Join Us

Empowering the Next Generation of Women in Audio

Join Us

So, You Want to Get an Agent?

I have been a sound designer for almost 20 years and just gained representation earlier this year.  A fellow sound designer friend of mine basically just told me that I need to get an agent now that I’m 100% freelance.  I must admit that I was a little skeptical at first.  I’ve made it this long without an agent, why do I need one now?  Skip to almost a year later, and I’m here to say, it’s one of the best career moves I’ve made.  Here are some of the questions (and recently found answers) I encountered along the way.

What exactly does an agent do?

Your agent is the person who interfaces between you and someone who is interested in hiring you (producers, artistic directors, etc.).  They will handle things like contract negotiation, travel preferences, and even gently declining an offer you are unavailable for.  It’s not necessarily your agent’s job to find work for you, but sometimes that is an added perk.  My agent, for example, has long-standing relationships with many producers and directors, and sometimes they will come to her if they are looking for a specific kind of designer or artist.  If the gig seems like it would be a good fit for me, she will connect us.  In the short time that I have been with this agency, I have already gotten a few gigs that way.

How much does an agent charge?

Generally 10%.  My agent doesn’t make me send all of my jobs through her either.  If I’m taking a lower-paying gig, and I know there’s really nothing tricky with the contract, I can just let her know that I’m taking this gig and that I’ll be handling the contract myself.  She’s totally cool with that.  I just don’t make a habit of it, because I know that she gets paid when I get paid.  I always make a point to discuss these instances with her before diving in to make sure that everyone is comfortable with proceeding.

How do you find the right agent?

Talk to other people with agents in your field.  Mine came recommended by a friend, so we now both belong to the same agency.  It’s also important to note here that just because you choose an agent doesn’t mean they choose you.  Before I was officially in, I had a 3-hour long phone call with my agent.  We were just learning about each other and how we would vibe.  This is the person that will make decisions on your behalf, so they want to be aligned with you, your thoughts, your wants, and your process.  In turn, it is very important that you trust your agent to speak on your behalf.  It’s also ok to decide that you should keep looking if you feel it is not the right fit.

All in all, I have been truly grateful for my agent.  Negotiating contracts, contract language, knowing your worth, and speaking up for what you deserve are all really overwhelming things to take on alone.  Having someone to take on those challenges beside you is a great feeling, and knowing that you always have someone there with your best interest in mind is absolutely incredible.  When you are a freelance designer, you are a business.  You want your business to thrive, and to do that, you need to build a great team for your business.  Start with an agent, and watch your business grow.

 

Commercial Music Publishing

Have you ever wondered what you can do with that hard drive full of composition that you didn’t use on a show or project?  A few years ago, I discovered a fun and easy way to get some of my music published.  AudioSparx is a music library and stock audio website where users can license music and sound effects for commercial productions such as film, television, corporate, and more. AudioSparx also operates a commercial music streaming site called RadioSparx which provides background music for businesses such as spas, hotels, and retail shops.

To submit your music as a vendor, there are just a few easy steps which you can read more about at https://www.audiosparx.com/sa/module/alliance/default.cfm.  On this page of their website, AudioSparx will post about the styles and genres of music they are currently looking for.  At the time of writing this blog, some of these styles included:  Pop Vocals, Contemporary Brit Pop, Hip Hop Dance, K-Pop, and Future Soul.  If you’re submitting your music for the first time, submitting something within one of these “need now” genres can definitely give you a leg up on getting your music published.

AudioSparx offers two kinds of license agreements:  AudioSparx Perpetual, Non-Exclusive, and RadioSparx-Only Non-Perpetual, Non-Exclusive.

With the AudioSparx license, artists can participate in all three of their websites, as well as an option to participate in multiple additional distribution and monetization options.  With this type of license, you agree to a perpetual commitment, which means that AudioSparx can license your music forever, but it is a non-exclusive license, which means that you are free to also license the same tracks to third parties at any time.  The major benefit of using this license type is that you earn money on any of your music that is used in commercial projects or productions.  You can also earn residual performance royalties for the use of your music in broadcast productions, and also for any commercial background music use when your tracks are included on subscription-based playback.  Even if your music is used in YouTube videos, you earn residual money.

With the RadioSparx only license, your music is not licensed forever, and you are not bound to license exclusively with RadioSparx.  Your music will be added to the RadioSparx website where users can license it as background music for their commercial businesses.  Users pay RadioSparx directly, and artists are then paid through direct licensing.  Residual income is also possible through subscription-based playback of your music.

