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A Year of Saying No

At the end of 2017, I made a career decision: I no longer wanted to do theatre sound design jobs that were creatively unfulfilling.

For years I’ve been working theatre and opera sound design jobs around other sound work because the work that came my way was often last-minute and frequently not well-paid. I regularly felt worn out from over-working. I had also noticed that by filling up my schedule, to feel like I was still part of the industry, I was limiting my opportunities to apply for better-paid, more creative jobs. I wanted to move up the career ladder. To do this, I needed to make a change.

So I made a list of what I wanted from a theatre or opera sound design job and set this as my criteria for accepting an offer. It was a pretty straight-forward list: decent fee, exciting script/concept, opportunities for creative sound design and not just a “dog bark, doorbell” show, within timescales that fit with my schedule and ideally something that would mean a step up (not across or down) the career ladder.

I knew this would cut out a lot of the smaller-scale work that came my way, particularly with regards to the fee, but as I had other means of generating income, I knew this wouldn’t be too difficult. The challenge would be fighting against the urge to take creatively unfulfilling jobs that wouldn’t add anything to my CV so I could still “feel” like a theatre sound designer. But I’d made my list, and I believed that creating space in my schedule would open me up to the kind of opportunities I wanted.

The result? I haven’t had a theatre or opera sound design job this year so far.

At the start of this year, I felt pretty confident with my choice. A couple of sound design opportunities came along that I wasn’t able to do because of scheduling conflicts, but neither of them provided much creative stimulus, and I didn’t feel conflicted about turning them down. Then along came a job I really wanted to do, with a great script and intriguing concept. The interview went well – but they needed more availability than they had initially indicated, and I didn’t get it.

I didn’t know it at the time, but this set a precedent for the rest of the year. Every so often an opportunity came up that excited me, the interview with the director would go well, and ultimately I wouldn’t get it because of a specific requirement. One director eventually decided that they wanted someone who could compose and arrange as well as sound design, which counted me out. Another revealed in the interview that they wanted the sound designer to be present during all rehearsals, which were outside of London, but didn’t have any budget to get me there. In between, there were jobs that I turned down because they didn’t meet my criteria.

So what have I learned? Despite what motivational memes might lead us to believe, sometimes taking a leap of faith doesn’t have the hoped-for result. At least, not in the short term. Having a solid backup plan is also a good idea. If I hadn’t had other workstreams that I could rely on for income, I wouldn’t have been able to say no to many of these opportunities.

And while I say I didn’t get quite the result I wanted, I have got a different result. Not having theatre sound work freed me up to work on audio drama and audiobook sound design, and building a portfolio in this area has led to unexpected opportunities. I am currently designing and mixing three audio dramas and a series of audiobooks for well-known production companies, and it’s an area of sound design work that I very much enjoy.

I’m passionate about theatre sound design, and it’s been demoralising not to be able to get the work I think I should be getting after I’ve made room for those opportunities. It’s made me seriously doubt my skills and ability. Despite this, I am going to continue with saying no to work that doesn’t fulfill my criteria. Because as much as I’ve hated not doing sound design for theatre, I hated being ground down by unfulfilling, low-paid sound design jobs even more.

JoJo Worthington – Independent Producer and Composer

In a field that remains heavily dominated by men, JoJo Worthington is setting out to demolish the glass ceiling for women in the music industry. She is an independent producer and composer from Kitchener-Waterloo, Canada who has won numerous awards for her exceptional work. Her vocalizations reminisce of Kate Bush, her ingenuity with looping techniques remind one of the omnipresent Canadian force of Owen Pallet, and her refreshing take on the ukulele is pushing this experimental-folk musician to create some of the most forward-thinking music of her generation.

Her works include the co-produced, co-arranged project, \\ (or Two Lines) and the album Honey Suite by The Lifers, which was recently nominated for New/Emerging Artist by Canadian Folk Music Awards and has toured throughout Canada promoting her own music. JoJo shared with SoundGirls a little about her musical journey from childhood, her love affair with the ukulele, and gave advice to women wanting a career in this industry.

