto menos você depender dos outros, menos problema você vai ter.”

Algo que notei ao acompanhar Adriana em montagens e passagens de som, é que ela costuma levantar a cena do zero. “Cada dia é um dia, não é sempre a mesma mesa. Eu tenho muita cena no meu pendrive, mas é difícil usar, já tive que fazer muitas vezes do zero porque a mesa não lia o cartão.” E é claro, cada dia é uma sala e um sistema de PA diferentes. Para verificar a resposta de frequência do sistema, Adriana costuma usar ruído rosa e na sequência tocar suas músicas de referência. “Eu gosto muito de Change The World, do Eric Clapton”, ela também toca versões dub de músicas do The Police para testar os subs. “Costumo usar também Massive Attack, músicas que eu tô acostumada, eu sei o que eu tem um detalhe aqui e ali”. Ela toca Everybody Here Wants you do Jeff Buckley, por causa do reverb longo da caixa, “tem PA que não tem o reverb da caixa, que não tem a resposta dos harmônicos. Tem uns que o stereo está péssimo, tem o stereo de altas, de médias, que estão na mix. Quando chega um backing vocal aberto e não veio, você sabe que aquela região de frequências não está certa.”

Em 10 anos, ela quer continuar fazendo o que está fazendo. Ela gostaria de passar mais tempo no estúdio aprendendo técnicas mais apuradas de captação e mixagem, “mas eu não posso parar de trabalhar para ficar aprendendo no estúdio e ganhando muito pouco. Eu preciso trabalhar. E eu realmente gosto do que eu faço. Tem uns trabalhos que você faz que você se sente parte mesmo. Eu fico feliz quando sei que no dia seguinte tem show do Far From Alaska, ali é a gig do coração! Eu não me vejo fazendo outra coisa. Quando comecei a trabalhar com som, eu nunca mais parei, eu sempre trabalhei muito. E a galera gostava e chamava de novo. Quando você é determinado e se esforça pra fazer o melhor, não importa o que seja, você colhe o que planta.”

Desde que começou sua carreira há 12 anos, Adriana só parou de trabalhar quando estava grávida de sua filha Luka, e mesmo assim trabalhou até os oito meses de gravidez. “Depois que ela nasceu eu fiquei seis meses só em casa com ela, depois eu voltei a trabalhar, por isso eu não tive mais filho, porque eu não posso perder esse timing e financeiramente eu não posso parar de trabalhar. Mas eu gosto muito do que eu faço, e eu gosto de fazer vários trabalhos diferentes ao mesmo tempo, estilos, equipes e produções diferentes, isso tudo é agregador e o aprendizado é maior.”

Adriana já foi chamada várias vezes para dar cursos de áudio, mas sua resposta é mais prática e direta: “Vem trabalhar comigo que você pega!”. Uma pessoa inclusive pagou para ter aulas particulares, e ela formulou como repassar todo seu conhecimento da melhor forma possível, mas ao fim ela resumiu “Eu levei muitos anos para aprender tudo isso que eu te ensinei em um mês. Agora, depende de você. Bate em porta de empresa de som, bate em porta de barzinho, casa de show, diz que você está estudando áudio e pede pra acompanhar, se ofereça como assistente. Você quer mesmo? Bate em portas”. Adriana não se sentia a vontade de indica-lo, pois ele não tinha experiência. “Eu aprendi com um técnico que nem sabia para que servia o botão de high pass, ele apertava pra descobrir, mas tudo mais que ele sabia, ele me ensinou. E eu sou muito grata a ele por isso.” Recentemente, Adriana estava mixando PA e no meio do show foi surpreendida pelo técnico que a orientou no início da carreira, ele foi lhe dar um abraço e dizer o quanto estava orgulhoso do seu progresso. “A gente tem que correr atrás. Hoje em dia é fácil, tem muito video, workshop, técnico que vem de fora dar curso, tudo agrega. É importante saber mexer no equipamento, mas o mais importante é saber o que você tem que fazer com esse equipamento. Equipamento é uma ferramenta, como se fosse um computador ou uma máquina de escrever, você pode aprender muito sobre som e audio, e conhecer as ferramentas, mas o mais importante é o ouvido.”

Adriana reforça: se a gente não correr atrás, nada acontece. “Nada caiu no meu colo. As coisas foram acontecendo porque eu ia me mexendo, nunca fiquei parada esperando nada. Graças a Deus todo esse tempo eu não fiquei sem trabalho. Quanto mais você trabalha, mais trabalho aparece. Isto é fato.”