You only need a minimum of 3 tracks to submit an artist application, and you can add tracks at any time, but the process becomes a lot more lucrative if you have at least 20 tracks available in your catalog at all times.  You can organize your tracks as individuals, or group them together in a mini-library when they share a common factor like style or instrumentation.

Getting paid is also easy to track.  You can run reports at any time to see where your music is getting played and how well your tracks are doing.  After the end of each calendar quarter, AudioSparx will email you a commission report, and 45 days after each quarter, they send payment via PayPal if you have earned commissions of $25 or more.

Ok, so that all sounds easy enough.  Here’s the hard part.  If you really want to make money in this way, you really have to stay on top of it, and it’s a lot of work if you want to do it right.  With every submission, you are prompted to add lots of details about the music, and the more details you add, the more successful you will be at getting picked up.  You also will be more successful if you can keep collections of multiple genres on your profile.  The more you have to offer, the more distribution is possible, and the more money you make.  In full disclosure, it took me several years to gain $9.64 from the 3 songs I have uploaded, but seeing anything at all gives me hope that if I put a lot more effort into this process, I might see more favorable returns.

Whether you are looking for a good side hustle, or just dabbling in music licensing, AudioSparx is a great and safe way to dip your toe in the water.

 

Not a Solo Project

Whether you work in theatre, concerts, studio, or podcasting, it’s unlikely that you are a team of one.  All of these disciplines tend to be very collaborative, and often our teammates are scattered around the city, state, country, or even the world, making thorough communication extremely important.  Sometimes an email chain or group text just doesn’t cut it, so when you need to beef up your communication style, consider one of these communication platforms (in no particular order).

Slack

Ok, I said no particular order, but this one is my favorite.  Maybe it’s because this is the one I use the most.  The user interface is great, and it can be used via web, mobile, or PC.  It integrates well with other apps like Google Calendar, Drive, and Zoom, making productivity an all-time high!  File sharing and adding attachments is straightforward and easy, and the notification system allows for deciding which kind of notifications you would like to receive, or receive none at all during Do Not Disturb mode.  You can assign different channels or threads, so everyone doesn’t have to be involved in every conversation if that is not the end goal.  You can also @ mention specific people if you need to specifically draw someone’s attention to a particular subject.  The search function is quite robust and handy, and best of all (cause I’m a sucker for emojis) customizable reactions make this team app super fun!! Two enthusiastic thumbs up from me!

Teams

If you are a heavy Office 365 user, you might love this additional integration into Microsoft land.  Teams is all about productivity and increased focus on work, and the very professional/business look of the interface really supports this idea.  If you’re into a little more of a fun chat environment, you can still add reactions, gifs, and emojis at will. This software is pretty user-friendly and is entirely cloud-based, so your teammates can access info anywhere.  Teams have channels like Slack but also integrate Tabs within the channels as another layer of organization.  The default tabs are Posts (storage of every chat within a channel), Files (storage of shared docs within the channel), and Wiki (a smart text editor for editing, drafting, and chatting).  You can also add and customize additional tabs.  Teams also features outside app integration like Dropbox and Google Drive and also allows for video and audio calls without leaving a chat.  It’s been reported that there are maybe too many similar tools, but maybe that’s better than not having enough?

Google Hangout Chats

I know there are many Google tool users, so if that’s you, this is your platform!  Of course, the most attractive part of this is the total integration with all of the Google apps like Gmail and Google Drive, but I must let you know that it’s not so easy to integrate with Office 365, so if that’s important to you, maybe stick with Teams.  This platform requires no installation and it’s free, so setup is a breeze.    Messaging in Google Hangout Chats is easy and efficient, and you can add a layer of organization to your chats by using Rooms.  Screensharing and file sharing are available, although file-sharing can be a little clunky.  Like most of the other apps, audio and video calls, as well as instant messaging, are available.  Video resolution could be better, but hey, it’s free. This is a pretty basic app, but free and easy to use are really top features, especially if you’re just getting into collaboration platforms for the first time.

If these communication platforms don’t live up to your expectations, I implore you to jump down the internet rabbit hole where many, MANY more options exist, but my advice is to give these three a shot first so that you know what you do and do not need in your everyday team communication.

 

 

 

A Sound Designer Prepares: Mind and Body

When I’m preparing to go into tech for a new show, there’s a lot I have to do to prepare.  Some of these things include:  Making sure my paperwork is correct and up to date, checking all show hardware (speakers, mics, consoles, computers, etc.), programming consoles and playback systems, and making sure my crew is also prepped and ready to go.  I must admit that I used to always prioritize these needs above my own personal needs.  I’m a pretty tough person, and I know that I can power through hunger, aches, and pains, and sleep deprivation, but after years of operating in this way (and let’s be real, after getting older) I find that while I CAN still power through, it’s not worth it.  My mind, body, and even my work suffer from that kind of self-neglect.  In this blog, I’m letting you know about a few things I make sure to take care of when I’m preparing for a new show.  These recommendations will keep you on the right track to mindful and healthy work.

