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Lisa Kacos: Producer, Educator, and Musician

Through a virtual workshop she led in 2020, songwriter and multi-instrumentalist Lisa Kacos helped me to understand music theory in the most practical terms I had ever heard. This is a specialty of hers, honed through decades of musicianship as well as academic study. She holds both a Bachelor of Composition in Music Theory as well as a Masters in Music Theory with a pedagogy emphasis from Michigan State University. She currently leads interactive online workshops such as the forthcoming Music Theory for Producers Workshop held April 30th through Omni Sound Project, where she is a core faculty member for 2022, as well as a popular Rhythm for Songwriters course. Previously, she has taught at her Alma Mater MSU, Grand Rapids Community College, and at SAE Institute – Nashville. As a musician, she writes and records her own music and has played with Outer Vibe, Samuel Herb, Violet LaVelle, and Amy Ray of the Indigo Girls. For the 2021 Omni Sound Project “Four Track Challenge,” she contributed tracks and stems from her original song “Losers Club” to be manipulated and remixed by fellow audio engineers, both established and aspiring.

What is your background in music and how did you first realize you could have a future in audio?

My first experience with music was 6th-grade band. I chose the trumpet, and I still play all the time! I’ve since learned drums, voice, piano, and ukulele. I decided to study music theory in college because I’m fascinated by the way music fits together. I have a Masters of Music Theory with an emphasis on how to teach it, and I was fortunate to have some wonderful mentors along the way. I’ve probably played over 1,000 shows with a band called Outer Vibe, and we always made our own records in our own space, so I spent many years observing the recording process. In recent years I’ve started working on music more independently, and I really enjoy the power of the producer’s chair, digging into the recording and production of my music, and calling my own creative shots.

You are a highly educated music instructor. How did you feel about your academic experience? Are there things you try to emulate — or do differently — as an educator yourself?

I loved college. It was a time when I really grew as an individual…, especially while working on my Master’s degree. My background is basically a 50/50 split between classical music and rock & roll. I would go to class and study/practice during the week, play shows and make records with the band on the weekends. When I moved to Nashville, I started teaching music theory for producers at an audio college (SAE Institute) and started thinking about music theory more liberally, noticing the differences in the way we practice and apply theory to classical music compared to popular music. I find myself constantly evaluating my lessons and tailoring them to best suit the group I’m teaching, whether it’s college students or a virtual workshop, or a private lesson. I want people to get the very most out of my classes, and to be able to successfully apply it to what they do. Bach and Mozart might be turning up their noses from their graves, but I don’t really care. I want to encourage people to make their music the way it best captures what they want, and if they write parallel 5ths into their chord progressions, who cares? They wrote a damn song. They win.

Your “Rhythm for Songwriters” course is one I hope to take someday. How did you discover this was a need in the songwriting community?

In 2020, I (along with the rest of the world) found myself working remotely, teaching courses on Zoom. I started joining my friends and fellow artists/educators Allie Moss and Bess Rogers as guest teachers with their songwriting community “Thinking Outside the Blocks,” offering virtual rhythm and drum-related classes in addition to what they were already teaching. We all noticed that the rhythm classes seemed to fill a void for many of the group members – songwriters have a tendency to focus on chords and melodies, and maybe forget to consider the important role rhythm plays in their music. We charted out some ideas for the course, and I’ve spent the last year creating and teaching it. I cover everything from time signatures to strumming patterns to drum programming, with tons of other stuff packed in there.

During your online classes I’ve taken, I’ve noticed that you have some excellent gear and cozy, cat-friendly space for recording. Tell us about the evolution of your home studio and your intentions for it moving forward.

Thank you! I’ve spent the better part of my life hanging around the studio environment, but I never actually had my own workspace until recently. My husband is a guitarist and engineer and always ran the band’s HQ and made our records. I used to be more of a fly in the wall in sessions, trying to stay out of the way, but I loved the environment and was very intrigued. He has always encouraged me to dig into recording so I can make my own music anytime I want without needing to wait for help. So, again, a silver lining of the past few years. We spent our time stuck at home converting a room in our house into my studio and workspace. All my instruments are finally in one place, miked and ready to go. We made the acoustic treatment. We made cables. We researched gear. We went to Home Depot a thousand times. And I started digging into the parts of the audio world that most interest me – capturing performances and producing songs. It’s also a teaching studio for virtual workshops and classes, and a great co-write and private lesson space. I am part of Omni Sound Project’s core faculty for 2022, so I am often planning workshops and YouTube tutorials for them. I love creating content, and in addition to making music and tutorials, I also make short videos just for fun. In the past few years, I’ve written and demoed dozens of songs, and my next plan is to finish and release my favorites. Oh, and my cat (his name is Sir George Martin, or Marty for short) is definitely a supportive assistant, but I have to shut him out while I teach classes, otherwise, he likes to show off by climbing my bass traps.