Profile by Gabi Lima, engenheira de audio, produtora, compositora, instrumentista, cantora e comedora de doce.
Gabi Lima is an audio engineer, producer, songwriter, musician, singer, and candy eater. She is based in São Paulo, Brasil

Adriana Viana: Independent Brazilian Sound Engineer

 

Read Portuguese Version Here

Adriana Viana is a Brazilian freelance Front of House, monitor engineer, and technical director. Based in São Paulo, she has worked with many Brazilian artists such as Teatro Mágico, Flora Matos, Plutão Já Foi Planeta, Rodrigo Teaser – Tributo ao Rei do Pop (a Michael Jackson tribute concert) and mixed international artists when they played in Brazil, such as Toots and the Maytals, Mark Lanegan and blues guitarist Jimmy Burns. She is currently the front-of-house engineer for Far From Alaska and Rashid and is also on tour with one of Brazil’s finest songwriters, Adriana Calcanhoto. She is also the technical director of Women’s Music Event, where she puts together a team of qualified women to run sound for the entire event.

Those who get to see Adriana in action might get the impression that she has been mixing all her life. But when she started out in this business 12 years ago, she wasn’t even allowed to operate any equipment. Her interest sparked from going to a lot of shows, and as most people bitten by the audio bug, she would tag along with her musician friends for soundcheck. “I wondered, what are those guys doing? I could see there were people in charge of the audio equipment, of setting it up, mixing, doing lights, and I found it super interesting.”

She learned of a couple of job openings at a local rental company and went in for an interview. She then discovered the only two positions available to her were: answering the phone or keeping track of warehouse inventory, so she chose the latter, to be closer to the equipment. “They asked me if I had any experience and I didn’t, so I told them I was very organized and I wanted to learn so I could get in the business. They needed someone to manage their inventory, so I took that opportunity. When techs brought in equipment, I would ask: what is this mic? They’d tell me; it’s a Shure SM58. Next time they’d bring a similar mic, and I’d ask, “Is this a Shure SM58? They’d inform me that it was a beta 58, so I’d learn the difference. I would keep stock, count, and organize all the equipment going out and coming in”. It’s already difficult for anyone coming into this industry to work their way up, and Adriana points out that it’s even more difficult for women who have to deal with sexism and harassment. Adriana wasn’t really taught anything about the equipment, instead, she’d find the manuals and read them. She wasn’t given the opportunity to operate the equipment either, and couldn’t afford formal training, so she bought a book about audio engineering and started studying it.“I just learned by reading manuals, workbooks, books, just any printed material I could find. I was eager to learn so I’d go to events and watch.”

At one of the events that she’d tag along to, a freelance tech noticed her eagerness to learn and invited her to his regular gig “every Saturday, at 2 pm. He didn’t mix, he was a stage tech, ran all the cables, patched everything, and taught me everything he knew. He’d tell me, this is an XLR, this is an instrument cable, this is a snake, he taught me how the system was set up. I worked Monday through Friday at the rental company, but on Saturdays, I went to his gig to learn. You could say I worked for free, I’d run cables, set up mics and monitors, then I’d quietly watch the front-of-house engineer mix, and I’d ask questions when he had a break.” Soon, the tech who taught Adriana needed a sub – and who better to call than the person he trained? “I started subbing for him as a stage tech, and soon after that, I was mixing, then I became the house engineer for that venue. Then I started working for other sound companies as a tech, and I worked a lot of shows. Then I worked at other venues and learned even more. I was always out there learning and working, I read manuals, I couldn’t afford to go to school for audio engineering, so I never did. I watched people working, and I learned. I would always go for it and just try and do it.”

People noticed her hard work and kept hiring her for more gigs. While working at a venue, she mixed a band who liked her work so much they asked her to go on the road with them. “They had their own equipment; I’d set it up and operate it.” She emphasizes, “all I went through, all the bands I worked with, that was my learning process. Whenever there was an opportunity, I’d take it.” The more she worked, the more bands noticed her excellent work, and the more she would work! She soon landed a gig with the popular Brazilian band Teatro Mágico as their official monitor engineer. “It was full-on wireless, in ears, stereo mixes, click, everything! I learned a lot in those three years, and more people kept hiring me to mix monitors.”

Now that she’s an experienced and well-respected live sound engineer, she talked to us about the technical aspects of her work and the particularities of working with live sound in Brazil.