(Good) Food=Fuel

Ok, I know we all love to load our tech tables up with tech snacks (….right?? Or is this just me…I’m a snacker), but is your snack stock loaded with sugary/processed foods?  If so, these snacks are not helping you be your best brilliant self.  For me, specifically, I also try to look for quiet snacks, so crunchy is out!  Some great whole food options that will double as a brain boost are blueberries, walnuts, seeds (hemp, flax, chia, and pumpkin are great omega-3 foods), coconut chips, almonds, and avocado (I’m a Cali girl, so I’ll just split one open and eat with a spoon!). For meals, consider whole grains like brown rice, oatmeal, whole-grain bread, and whole-grain pasta to increase your focus and concentration.  Beans and salmon are also excellent brain boosters, and the preparation possibilities are endless!  Stick to water, coffee, and tea to keep your brain in tip-top condition, and go for dark chocolate if you need a sweet pick-me-up!  These superfoods are sure to keep your bad self on point all tech week long!

Photo Credit Favorece
https://www.favorece.net/ Photo Credit Favorece

More (Brain) Rest Is Best

It may be obvious to say that a good night’s sleep is imperative during a high-intensity work week, but getting those 8 hours (or as close to 8 as possible) isn’t the only thing we can do to keep ourselves rested enough to keep out brains sharp.  When you start to feel your mind wandering or you’re getting too tired to focus, take one of those 10-minute breaks and treat yourself to a power nap.  Just 10 minutes is all you need to disconnect and reengage for a renewed sense of sharper thinking.  Engaging your unfocus brain can also do wonders.  If naps aren’t for you, on the next 10, step away from the computer and walk around the space.  Talk to friends about cats.  Plan your opening night outfit.  Do something to disengage from the work, and reap the benefits from your newly readied brain when break time is over.  Free walking can also greatly increase your creative focus.  During the dinner break, resist staying the full 2 hours grinding out all of your notes.  Instead, dedicate at least 30 minutes to aimless walking (so around a park, or a quick little trail as opposed to something structured like a track).  Do it outside for an extra brain boost bonus!

Low Stress Is More Productive

We all know that tech week can be very stress-inducing, so lowering your personal stress is a great way to enter the week.  Some little things you can do to lower your personal stress are:  Making sure you have your laundry done (and put away…I know, yuck, but you’ll thank me later) the week before tech starts, meal/snack prepping for the week, stashing few extra device chargers in your bag, locating and cleaning your two favorite water bottles (hydrate or die-drate, I always say), and canceling any social plans that fall during tech week.  Drinks after a long day of tech can seem really cathartic and fun, but that activity is not going to help with your mindful self-care, so instead, save it for opening night, and go all out!  If you need to wind down at the end of the day, try a bubble bath followed by 20 minutes of relaxation low-intensity yoga right before bed.  Couple this with 20 minutes of morning yoga after your morning coffee, and I promise you’ll be unstoppable.

Remember that you got this contract because this company values your skills.  That is why we always work so hard to over-perform during tech, but when we don’t listen to our minds and bodies, those skills are not shining at their fullest potential, and we are also left suffering for the cause.  Advocate for yourself and your needs, and listen to your body.  It knows what to do.

Learn Sound From Women:  Books To Check Out In 2021

Now that we’re getting back into the swing of things, it might be time to brush up on our audio skills.  Lucky for you, I’ve been scoping out some of the best new books—and best of all, they’re all written by women! 

Math Fundamentals for Audio, by Leslie Gaston-Bird

In this easy-to-digest handbook, Leslie Gaston-Bird applies principles from algebra, geometry, trigonometry, and even calculus to concepts such as Ohm’s law, delays, impedance, bandwidth, and decibels. This concise book offers a foundation for connecting mathematics with modern software tools for digital audio.  My favorite part about this book is that the author begins by assuring the reader that math does not have to be scary.   She provides a section on math anxiety, as well as a brush-up review on basic math.  If you’re still not sure if you’re ready for this book, the self-assessment in the introduction will definitely help you make the right decision.  Honestly, I’ve been begging the universe for years for a book like this, and we are all so lucky that Leslie Gaston-Bird came through!