Listen to JoJo Worthington at https://jojoworthington.bandcamp.com/

How did you get your start in music?

I performed in many musicals from age 8 to 15; then I began writing songs. Once I was told that I wasn’t horrible, I began playing live!

I also played a variety of instruments growing up…violin, harp, clarinet, piano, guitar…I still play a bit of these instruments, but in high school, I landed on the ukulele. That and my voice have been my main instruments ever since.

What do you like best about touring?

Traveling! Meeting new people and seeing old friends.

What do you like least about touring?

Nothing!

What is your favorite day off activity?

Hiking!

What is your educational or training background?

I graduated from Capernwray Bible School in 2013; then I graduated from the Music Industry Arts program at Fanshawe College in 2015.

What are your long-term goals?

To be able to financially sustain my career over my entire lifetime…reaching a Billboard spot would be pretty cool too!

What is your favorite gear?

Currently, it’s the Critti & Guitari Organelle.

What, if any, obstacles or barriers have you faced?

An ongoing obstacle is people who do not take the ukulele seriously. My mission is to show people that it is a versatile instrument that isn’t just “cute.”

How have you dealt with them?

Through experimentation in my music.

Can you share any advice for other women and young women who wish to enter the field?

This industry is dominated by men. In my experience, I’ve learned that a woman must know her instrument, equipment, trade, etc., ten times better than any man in order to be taken seriously. So know your stuff. Be a perfectionist. Get it done how you want it to be done. Be able to do everything!

 

Chance to Win Mix with the Masters with Tom Lord-Alge

SoundGirls this a chance to win a spot at Mix with the Masters with Tom Lord-Alge. This is a week-long seminar valued approximately at $4,500 and includes lectures and workshops, accommodation within the mansion, catering (breakfast, lunch, dinner) the fitness room, swimming pool and shuttles from Avignon to the studio.

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

You are responsible for Travel to France. If you have won before you cannot enter.

The upcoming session will take place November 10 -16, 2018

You can purchase a raffle ticket for $10 (you can purchase more than one to increase your chances)

We will draw a winner on October 30th, and the winner will be notified on October 31st.

You will also be entered to win a second raffle to win a 25% discount off Mix with Masters with Tom Lord-Alge.


Tom Lord-Alge

Three-time Grammy Winner Tom Lord-Alge’s (TLA) extensive list of multi-platinum/gold landmark albums + singles include:

Blink 182’s ‘Enema of The State’, Pink’s‘Funhouse’ and ‘I’m Not Dead’, Steve Winwood’s ‘Back In The High Life’, The Rolling Stone’s ‘Bridges To Babylon’, Fallout Boy’s ‘Infinity on High’, Weezer’s ‘Maladroit’, and Sarah McLachlan’s ‘Mirrorball’ just to name a few. He’s also mixed albums/singles for indie darlings Taking Back Sunday, All Time Low, Sleeping with Siren’s, New Found Glory and Ash Koley. Tom’s world-class ‘Spank Studio’ in South Beach is built around a massive SSL 4064 G+ console. Recent mixes include The Interrupters/Epitaph, Lil Peep + Cailyn Sundry/First Access, Hard rock superstars One Ok Rock


Program

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

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

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

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

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

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

 

 

Intern with Sennheiser at NAMM 2019

Sennheiser & Neumann are seeking one member of SoundGirls to intern with the company during the 2019 NAMM show. Interns will need to be available from January 23 – January 27, 2019.

Dates and Times

Responsibilities

Anaheim Convention Center North

Payment will be a pair of Sennheiser headphones and microphone HD280Pro and e835. You will also receive a letter of recommendation upon successful close of the show.

You’re also welcome to join Sennheiser for dinner each evening and attend The She Rocks Awards on January 25th.