When asked how early she starts pre-producing a show, she replied, “as soon as I’m hired to do it. Sometimes a month ahead, sometimes a couple of days before the show. I ask for the venue’s tech contact so I can send in my rider right away and get theirs back, via email or WhatsApp. If I can’t do a site survey, I ask for photos, too; I also look online for more info on the venue and their equipment. I exchange all the information in writing, so everything that’s been agreed on by promoters, managers, the rental company, techs, and directors is documented, and everyone is informed. If the full rider can’t be provided, I ask that substitutions be worked out ahead of time, and inform that everything needs to be working during soundcheck or the show won’t happen. I stay on top of things, I request all the necessary info, and some guys will dismiss it with ‘relax, everything will be alright,’ and when I get there their equipment is terrible and their system isn’t working correctly, so I show them all the documented info and state: you either provide us with the right equipment or there won’t be a show, so they do.”

People who don’t act professionally during pre-production are a red flag for Adriana. “They give generic answers like ‘there are four monitors’ but won’t tell me the specific brand, model or specs. That’s why I ask for pictures, so I can identify if the equipment meets our needs, and if it doesn’t, I specify what they should rent instead. With real professionals, you can work out a deal between what you need and what they have, but you can’t really negotiate with people who don’t act professionally, they walk in circles, so I go straight to the promoter and let them know that the rider is not being met. The promoter then demands that all technical aspects of the rider be honored.”

Another problem is when people aren’t even qualified to tell good from bad. “You play pink noise through a speaker and it sounds terrible, but the house tech listens to it and says it’s working fine. Some people can’t hear hum noises either.”

So, what consoles does she request in her rider? “I love getting good consoles to work with – Soundcraft consoles, the Vi, 3000 and 2000 series, I like Digico SD8 and SD9. Midas and SSL consoles are great but hard to come across on the road”. So what does she usually get? “Yamaha’s, usually in bad condition, unfortunately. M7CL, PM5D, and LS9 are the most commonly used consoles, and if they’re not regularly checked and well maintained, they won’t work properly. I never request them on my riders, not even when mixing a small indie band – because that’s what I’ll usually get anyway, and though they have enough inputs and outputs, they’re usually poorly maintained.”

When it comes to outboard gear, she says venues usually just have a pair of graphic EQs, and if that’s not available or in poor condition, as often is the case, she’ll resort to using the console’s graphic EQs on her outputs. “I avoid poorly maintained equipment; the cables might be in poor condition too, so as not to waste time, I deal with it in the console. I’m used to working on any console that’s available. I have my preferences, but whatever is there, I’ll use it, I’ll mix on it. I don’t depend on equipment to do my job. Of course, the better the tool, the easier my job will be, but I’m used to getting a good sound out of not-so-good equipment.”

Brazilian bands have a common issue that makes them hire Adriana as a monitor engineer. “They have trouble hearing themselves on stage. If the band can afford an engineer, they’ll usually hire just one engineer, not two different people for monitors and FOH. And that one person will mix FOH. Sometimes it’s a one-off gig for that tech. Musicians that are used to having a monitor engineer are used to hearing themselves well, and when they happen to not have a monitor engineer, they’re in trouble.” That’s why even when Adriana is the only engineer in the crew and is mixing FOH, she’ll get a basic monitor mix up for her musicians, because “I can’t begin to mix FOH if they can’t hear themselves – they won’t play right. It doesn’t matter if I have a great-sounding PA if my musicians aren’t playing well if they can’t hear what they’re playing. At least that’s how I see it. A lot of people will just stick to mixing FOH because technically, that’s all they’re getting paid to do, but I think this makes my work better, more complete. And if I do a good job, the band recognizes and appreciates it, they see that I presented a solution, and I make sure they get a monitor engineer when their budget is bigger.”

So do bands only hire one tech because they don’t think they need two or because of a tight budget? “Some bands never heard themselves well on stage, and they’re used to it. Some bands only play if there’s a monitor engineer. Some productions don’t allocate the budget for it – they’d rather spend the money on a different professional, a dancer, a stylist, than having a larger audio crew.” Adriana is used to working with professional bands that hire at least one sound tech, one light tech, and one roadie. The bigger the show, the bigger the crew. She also makes a point of not working as a roadie and informs bands of the importance of hiring one, as that’s someone else’s job that she’s not taking. “If you’re playing a show and something goes wrong, is the artist going to turn their back to the crowd to fix it? That’s a roadie’s job. I try to add as many people to the crew as possible because everyone’s work is better that way. I always put together a good team and show the artist how important that is.”