 

Women In Audio, by Leslie Gaston-Bird

Ok, ok, I couldn’t mention one without mentioning the other, so if you’ve already added Math Fundamentals for Audio to your cart, go ahead and throw in this other gem by Gaston-Bird.  This book is packed full of profiles and stories of audio engineers who are women, including a historical view of women and their achievements across various audio professions.  The book also breaks down the discussion of trailblazing women in audio by discipline, including radio; sound for film and television; music recording and electronic music; hardware and software design; acoustics; live sound and sound for theater; education; audio for games, virtual reality, augmented reality, and mixed reality, as well as immersive sound.  Personally, I keep this book in my Pelican Case and am ready to throw it at anyone who tells me they just can’t find women in this audio industry.  10/10 recommend, for real.

Pink Noises, by Tara Rodgers

So, this book, technically, isn’t new, as it was published in 2010, but I just discovered it, so it’s new to me, and I can’t get it out of my head.  In 2000, Tara Rodgers, aka Analog Tara, founded the critically acclaimed website, Pinknoises.com, which was meant to promote women in electronic music and make information about music production more accessible to women and girls.  Tara would post interviews with women artists that would discuss their personal journeys and work practices.  This book became an extension of that incredibly fascinating website and offers new and lengthier interviews, as well as several resources for more exploration into the exciting world of contemporary electronic music.  pinknoises.com now redirects to Tara’s website, analogtara.net, and I super recommend checking her and her music out.  I promise you’ll thank me.

Engineering for Teens:  A Beginner’s Book for Aspiring Engineers, by Pamela McCauley PhD

I’m calling this one “industry adjacent.”  I always get people asking me how they can get their kids or younger students into the field, so I’m always on the hunt for good teaching tools geared toward a younger demographic, and this is definitely a great one.  While the focus isn’t audio, specifically, this engineering book for teens introduces major engineering disciplines and covers areas that could come in handy for future audio engineers and sound designers, such as: electrical engineering, software engineering, computer engineering, and acoustical engineering.  Either way, I really love a good training book for kids, and getting their brains moving in the direction of engineering just can’t be a bad thing.

 

A Composer’s Guide to Game Music, by Winifred Phillips

This book is a must-have for those composers thinking about jumping into video game composition.  During the pandemic, I wasn’t sure when or if I would ever be able to go back to live theatre and/or concerts, so I started researching other ways to utilize my skills and came across this excellent book.  In her books, Winifred Phillips (an award-winning video game composer herself) discusses the very real disconnect between what composers typically learn in school and what necessary creative skills they need to be successful in the video game industry.  This information alone feels like a golden ticket to make the transition from classical musicianship to a successful video game composer.   Phillips also offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business.  My personal feeling is that I need to be as prepared as possible for a full stop in live entertainment employment (now that I know that’s a possibility and could maybe happen again), and this book is definitely an important tool in my arsenal to getting the most out of my music skills.

The thing that all of these books have in common is their genuine tone of care and thoughtfulness in regard to the reader.  It’s what makes them accessible.  I find that many education-based materials can sound too technical or “lecturey,” and these books are definitely the opposite, which serves a valuable lesson to us all that being an expert and imparting wisdom does not have to look like the inside of an Ivy League lecture hall.  Thanks, ladies, for being straight shooters and still being totally awesome.

SoundGirls Members can borrow audio books from our lending library

 

 

Reentering the Workforce

 

Well, it looks like it’s finally starting.  We’re going back to work.  If you’re like me, starting up work again in the entertainment industry has been coming in at a slow trickle, which I actually think is good.  We need time to re-acclimate, but not just to have a job again.  We have to learn how to be around people again, how to be physically active, how to stand on our feet for long periods, and how to decide what risks we’re willing to take.  We need to relearn our rhythms, our flow.  There’s a real thing now called Post-Covid Stress Disorder, and a whole bunch of us have it.  We’ve all been dealing with the trauma of a global pandemic the best way we know how.  Some of us have developed bad habits.  Some of us have developed good habits and coping mechanisms.  Whatever personal journeys we’ve been on, it’s important to remember that no one in the world was safe from this disaster, and we will all need some support as we try to get back to “normal”….whatever that was or is.

Where are my headphones?

My very first gig back after the shutdown was mixing a small stage for a telethon.  There was no PA (one monitor only) as my feed was being sent directly to the broadcast engineer, so the one thing I REALLY needed was a pair of headphones…which were at my house….three hours away.  A production assistant had to go out and get me a pair of headphones for that gig, so, as you can see, this was not a shining moment for me!  I had been a pandemic shut-in for 7 months, and I guess I literally forgot that I needed headphones to do my job.  So my first piece of advice is to take plenty of time to plan your needs well in advance.  Set everything you might need for your gig out in front of you.  Pack it up, put it in your car, and make sure to think about the seemingly obvious items: jacket, water, MASK, money, hand sanitizer, etc.  Believe me, your future self will thank you.