Please send a cover letter of why you would like to intern and a resume to soundgirls@soundgirls.org

 

NAMM Mentoring Session 2019

SoundGirls Presents NAMM Mentoring Session

Join us for a Mentoring Session with Women Leaders in Professional Audio

You must be a member of SoundGirls, and you must register for the event. Space is Extremely Limited. You will receive venue address (venue is in Anaheim) with your confirmation.

Register Here

This event will be a casual mentoring session – where you can get advice and answers to your questions. Groups will rotate between leaders specializing in Live Sound, Recording and Mastering, Broadcast Engineering and Professional Audio Sales.


Industry Leaders Include

Mentors Subject to Change

 

Leslie Ann Jones Director of Music and Scoring, Music and Scoring Recording Engineer and Mixer at Skywalker Sound

Leslie Ann Jones has been a recording and mixing engineer for over 30 years. Starting her career at ABC Recording Studios in Los Angeles in 1975, she moved to San Francisco in 1978 to accept a staff position at the legendary Automatt Recording Studios. From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. In February of 1997, she returned to Northern California to accept a position as Director of Music Recording and Scoring with Skywalker Sound, where she continues her engineering career mixing music for records, films, video games, television, and commercials.

She is a past Chair of The Recording Academy’s Board of Trustees and is the recipient of 4 Grammy Awards, including 2 for Best Engineered Album-Classical. She serves on the Advisory Boards of Institute for Musical Arts, Ex’pression College for Digital Arts, and is an Artistic Advisor to the new Technology and Applied Composition degree program at the San Francisco Conservatory of Music.


Dawn Birr Pro Audio, Channel Development, and Business Analysis for Sennheiser

Dawn began her career in the audio industry in 2000, joining Sennheiser fresh out of college.  She started as a temporary receptionist and began to learn her way around and through the company. Shortly afterward she moved into Customer Service and began learning how the customers and company worked.  Thanks to a nurturing company culture and strong role models who encouraged her to learn as much as possible whenever possible, Dawn was promoted over the years to Neumann Product Manager, Professional RF Product Manager, VP of Sales for U.S. Installed Sound, Global Commercial Manager for Audio Recording, Channel Manager for the Americas for Sennheiser Business Solutions and most recently to a global position for Pro Audio, Channel Development and Business Analysis.  Dawn completed her MBA in 2006 and is a proud Advisory Board Member for the Women’s International Music Network and member of Soundgirls.org.


Jeri Palumbo, a broadcast engineer, audio mixer and RF (radio frequency) tech

Jeri is a broadcast engineer, audio mixer and RF (radio frequency) tech who, for the past 25 years, has specialized in working on high-profile sports shows. Jeri is a technical whiz and a regular on the front lines of events like the Super Bowl, NBA, NHL playoffs and most recently the World Series. Jeri is part of the RF Coordination Team each year for the Rose Bowl.  She has also worked entertainment broadcasts including The Oscars, The Tonight Show, American Idol, and others.


 


20160717_113247-1Karrie Keyes – Monitor Engineer for Pearl Jam and Eddie Vedder – Executive Director and Co-Founder of SoundGirls.Org

Karrie has spent the last 25 plus years as the monitor engineer for Pearl Jam. Karrie started out doing sound for punk bands in Los Angeles in 1986 under the tutelage of Dave Rat of Rat Sound, where she spent twenty years helping to establish the company. She was able to gain an immense amount of hands-on experience and technical knowledge at Rat, which eventually led to her becoming the monitor engineer for The Red Hot Chili Peppers from 1990-2000. She first met and started working with Pearl Jam who opened for RHCP on their 1991-1992 Blood Sugar Sex Magic Tour. She has worked with Sonic Youth, Fugazi, and more.


jett-lab Jett Galindo -Primary Affiliation: Bakery Mastering – Los Angeles, CA

Jett Galindo is a Los Angeles-based mastering engineer who works alongside Eric Boulanger at The Bakery. With engineering credits spanning different genres and artists (Nile Rodgers, Green Day, Barbra Streisand, Selena Gomez, and Colbie Caillat, to name a few), Jett Galindo carries on the legacy left behind by her late mentor, mastering legend Doug Sax (The Mastering Lab).