Reflecting on the reality of working in Brazil compared to the US, Adriana points out that “You have to know how to do everything – tune the system, set up wireless equipment, coordinate the RF, mix FOH, mix monitors, a lot of different things. Overseas there seem to be different professionals for different tasks… but here, if something goes wrong with the audio, that’s all part of my job, and I want to make sure everything works. If it’s a big event, you need people dedicated to specific functions, the equipment needs to be working, but in smaller shows, my artists will bring their own mics and in-ears, and if something goes wrong, I have to fix it. We may not have an RF tech, but we have common sense. Each situation is different, but I won’t let the artist encounter difficulty and do nothing about it.”

When asked what difficulties she usually encounters, she sighed, “We go through so much…” but replied with a problem-solving attitude: “if there’s a problem and you learn how to deal with it, you can anticipate it and make sure it doesn’t happen again. You take precautions to avoid possible problems. And if you set up correctly and test ahead, you won’t have to stop what you’re doing to troubleshoot it. Things might go wrong, you might get a bad cable or a noisy input channel, but experience makes you identify possible issues and deal with them faster. Ok, something is not working, we’ll set it up differently. Poor wireless signal? Send the singer’s mix to her floor wedges. You know? You take precautions so you won’t waste time trying to fix a bunch of different things, because usually, I’m the only person there to fix it.”

Speaking of thinking ahead, we asked Adriana what she takes with her to a show: “Fresh batteries, tape, Hellerman tool, towels, Listerine and hand sanitizer, a couple sm58 grilles, pens, memory stick. An artist complained that the mic was stinky? Well, next show, you hand them a freshly clean mic. An artist complained, I called her production and said I was on my way to buy two spare sm58 grilles and asked them to reimburse me. There, problem solved. You have to come up with solutions instead of complaining about the problems. Good audio techs will find solutions and avoid problems.”

Earlier this year, she went to Europe on vacation with her siblings – even off duty, she took gaff tape with her. “I taped my brother’s shoes; they were coming apart on the sides; the cover was coming off on my sister’s book. I taped it! My glasses were falling apart; I taped them. My siblings were amazed that I took tape with me on a vacation trip. I carry around a multimeter too. The less I depend on others, the fewer problems I have.”

One thing I’ve noticed from watching Adriana set up and sound check, is that she’ll usually build up her scene from scratch. “Each day is different; I don’t always get the same console… I have a lot of scenes on my memory stick, but I hardly ever use any. Sometimes the console won’t read the flash drive!”

Needless to say, she encounters different rooms and PAs every time. She uses pink noise to check the system, see if all frequency ranges are responding correctly, then she’ll play some music. “I really like Eric Clapton’s Change the World,” she also uses dub versions of The Police songs to check the subs. “Massive Attack, you know, music I’m familiar with, so I’ll know what’s missing.” She plays Jeff Buckley’s Everybody Here Wants You, which has a distinctive long verb on the snare, “I can tell if the PA is reproducing the harmonics. With these mixes, I can also check the stereo image, especially the mid and hi mid-range. When you play a song that has a wide backing vocal mix, I can tell what’s there and what isn’t but should be.”

Ten years from now, Adriana hopes to be still doing what she does. She wishes she could spend more time in a studio learning recording techniques, but she “can’t afford to stop working and assist at a studio making less money. I gotta work. And I really love what I do. Some gigs make you feel like you’re part of them. I go to sleep happy because I know the next day I get to work with Far From Alaska, this gig is the apple of my eye! I don’t see myself doing anything else. Since I started working with live sound, I never stopped, and I’ve always worked a lot, and the more I work, the more work I get. When you’re determined, and you work hard to do your best, you reap what you sow.”

The only time Adriana stopped working since she started 12 years ago, was when she got pregnant with her daughter Luka and even then worked till she was eight months pregnant. “I took a six-month break when she was born; then I had to go back to work, that’s why I haven’t had more kids, because I can’t lose momentum, and it’s also not financially possible for me to stop working. And I really love my job; I always worked for different bands at the same time, different styles, different crews, different productions, it all makes my learning much richer.”