Why does this hurt?

Hey, y’all.  I know you’re used to throwing speakers over your shoulder, or running road boxes off of a truck, or being the fastest one in the stage snake party, but you really gotta chill and give your body (and mind) some time to get back in shape.  In this industry, there is a lot of pressure to be good, fast, and right…especially for those of us that are still trying to make our place known in a straight, white, male-dominated field.  I know you’ve always been capable, but now’s not the time for that.  You could do those things before because you had muscle memory, and unless you’ve been truckload training in your backyard for 14 months, you don’t have it anymore.  That last gig I was talking about?   I also had to sneak away for a moment because I was physically ill.  It was outside, and it was hot.  I was wearing my mask, which made me hotter, I was running at 150% and I was just not ready to be functioning like that.  So, I’m letting you know from first-hand experience that it’s a good idea to give yourself some extra time before your gig.  Do some yoga.  Stretch.  Drink plenty of water.  And above all else, listen to your body on the job.  Take breaks, drink water, sit down, advocate for yourself.  You’ll get it back, I promise.

What are humans?

This will be one of the most difficult parts because this is new territory for most of us—reentering society.  You may find that communicating with others does not come as naturally as it did before.  Remember that feeling, and know that others are feeling it as well.  We should take care to approach that situation with grace.  Take a second to ask for clarification if something is unclear.  Walk away for a few minutes if you find that conversations are suddenly stressful and annoying.  I really can’t express enough that if you are feeling it, they likely are too, and the only way to navigate this new and awkward situation is together.

Everything is covered in germs

This has always been true, but now we are all hyper-aware of this fact.  As of now, we still have to wear masks in most indoor/public locations, even if we are fully vaccinated.  In some places, that transition has already started happening, so it’s likely that we will all experience a mixed masked/unmasked work environment at some point, and that’s ok.  First of all, GET YOUR VACCINE.  Secondly, do not shame anyone who is still uncomfortable and wants to keep their distance, ask you to put on a mask, or want to keep their mask/gloves/etc. on.  It’s ok.  They will start to feel safe without all of the PPE eventually.  The important thing is that everyone feels safe now.  It’s also important not to skimp on sanitizing and cleaning.  It may seem unnecessary once everyone is vaccinated, but I personally see nothing wrong with washing hands before a meal, after using the bathroom and wiping down mics before and after use.  Don’t get crazy though.  It will not be healthy for us all to turn into raging germaphobes.  It’s a balance that we should cultivate and maintain.

Don’t forget your hashtags

Remember all of that social justice we’ve been working on?  The reform we’re trying to do in theatre, on stages, and in the entertainment industry at large?  Have you typed #blacklivesmatter #stopasianhate #metoo #timesup #loveisloveisloveisloveislove #transrights or any other hashtag meant to stand for basic human rights?  Now is your chance to put your hashtag where your mouth is.  I know I’ve blogged about this on more than one occasion, but it’s important to me, and I’m saying it again.   If you are a keyboard warrior at home, yet you sit quietly by while a co-worker or employee is not being treated equitably, you’re not doing it right.  All of the EDI training, listening, gathering, and marching will have meant nothing if we don’t start putting everything we learned in place when we’re back.  A big change in this industry was needed in a big way, and it looks to me like the ball is rolling.  Let’s keep pushing it.  We have to.

Basically, if you’re feeling like you forgot how to human, it’s ok.  You did.  I did.  We all did that.  This was really traumatic, weird, and unfamiliar.  It will take time to get to something else, but I want to try hard to keep myself from saying “back to normal.”  I don’t want to go back to anything.  From now on, I only want to go forward.  I think that putting the entire planet on a hard pause for over a year provided us with an unprecedented opportunity to come back differently.  So what will you do to keep the ball rolling?

More Resources for Going Back to Work

What’s In Your Go Bag?

Preparing to Maybe Go Back To Work

 

 

Producers:  Your job listings need to include pay

And that pay needs to be reasonable

I don’t know of a time prior to this pandemic that the entire entertainment industry was out of work.  It’s very difficult to think of when or how we will get back to work, and the grim reality is that many of the companies with which we are accustomed to receiving work will not be there when “normalcy” returns.  This means that when we do return to work, there will be more of us than available jobs.  My biggest fear is that producers will try to take advantage of these situations and offer new jobs at the lowest possible dollar.  It’s been happening since before the pandemic, and I’m afraid the situation will only get worse when those jobs are in higher demand.