Recipient of Summa Cum Laude honors and the 2012 Robin Coxe-Yeldham Audio Scholar Award from Berklee College of Music, Jett Galindo was mentored by luminaries in the music industry including George Massenburg; producers Javier Limon and Prince Charles Alexander; recording engineer Susan Rogers (Prince’s Purple Rain); and mastering engineer and Dean of Education for iZotope, Jonathan Wyner.

Jett kickstarted her post-Berklee engineering career in the world-renowned Avatar Studios in New York as the recording engineer for producer Jerry Barnes. As Barnes’ engineer, Jett engineered for veteran artists such as legendary singer-songwriter Roberta Flack, Nile Rodgers, Bashiri among others.

In 2013, Jett joined The Mastering Lab family as the sole right-hand man to pioneer mastering engineer and GRAMMY Technical Achievement awardee Doug Sax. Under the steady mentorship of the late Sax, Jett burgeoned to become the last engineer to join The Mastering Lab roster. During her years at The Mastering Lab, she worked on various albums and vinyl releases from artists such as Bette Midler, Neil Young, Pink Floyd, Carmen Lundy, and Seth Macfarlane, to name a few.

Outside of mastering, Jett is a contributing writer to SoundGirls, an organization for women working in the audio engineering field led by veteran live sound engineer Karrie Keyes (Pearl Jam, Red Hot Chili Peppers). Jett is also an accomplished lyric soprano who specializes in contemporary a cappella and choral ensemble music. Currently singing with Los Angeles-based professional choir Tonality, Jett has performed in various countries spanning across Europe, Asia, and the Americas.

More Info: http://thebakery.la/jett-galindo


sara-coversdolliesimg_1024 Sara Elliot VP of Operations and CoFounder of VUE Audiotechnik

With more than 20 years of experience in professional audio, Sara has held strategic marketing and operational positions with numerous sound production companies including Burns Audio, A-1 Audio, and PRG.
Sara also served as Director of Marketing and Sales for Live Sound International Magazine and ProSoundweb.com, two of the industry’s most respected news and technical information sources. Sara brings to VUE Audiotechnik a wealth of industry relationships and a deep understanding of business operations.


download-40 Fela Davis Sound Engineer and Owner of 23db Productions

Fela Davis is a co-owner at 23db Productions based out of New York City. She’s a graduate of Full Sail University and has over a decade of experience in audio engineering. Her past experiences include working with industry powerhouses Clair Broadcast and House of Blues. When she’s not mixing or mastering songs for 23db Productions, she’s mixing front of house engineer for the 5-time Grammy award winning jazz artist Christian McBride, and Grammy-nominated Ottmar Liebert.


Samantha Pink Colleagues call me Samantha. Family and friends call me Sam. My personal favorite though is Mom. I’d say that I am a happy combination of all three. If I were able to meet my adolescent self, I would encourage her to pay attention to the wise advice of her grandmother, mother, and aunts. Listen to her inner voice and trust her instincts!

I have worked in the MI/Audio industry for 18 years, gaining experience in Purchasing, Inventory Management and Operations. Currently, I am the Director of Business Operations at JAM Industries USA, and love helping teams find solutions to problems, improving customer satisfaction and finding ways to increase profitability. I have also held positions at Full Compass Systems as Vice President of Purchasing, and The Music People as Director of Operations.