People keep asking Adriana to teach about live sound. Her reply? “Tag along, and you’ll learn.” One guy went as far as paying her for private lessons. Hard-working as she is, she developed a teaching plan and taught him everything she knew. In the end, she told her student, “It took me years to learn what I taught you in months – from now on, you’ll have to learn from your own experience. Look for a gig, go to venues, say you’re learning audio, ask if they need an assistant. Do you really want it? Knock on doors.” She said she couldn’t recommend him for gigs, because he didn’t have any real live hands-on experience. “I learned from a guy who didn’t know what an HPF button on a console was, he kept turning it on and off to find out – but everything else he did know, he taught me. And I’m very grateful.” Recently Adriana was mixing a show where her mentor happened to be, so he went up to her and gave her a big hug to tell her how proud he was. “You have to go after what you want. Nowadays there’s a lot of information available, youtube videos, workshops, panels. It’s important to know how to operate the equipment, but most importantly, you have to know what to do with it. It’s a tool, like anything else, you can learn a lot about audio and about your tools, but the most important thing is your ears.”

Adriana insists: things don’t happen if you don’t make them happen. “Nothing fell on my lap. Things happened because I went after them. Thank God I was never out of work. The more I work, the more work I get. That’s a fact.”

 

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

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

October Feature Profile

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

The Blogs

Creating Suspense 

Glossary of Sound Effects (Part 2)

Troubleshooting Ourselves to Gain Perspective

SoundGirls News

 

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up



SoundGirls Events

Portland SoundGirls Chapter Social

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

SoundGirls Chapters

Jobs and Internships

Women in the Music Industry

Member Benefits

Troubleshooting Ourselves to Gain Perspective

 

Do you ever notice how now and then, a series of annoyances seem to happen one after another? I’ve had a month where it feels like every day has provided something new to test my patience.

When we have weeks like these, it’s so easy for feelings of fatalism to set in – the philosophical belief that life is predetermined no matter what our actions may be. Stuck in a mental slump borne out of frustration and annoyance, I needed to pick myself back up again.

I remember that sometimes it would be better that some things don’t happen the way you want them to. Although this one is hard because it’s human nature to let ourselves get carried away in our imagination, picturing the things we think we want only to be disappointed when they don’t work out. Often we never get to see how that untraveled alternate path would have panned out, but once in a while, life will give us a glimpse of why this wasn’t the best thing for us.

Last year I was turned down for a gig that I was sure would be fulfilling for me both creatively and financially, and I felt like I’d missed out at the time. Not long after, I was shocked to see in the press that there had been an incident that turned into a politically charged legal and PR nightmare and a very real safety issue for those involved in the gig. It was a disaster. I certainly would have been caught in the middle of the crossfire with potentially long-lasting ties to it if I’d landed the job. It’s been useful to have this rejection in the back of my mind to draw upon when times of frustration come around as they inevitably do, and remember that sometimes things not happening can be a good thing.

The second phase of my fatalistic detox was thinking about perseverance and what it means. The alternative to going after what we truly want in life is accepting defeat and ceasing to try anymore. Surely this feels worse than any setback? Kim Liao’s viral article from 2016 Why you should aim for 100 rejections a year beautifully outlines her outlook on perseverance in the creative world of work. But it really can be applied in any area of life where we are losing our cool. Liao theorises that the more times we fail, the fear of failure itself shrinks and holds infinitely less power over us because the act of persevering has become routine. Additionally, Liao reasons that the more we practice at anything, the better we get, including building our resilience.

Most people tend to feel they need something to aim for to grow. I first became aware of Maslow’s hierarchy of needs during my teacher training, as it is heavily referenced in the British education system. Maslow’s expanded model is a motivational theory of human behaviour, though these needs are interchangeable, and some may even supersede others entirely.

  1. Biological and physiological needs– air, food, drink, shelter, warmth, sleep, etc.
  2. Safety needs– protection from elements, security, order, law, stability, etc.
  3. Love and belongingness needs– friendship, intimacy, trust, and acceptance, receiving and giving affection and love. Affiliating, being part of a group (family, friends, work).
  4. Esteem needs– which Maslow classified into two categories: (i) esteem for oneself (dignity, achievement, mastery, independence) and (ii) the desire for reputation or respect from others (e.g., status, prestige).
  5. Cognitive needs– knowledge and understanding, curiosity, exploration, need for meaning, and predictability.
  6. Aesthetic needs– appreciation and search for beauty, balance, form, etc.
  7. Self-actualisation needs– realising personal potential, self-fulfillment, seeking personal growth, and peak experiences.
  8. Transcendence needs– A person is motivated by values that transcend beyond the personal self (e.g., mystical experiences and certain experiences with nature, aesthetic experiences, sexual experiences, service to others, the pursuit of science, religious faith, etc.).