First of all, when are we going to get to the place where openly discussing pay isn’t a taboo subject?

For as long as I have been searching for jobs in my professional career, the pay is almost always the last thing I find out about.  Why?  Why would producers hide that information?  Are they embarrassed about the rate?  Is it too low?  Is it illegal?  If the answer to any of these questions is yes, well then, producers, I’m here to say that you’re doing it wrong.  Your pay rate, benefits package, and special offers should be a selling point for you.  If you’re touting your company’s great reputation, clout, and place in the industry, but you’re not willing to share pay information until you’ve almost got a potential employee hooked, I can’t help but think that you’re taking cues from the Mr. Wormwood Book of Ethics, and my theatre buddies will know that Mr. Wormwood is not good company to keep.  Many of us begrudgingly go through the motions of updating our resumes and websites, collecting letters of recommendation, filling out lengthy applications, and making time for multiple interviews just to learn that after all that time, the salary was never worth it in the first place.  I don’t know about you, but when that happens to me, I feel cheated and duped.  I shouldn’t have to pass a series of tests just to find out what you’re willing to pay me if I’m offered the job.

Look, I get it, your company was hit hard too.  You’ve had to resort to Zoom theatre and other cheap programming just to keep the electricity on.  You’ve had to furlough many of your full-time staff, and you’ve been trying to live off of PPP loans for 11 months.  If that wasn’t bad enough, you are going to have to beef up your Covid-19 compliance when you are able to open again, and that will mean shelling out more money.  The thing is, though, there is a way to do this honestly and ethically.

If you are unable to offer a living wage for a full-time position (*protip—$30k p/y as the full-time Technical Director in Los Angeles County is not a living wage) you need to rethink your company’s structure.  If having a very experienced, top-of-the-line TD is a priority for you, you need to prioritize their salary first.  Commit to paying that person what they are worth, and they will commit to you.  Maybe the scale of your productions needs to come down.  Maybe the number of shows you produce needs to be adjusted.  Maybe you need to up your grant writing and donor outreach game, but the simple fact of the matter is if you cannot afford to pay an experienced TD what they are worth AND produce your dream list of shows at the same time, then you can’t afford either, and your internal structure needs to change.  If $30k is what you have to offer, and you cannot budge on that number, that means the job description needs to change.  This is not reasonable for a full-time job, but it could be reasonable for a part-time job, depending on the job requirements.  It could also be reasonable as an entry job for a recent graduate or even an internship.  Being able to make creative adjustments to facilitate the job security of your current and future employees is a really attractive prospect.  It also means that you can proudly display your pay rate on your job listings and know that you are being fair to your applicants.

Producers, you have to prioritize your people

All of us have been using this downtime to really explore those HR processes that have and have not been working.  We should all be very aware by now that “must-have five years professional experience” and “$30,000 per year” for a full-time skilled job are just two points that should not exist together in the same sentence.  If you’re saying to yourself, “It’s always worked for us in the past,” you should know that even if it’s been working for you, that doesn’t mean it’s working for your employees and applicants.  Companies that try to get by on the lowest possible salary have a high turnover rate usually due to employee burnout.  The employee that is receiving a lower than living wage rate is either trying to work as much as possible to pick up lots of overtime so they can make rent, or they’re working tons of side gigs and have little energy or will leave to perform adequately for their main company of employment.

The fact that we feel we HAVE to take the low-paying jobs so that we can get that “five years professional experience” is what creates the rat race that we desperately need to dismantle because when we all come back post-pandemic, that rat race is going to be much worse.  We will shift the reasoning for taking these jobs to “so that I can eat and live” and when we do so, we will be handing over even more leverage to the producers that think the technician/designer/actor/etc. that works for the lowest dollar wins.  Producers, you have to prioritize your people.  Be open, honest, and fair in your job offers, descriptions, and expectations.  Make sure a human is capable of living off of only your job.  Eliminate the need for side gigs.  Make the people the center of your budget—prioritize them.  Happy employees make happy companies, and there is no other version of this very simple mantra.

 

2021 – Change, Hope, Possibility

 

Well, here we are.  We made it to 2021, and at the time of my writing of this blog, I don’t know if it’s better.  We are still drowning in a pandemic, unemployment insurance hit a big snag when the CARES Act expired in December of 2020,  the President of the United States attempted to stage a coup by inciting his supporters to storm the Capitol, and yes, the entertainment industry is still shut down.  It’s been almost a year.  My youngest daughter, who is in the first grade now, has yet to have a school year where she did not have distance learning for at least part of the year.  This is obviously not what I planned for my family.  I didn’t really prepare to be out of work for months and months when I left my full-time residency in 2019, and none of us were prepared for the emotional/mental toll all of this would take.  As dark and sometimes hopeless as it seems, there seems to be some light at the end of the tunnel.