Catharine Wood Recording – Mix Engineer – Owner Planetwood Studios –

Catharine is a Los Angeles-based composer/producer/engineer with a recording studio in Los Angeles. With a background in audio post-production for commercials, Catharine engineered on the first iPhone commercial among hundreds of national and international campaigns. As a mix and mastering engineer, she has engineered on over 300 commercially released songs – including her own custom compositions which have aired on NBC, ABC, BBC, ESPN and more – both nationally and abroad. She is a GRAMMY® Voting Member and Producers & Engineers Wing member. Catharine currently holds a position on the LA Recording School’s Recording Arts Program Advisory Committee and is the former Director of Southern California for the West Coast Songwriters organization. She is a voting member of the Society of Composers and Lyricists, Songwriters Hall of Fame, a current Board Member of the California Copyright Conference and longtime professional member of NARIP and AIMP. Her company, Planetwood Studios, LLC (parent company of Planetwood Productions, established 2002) specializes in producing singer-songwriters and providing engineering, production and composition services to the TV, Film and Recording industries.


dan_profilepic Daniella Peters – Head of Sales and Management Team at Rat Sound Systems

Daniella has been with Rat Sound for over 15 years building their sales dept from a concept to a multi-million dollar part of their business. She started her career working for an international cosmetics company doing their live event production. She then transitioned to HHB Audio and Ashdown Music, Emap Performance (Kerrang and Q magazines) in London and now with Rat Sound.

She is passionate about women’s issues and spends a good portion of her spare time using her production skills to produce and host music and fashion fundraising events for various women’s non-profits. In 2018 she founded SoundGirls Productions to provide work and internships to women in working in live sound.


Ali “A MAC” McGuire has worked worldwide on albums, International/ US Tours, and charity projects alongside internationally recognized artists. Ali required recording, mixing, production, and live sound skills through a combination of experience and certification. Ali has worked with such artist as Fetty Wap, Post Malone, Hed PE, Big Daddy Kane, Dick Van Dyke, Whitney Peyton and more. Ali recently moved from Philadelphia to LA to take her business, Amaculent Entertainment LLC, to the next level. Ali is currently working out of a few great studio’s and venues in LA; recording, mixing and producing for the next generation of artists and more.


m-holmes-photoMeegan Holmes – Global Sales Manager Eighth Day Sound Los Angeles

Meegan graduated from California Institute of The Arts from their Technical Theater program in 1993; she entered the live production industry before graduation as a local stagehand with LA Stagecall in Los Angeles. In 1997, she began her 18-year audio career with Delicate Productions where she worked as a touring technician and engineer. Meegan wore many hats simultaneously during her time with Delicate Productions including Labor Coordinator, Project Manager and Account Manager.

Throughout her 24 years in the industry, she has worked hard to elevate others through hiring and mentoring. Her new position as a Global Sales Manager with Eighth Day Sound is no exception, hiring full-time staff and expanding the company’s west coast-based freelancer pool as well as building the company’s touring and west coast based clientele.


Becki Barabas At 20 years old, Becki turned her passion for music into a career in audio, with a job managing the office
at Score One Recording. She has since worked in MI, Tour Sound, and with Integrators and Audio Rep
firms, doing everything from Sales to Marketing.
She has held many positions since coming to HARMAN 10 years ago. She started the HARMAN Professional Ambassador and Influencers Program in 2016, signing such names as Chuck D, Parliament Funkadelic and Black Rebel Motor Cycle Club. She is currently Managing Business Development for
Recording and Tour.


Dana LabrecqueCo-Director and Bay Area Chapter Head

Dana has worked in professional audio for the past 30 years.  Working in the recording studio and live events, in addition to doing post-production work as a sound designer, and re-recording mixer. From 1998 – 2005 Dana co-owned and managed APG Records/Studios handling all business operations and shared duties in recording, editing, and mixing. She has taught at several colleges including City College of San Francisco, Laney College, Art Institute of California – San Francisco and Globe Recording Institute. Dana currently is a full-time educator at City College of San Francisco, teaching courses in audio production including recording arts, live sound, interconnected audio, sound for visual media, digital audio production and more. She is a Certified Technology Specialist.