What are a few of your favorite recordings that keep inspiring you to do what you do?

I’m always inspired by Joni Mitchell’s “Blue” album, especially from a singer/songwriter’s perspective. And lately, I’ve been revisiting some 90s rock albums like Everclear’s “So Much for the Afterglow.” Great songwriting and performances and tons of energy. One of my all-time favorite bands is Muse (my favorite album is probably “Black Holes and Revelations”). I respect how they always stuck to their guns with their creative decisions. They also pack in a massive yet tasteful sound with just 3 people.

The recordings that most inspire me are the ones where you can hear clear as day that the artist means what they say and are giving it their all. To me, it’s not about making things perfect, it’s about making something meaningful, capturing it, and sharing it with the world. It’s one of the best feelings in the world. And the beautiful thing is that everyone does that differently, with their own voice and character and message. I like albums and look forward to making one for myself, a complete and cohesive work of art where everything is there for a reason and tells a story through the natural ebb and flow of life and experiences. I understand the focus on singles these days, but I prefer albums.

Thank you, Lisa.

Lisa Kacos will be leading the workshop “Music Theory For Producers” on Saturday, April 30th, 2022, through Omni Sound Project.

My Take on Line-By-Line Mixing for Theatre

Theatre sound

Since I had started as a live sound engineer for theatre, I didn’t really pay attention to other mixing styles. Line-by-line mixing made sense to me and was my natural technique. It wasn’t until I started working with musical artists and bands that I realized I needed to change my approach. I was not a live sound music mixer, I am a theatrical mixer, and there was a learning curve for me. Line-by-line at the most minimal means you are opening/closing mics for each person coming on and going offstage. Mute groups, DCA/VCA, and automated scenes REALLY help when you have a ton of radio mics. Mixing for an orchestra plus 15-25+ wireless mics were the norm for me while in college (& working professionally later).

We were taught to read a script a minimum of three times. Script analysis was integral for sound design, as it forces academic research. The first time you read a script is the most important as you are forming first impressions and understanding of the story. The second read-through was sometimes done with other designers, actors, director, etc. but I felt they often left out the tech crew. The second was to solidify the understanding of the themes, subjects, and tonality. The third and subsequent read-throughs of the script are for writing SFX cues, entrances, and exits (if not in the script OR noting they will go off and immediately return), orchestral solos, and grouping of singers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In rehearsals and the tech week process, there was always a lot of “hurry up and wait” while we all made adjustments. This was a valuable time for note-taking; if my script was thorough and accurate, I would be able to focus more on the mix rather than who the hell is onstage right now. An Audio Engineer for the theatre is a lot of things: FOH, foldback, A2, RF Tech, systems engineer, sound effects operator, comms, and so many other little things. Keeping organized was the most important because we have a lot of shit to handle.

Once you know who is doing what on stage, which solos or special parts the orchestra has (which is why attending the sitzprobe is integral for success, ( In opera and musical theatre, a sitzprobe (from the German for seated rehearsal) is a rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups, it is often the first rehearsal where the orchestra and singers rehearse together.) You can build your show file and program the console. The Stage Manager will be able to call your SFX cues (and sometimes even run them) so I make notes and place trust in my SM. I learned how to mix on an Allen & Heath ML4000 (?? TBH it was over 13 years ago), so my brain is focused on having as much as possible in front of me. Layers are where I hide things that don’t need to be actively mixed, as I do not like switching between layers quickly.

My Console Setup

Once everything is labeled and organized, I start with assigning VCAs/DCAs (Showing my experience/age). Wind, strings, rhythm, etc. will each get a DCA if it’s a larger orchestra. Orchestra overall gets a DCA. Ensemble (separated men/women), and quartet/trios should also get their own DCA. Some of these may be assigned to a group instead of processing, which will depend on the situation. Mute groups are your best friend, it takes some time to program them on older consoles, but it is worth the effort. Depending on your digital console, recording scenes or screenshots while in rehearsals would be the best option. You can always make small edits later if your timing isn’t quite perfect. From there, it’s all about the notes from rehearsal. Line-by-line was the most logical method for theatre & I still think this way during productions.