We have a vaccine and have already begun distribution to those who need it the most.  It seems that the President might finally be held accountable for his actions.  By the time you read this, you will know more than me, but as of just a few minutes ago, House Democrats introduced their resolution of impeachment.  States should be about finished ramping up their systems to support a new round of unemployment relief, and finally, there will be a very significant changing of the guard on January 20.  I have all of my fingers and toes crossed that this means we will finally be getting down to the serious business of getting our country on track and ready to thrive.  Please note that I did not say “back on track.”  We need to move forward from all of this, not back.  Actually, we need to launch forward, with fresh ideas and open minds.

When concerts and theatre come back, I hope we remember what we learned in the downtime.  Pre-Covid there was an entire group of people that had never once been to a concert or to the theatre, and it wasn’t because they were afraid of the virus.  I think we often forget that while performing arts is so important to humanity in so many ways, it’s also very much a luxury.  Millions of people who had previously never experienced a live performance due to lack of funds, inaccessibility, or chronic illness experienced their first (almost) live performances during the pandemic.  I have personally spoken with multiple people who told me, through tears, that watching some of the theatrical livestream events that have been available recently was the highlight of their year, and they truly never thought they would be able to afford a theatre or concert ticket.  I don’t know how the ability to attend a live performance became a marker of elite status, but I hope that we are able to continue offering this kind of programming in a more accessible way long after we’re able to gather together in person.  Why can’t we offer in-person ticketing as well as a livestream experience for any and all performances?

I also hope that this sense of community and camaraderie that has been overflowing in the entertainment industry will continue when we re-enter some kind of normalcy.  We’ve all been doing a great job of lifting each other up, checking in, sharing jobs and projects, donating, and offering support in many manifestations during the pandemic.  Let’s always remember how much that has meant.  My fear is that once we are back, and working, and busy, we won’t remember to slow down and check-in.  Some of us will fall into the old grind seamlessly.  Some of us will not.  I am used to having many plates spinning at all times, and I have always taken pride in my ability to stay focused, to remain detail-oriented, and to keep going no matter what happens.

I’ve already noticed that I haven’t been able to necessarily lock in to work the way I could pre-pandemic.  I had a one-off event in October mixing one of three stages for a telethon, and of all things, I forgot to bring my headphones.  There was no PA, and this event was being streamed directly to live tv, and I left my headphones at home 3 hours away from where I was working.  That’s just not really like me.  I don’t forget details, especially not big ones, and it made me wonder what else I would forget when I’m back to regular work.  I’ve also been finding that when I’ve been lucky enough to work here are there, I am just filled with anxiety over it—before, during, and after the work is done.  I really can’t even pinpoint the source of my anxiety in these moments.  Maybe I’m worried I won’t have the stamina to make it through, I’m rusty, I’m making mistakes, employers are regretting having hired me…you name it.  Whatever the unfounded reason is, the point I’m making is that if it’s there for me, it must be there for others, and I hope that we all just remember that safety net we built for each other as we continue trickling back into the industry.

Let’s also remember all of the work we’ve been doing to make our stages a more equitable place for all of our people.  It is easy to sit behind a computer screen and say, “Yes, I will call out and call in inequities when I encounter them in the workplace.  I will ask the hard questions.  I will respond with grace when I am questioned, and I will keep working to level the playing field.” It’s harder to speak up when there’s a group of real live people staring back at you telling you to stop rocking the boat.  I’m telling you right here and now that I am planning on rocking every boat I sit in, so if you’re riding with me, make sure you can swim.

This morning my horoscope said, “Geminis will never take anything a politician says at face value; they’re always going to do their own research and dig deeper.  It’s not that Geminis are pessimistic-they believe that change can happen and that things can get better-they’re just not going to blindly believe it.” One hundred percent, internet astrologist, one hundred percent.  In 2021, I’m inviting you to join me for some Gemini skepticism powdered with hope and possibility.  We’re not beyond hope, but we do need to keep our eyes and ears open and remember the lessons we’ve been teaching each other, and ourselves, in the meantime.