Dana has served on several non-profit boards including Camp Reel Stories and Bay Area Girls Rock Camp and is a member of Bay Area Women in Film and Media, Audio Engineering Society, and Broadcast Education Association.

In her free time, Dana writes screenplays, composes and records music as well as swims in the Bay.

Listen to Dana on Working Class Audio


Piper Payne – Co-Director SoundGirls

Piper is a mastering engineer in Oakland, CA, where she works on albums for independent artists and major labels. Piper is the Owner and Chief Mastering Engineer of Neato Mastering, and she is a Co-Founder and the Chief Product Officer for Second Line Vinyl, a new Oakland-based vinyl pressing plant opening in 2018.

She recently finished her term as President of the SF Chapter of the Recording Academy and serves on the P&E Wing Advisory Council. She is also on the committee of the AES SF Chapter and heads the AES Diversity and Inclusion Committee. Piper is an audio professor and guest lectures often about mastering and recording.

Piper has mastered a wide variety of music including nationally renowned artists Third Eye Blind, Madame Gandhi, Geographer, Elettrodomestico (Jane Wiedlin/Go-Go’s), Shamir, Between You & Me, David Messier, and Fritz Montana, as well as Bay Area favorites Kat Robichaud, ANML, Sioux City Kid, The She’s, Emily Afton, Abbot Kinney, Travis Hayes, Kendra McKinley, Van Goat, and Diana Gameros.

Read more about Piper


Catherine Vericolli – Co-Director SoundGirls

Catherine Vericolli has been an outspoken analog purist since 2005. As owner, engineer, and tech at Fivethirteen Recording in Phoenix, AZ, she is dedicated to keeping the traditional analog
recording process alive in the desert. Going on 12 years of being in business, Fivethirteen has grown out of its local musicians, homestead roots into a stop off for touring nationals and international bands, guest engineers, and home for the occasional film score. Added on in 2010, Fivethirteen’s mixing suite has become one of Arizona’s premier mixing destinations, and with the installation of a RND 5088 in it’s tracking control room during the summer of 2013,
Catherine has since taken on the studio’s management position full time. She’s also an audio educator, travels nationally as an audio panelist, and co-edits Pinknoise Mag, an online publication dedicated to diversity and technical excellence in the audio industry.
513recording.com
pinknoisemag.com

Read more about Catherine


Barbara Adams SoundGirls Philadelphia Chapter head Barbara is an audio engineer and educator with over twenty years of experience in the music industry. She specializes in live sound, as well as being an accomplished recording engineer. Her strong and varied experience also includes stage management, live bookings, events, touring, and more.

Barbara currently a house engineer for World Café Live, system tech for DBS Audio and has worked in every major venue in Philadelphia, including The Tin Angel, Mann Music Center, Electric Factory Concerts, and more. She has toured with acts including Alice Smith, IAMX, 4 Way Street, Princes of Babylon, Granian, and the BurnDown All-Stars, and has served in a variety of engineering roles for festivals such as Musikfest, Welcome America in Philadelphia, Gathering of the Vibes, Thelonious Monk Institute of Jazz, and Live 8 just to name a few. She has also done consulting work for area venues and churches.


Carolina Antón is a specialist in sound design and optimization as well as a freelance sound engineer. She has worked with several sound companies such as 2hands production, Eighth Day Sound, Britannia Row, Meridian Pro audio, and Ocesa. She has toured throughout the U.S, Mexico, and Latin America with Zoe, Cafe Tacvba, Natalia Lafourcade, HaAsh. Carolina is also the owner of Hibiki Production providing services for Live Recording and Streaming. Carolina is the Chapter Head for Mexico Chapter of SoundGirls.