 

Production Communication

Comms, a necessary evil

Comms are, without a doubt, integral to a production’s success. Whether it’s over a radio or full-duplex communications, comms are a necessary beast. As a sound engineer, A1, A2, production manager, producer, etc. I have worked extensively with various versions of communications technology. I will focus on tech that is not brand new, mostly because that is far more common than shiny new systems. New comms systems are as rare and magical as unicorns.

Comms systems allow a production crew to speak to each other instantly. Many of my students question, especially after seeing how the equipment LOOKS, why don’t we just use phones and text? Aside from service issues inside buildings, battery life, distractions of other apps while working, etc., the main reason for me is that using a mobile just isn’t practical or professional. How many times have you had issues with a text going through? Depending on your network, this can be a frequent and annoying issue. Portable communication systems allow me to set up a reliable network of people within minutes. Hard lines ensure fewer problems than wireless (although I’ve had my fair share of bad cables and mini fires). TEST EVERY COMPONENT before the show. Seriously. Do it. These devices are MADE to take a beating, but they are not immune to damage. They are hardy little boxes, especially compared to my glass-covered iPhone.

 

Handbook of Intercom Systems Engineering

This PDF guide, The Handbook of Intercom Systems Engineering, first edition, Copyright© 2007 by Telex Communications, Inc is your magic textbook to all things comms. I frequently refer this to my students as a resource, and although it was published some time ago, I still find it to be completely relevant in the scope of existing installations. This document is my BEST advice to learning comms, troubleshooting, and designing systems based on your needs. Clear-Com and RTS have been around since the 1970s, and I believe some of that original equipment is probably still in circulation. While petitioning for new comms systems, most of the responses I have personally received involve “if it ain’t broke why fix it?” or some variation of that phrase. Most times, I am cobbling together a system from half-functioning components, which is frustrating and not the most helpful for such an important system. Comms aren’t sexy though, so many people aren’t eager to replace them.

Party Lines

Party lines sound way more fun than they actually are in real life. A party-line system is probably what most of you have encountered already. This system allows a group of people to communicate and have conversations. There is no limit to who is allowed to talk at a specific time, aside from etiquette, and there is generally no privacy.  A typical setup will include a power supply, XLR cables, belt pack user station, and a headset. RTS comms are a two-wire system, meaning that you can have the same path for talk and listen, and two separate party lines. These are more commonly found in TV production and sporting events. Most user stations will be connected in parallel, although having a splitter can help when you need to go separate ways.

Equipment

There are so many options for comms equipment, and this will vary based on the manufacturer and your production needs.

A Power Supply is necessary for most comms equipment unless it comes with its own PS. For RTS, the PS20 is a standard power option.

Belt Pack User Stations are individual, portable comms stations. These require power from a power supply.

A Main Station is rack-mounted user station, which will also require power from a PS.

Master stations are rack-mounted stations, combined with a power supply.

A Biscuit Box is a portable speaker station, which will require power from a PS.

Headset types: Single Muff, Double Muff, Phone Handset, Biscuit box.

 

Source Assignment Panel (SAP) is integral for larger productions. This allows up to 6 sources (Party Lines) and 12 selectable outputs (to people). Each user station can have two PLs. An SAP will give your production more selective communications so that each department isn’t talking over each other. If you have a video team, they need their own PL for the Director, Producers, TD, Cameras, Floor Manager, etc. They don’t need to hear about any issues from monitor land.

Who needs to be on a headset?

Paperwork and organization is a big part of the job of an A2. Anyone who needs to execute a cue at a specific moment needs to be on a headset. Who needs which type of equipment? Where are they located? Who do they need to speak with while on a headset? TV Broadcast gigs will have a lot more people on a headset than a concert or theatre event. For larger portable events, I will employ additional equipment, including a Source Assignment Panel. An input list for comms will help keep track of everyone. I will label the BP for each person; keeping organized is key! Using their names/titles for labeling is a good practice. If you don’t know, you can ask them. Communication is key. (Obviously.)

 

 

 

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