Elisabeth Weidner is a Sound Designer and Composer for theatre. She served as the Sound Director/ Resident Sound Designer/Composer for 10 years at PCPA-Pacific Conservatory Theatre,  before going full freelance in 2019. Elisabeth is also an adjunct professor at California  Polytechnic State University SLO where she teaches Sound Design and Engineering for  Theatre, and she sits on the USITT Sound Commission jury for the Current Practices and  Research in Sound papers submissions. In 2020 she was elected to serve as Co-Vice Chair of the TSDCA )Theatrical Sound Designers and Composers Association). She is also the producer of the podcast: No One Likes Us. www.elisabethanneweidner.com 

Read Elisabeth’s Blog

2020: A Sound Designer’s Year In Review 

 

Today is November 7, 2020.  I always like to do a “year in review” for my last blog of the year, and I had every intention of starting that blog yesterday, but I couldn’t.  Think back to that week, and I’ll bet you can remember why.  It’s been a very hard year, friends.  The weight of yesterday had me only thinking of the past year in terms of the pandemic, unemployment, racism, division, violence, and lies, but today is November 7, and I’m feeling a sense of renewal.  A weight has been lifted, and I can look at the past year from a different perspective.  A more positive perspective.  Ok, I’m not trying to brush anything that has happened aside and put a Mary Tyler Moore spin on the year.  It’s been rough, and we still have much work to get done.  I just think that, for the sake of all of our mental health, it’s important to recognize some of the good that has come out of this chaos.  For me, many of those moments exist in my professional life.

EDI TRAINING

Probably the most impactful part of this year for me, professionally, has been all of the training in equity, diversity, and inclusion that has come about in the wake of the BLM movement.  This type of work may have always existed in some kind of generic HR packaging, but this year it became specific, meaningful, and blunt.  I’ve been involved with many of these discussions through the TSDCA, SoundGirls, and USITT to name a few, but organizations worldwide are doing their part as well.  I’ve met so many great people through these discussions and I’ve been turned on to new ideas and concepts that will help me be an ally, an advocate, and an accomplice.  Theatres around the country have been doing this work and publishing their promises.  They want to be held accountable by the public, and I’m hoping that all of this training and other efforts will launch us into a more equitable community that continues to call out and call in its members to keep the conversation, and more importantly, keep the positive momentum going.

REMOTE COLLABORATION

If nothing else, we have all learned some new skills that allow us to continue working together when we cannot be physically together.  The TSDCA annual meeting was one of the first examples of this for me.  For a whole week in June, the TSDCA held seminars, training sessions, EDI discussions, and collaboration projects over Zoom, a process that would generally be done live.  I collaborated with two Sound Designers I had never worked with before, one in Chicago, one in the DC area, and I’m in California.  For our TSDCA creative challenge, we worked together on building some really fun and interactive tools to help teach and explain Sound Design.  After the challenge was complete and our presentation was given, we still decided to stick together and continue developing this project, truly an experience I would not have had in a “normal times” situation.  I have also taught classes remotely, introducing new concepts about how to improve factors like latency, audio quality, and bandwidth.  The generation that is training or in school during this time is going to be so well equipped with a new bundle of information and skills that many of us have probably never even considered before the pandemic hit.

COMMUNITY

This has been a big one for us.  Collectively and literally around the world, entertainment industry workers were forced to a screeching halt.  For me, it’s been 8 months without steady work.  The worst part is trying to explain this position to the “just get another job” crowd.  Many of us are unemployment for the first time, and navigating this jam-packed and difficult-to-understand resource is a source of much anxiety for me.  Not knowing where my next dollar is coming from and not being able to commiserate about it with like-minded people was, frankly, just really depressing.  Then came the hangouts, happy hours, and other social Zoom Rooms.  If you would have asked me a year ago to sit in front of my computer while other folks stare back at me on their computers, I gotta be honest and say that would be a hard pass, but out of necessity, I tried it.  I liked it.  And sometimes I really need it.  Fellowship during dark times is so important, and not only have I met so many new people that I can honestly call my friends now, I’ve added some really great contacts to my professional network.  It’s really possible that some of these people would not have been in my network otherwise, and I’m just really grateful for those connections.

All in all, 2020 has been one of the most emotional, confusing, and trying years of my, and probably all of our lives, but one thing I know is that pain brings courage, necessity breeds creativity, and to quote my favorite lady of country music, Dolly Parton, “Storms make trees take deeper roots.”  I don’t know if that last part is scientifically true, but I appreciate the sentiment all the same.  The most important thing is that we’ve made it this far, and we will help each other through to the other side.  Remember to rest when you are tired, and reach out when you are lonely.  I hope the holidays treat everyone well, and I hope we all arrive in 2021 rejuvenated, renewed, and reenergized.  I’ll see you there.

 

X