The final part of my troubleshooting process is to mentally file which goals and needs can be met by reassessing my plans and actions accordingly. Henry Ford is quoted as saying, “If you do what you’ve always done, you’ll get what you’ve always got,” and I feel like this mantra is so useful when thinking about what we can proactively do to help ourselves.

Over the years, some of our goals and needs will remain the same, while others require tuning into in order to keep their relevance and propel us forward. Even when we are happily travelling down the same road as before, our surroundings or circumstances can change, making our old goals seem outdated. By being rigid, we can close ourselves off to change when it might be helpful to us, and they say that the definition of insanity is repeating the same thing while expecting a different outcome. If we can embrace change, whether in ourselves when it is needed and chosen, or when it feels like it is happening “to” us, we are also building resilience, and whether it feels like just what we need to hear or a philosophical reminder, the only real constant in life is change.

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

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

October Feature Profile

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

The Blogs

Living In and Out of A Big Fat Suitcase

Sound Design in Another Medium

Launching Content 

SoundGirls News

 

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up


.

Recording Academy Putting Focus ‘Behind the Record’ With New Social Media Initiative

Regardless of whether it’s an indie or record label production, every individual involved in the music creation process deserves to be credited. It might seem like a small gesture, but for many music creators, engineers and producers, this hard-earned credit directly impacts their livelihoods.

So what better way to honor and celebrate the birth of an album than by acknowledging everyone involved in its creation!


SoundGirls Events

Portland SoundGirls Chapter Social

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

The Ethel Gabriel Scholarship

Events

Sexual Harassment

SoundGirls Chapters

Jobs and Internships

Women in the Music Industry

Member Benefits

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

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

October Feature Profile

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

The Blogs

So you Think you Want a Career in Live Sound.

The Secret to Being a Woman on the Road

My Take on Line-By-Line Mixing for Theatre

SoundGirls News

SoundGirls at AES

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up



SoundGirls Events

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

SoundGirls Chapters

Jobs and Internships

Women in the Music Industry

Member Benefits

The Secret to Being a Woman on the Road

 

The secret is there is no secret

If you want to tour or you want a career in this industry, you can and will make it happen. Dive in, work hard, prove you deserve every opportunity, and get the job you want.   Then once you get there remember:

You don’t owe anyone a thing.  You’ve gotten where you are with hard work, determination, and dedication. As women in these fields, we are often highly skilled and overly qualified for our jobs because we’ve had to prove it over and over again due to the bias in the industry.  You do not owe anyone around you justification for your accomplishments; it was your hard work that got you where you are today. Do not let someone’s negative energy, jealousy, or anger get you down. You’ve achieved a lot! Carry yourself with confidence.

Set your ego aside

When other women see you in your role, they’ll likely envy you and want to reach the goals you’ve already achieved. Help them, talk with them, share your story, and, most of all, support them. At some point in your career, you likely met someone you looked up to who helped you reach your dreams. Be that person for someone else.

Invest

Invest in yourself and in others around you. Build the environment you wanted when you started so others can get even more of a jump start. As women continue to break the barrier, let’s leave an easier path for those to follow than we had. Invest in the next generation just as those before you did for you.

Be kind

Sometimes we can get jaded as we continue to fight our fight each day. Resulting in taking our frustrations out on the wrong people.  Try to close the door of frustration and anger nightly to be able to start each day with a new perspective. Perspective is tremendous, try to see it from the other side before you act.  Grace and forgiveness will get you so much farther than anger and hate. Some people may take advantage of your kindness along the way, but it will get you farther in the long run.

 

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

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

October Feature Profile

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

The Blogs

An Open Letter to Theatre Reviewers

 How to be the New Crew Person

Glossary of Sound Effects (Part 1)

SoundGirls News

AES Exhibits-Plus Badges for SoundGirls Members

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up


.

Natalie Hernandez – synthesizer and electronics technician

Natalie discusses her background in electronics design and repair, including her work at Death By Audio. She speaks candidly about combatting imposter syndrome and the importance of saying “I don’t know.”


List of Woman and Non-binary-Run Music Organizations Is the Future of the Industry


SoundGirls Events

Colorado SoundGirls Chapter Social

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Vancouver SoundGirls Console of the Month

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

SoundGirls Chapters

Jobs and Internships

Women in the Music Industry

Member Benefits

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