Nancy Tarr is an adjunct lecturer in the Music Industry department and the Executive Director of Well Dunn (a music nonprofit that connects college students with internships in the music and entertainment industry). During Nancy’s career, she has lived in Los Angeles, New York, NY and Washington, D.C. Her current home is Cooperstown, NY.  She worked on over 50 films in the music department at Paramount Pictures and was the Music Coordinator on the movie “8 Mile.”  She also worked at  RCA and Artist Records before becoming the Manager of Artist Relations and Government Affairs with the Recording Industry Association of America (RIAA).  Nancy set out on her own and has been working as an Artist Relations consultant, Event Manager, Artist Manager with Tarr Music Co.  Nancy is also a singer/songwriter, has performed in off-Broadway shows and was recently seen in the Glimmerglass Festival’s production of The Music Man.  Nancy’s band Dead Girls and Other Stories were featured performers at both the Lilith Fair and the H.O.R.D.E. Festival.


Erika Duffee has over 20 years experience in international touring and production management working with a wide variety of talent ranging from Canadian platinum-selling artists, Scott Helman and Walk Off The Earth to Italian pianist/composer, Ludovico Einaudi to Brazilian music royalty, Bebel Gilberto. She began her career as a volunteer radio programmer in New Orleans, worked in day to day management and spent 10 years at  Concord Music Group in Los Angeles doing artist development and producing showcases and special events for the label.


Whitney Olpin has been working in Live Sound for the last eight years, working as an Independent monitor engineer and stage manager. She has spent the last year touring with Fitz and the Tantrums. Based in Los Angeles, when she is not on the road she picks up local work through Live Nation.

Quick Guide on Invoicing

Whether you are a freelance sound engineer, session musician, tour manager, or backline technician, what we all have in common is that we like to be paid for the work we carry out. If you are not on a salary, you will most likely invoice the companies you work for.

It is incredibly important to get your invoice right from the start; it will save you and the company a lot of time if you get it right from the beginning.

You can find loads of templates online, and invoices might vary slightly from country to country. However, the basics are all the same, and there is some crucial information you need to include in your invoice.

Here is a simple guide on what a basic invoice needs to include:

Your Name / Company Name: This one is quite obvious, it needs to be clear who is invoicing the company.

Your contact information: Your full address, including city and country. You will also need to provide your phone number.

Date: The date you are sending the invoice. This is crucial, this way you can keep track of whether your invoice is overdue or not.

Invoice number: This one is important, especially if you are invoicing a company regularly, this way the accounts team can keep track of which invoices have been processed and which are due to be processed. It also helps you to keep track of your own invoices and how many you have sent.

For: Project or service description.

Bill to: The Company / Person you are invoicing and their address. Add ‘Attention’ depending on what department or person you are invoicing.

Description of the work carried out: The more accurate description, the better, where you have been working, what department, what date and for how long.

The amount: The amount you charge for your work.

Value added tax (VAT): If you are a VAT registered business, you need to add VAT, which is usually between 15%-20% of the amount charged.

Total amount: Sum up the amount (and VAT if you have a VAT registered business) to a total amount.

Bank Details: Now do not forget to add your correct bank details. This might seem obvious, but I’ve seen plenty of invoices which did not include their bank details, or their details were incorrect.

Add your bank, full name, sort code, and account number.

Format: PDF is the way to go. That way your invoice can not be altered with. Name your PDF after your invoice number. Also, include your name and surname, i.e., Invoice#1001FirstnameSurname.

Email: Make sure you are emailing the right department/person. If you send your invoice to the wrong department/person, it will take longer to process your invoice. Worst case, it will get lost between people, which will delay the process even further.

When emailing your invoice make sure you write something along the lines of:

“Dear Sir / Madame / Name of the person,

Please find attached my invoice for my (description such as DJ/session musician/sound technician) services at your company. If you have any questions concerning this invoice, please do not hesitate to get in touch.

Kind regards,

First name Surname “

It does not have to be long, but it needs to be polite, professional and give them some information about the invoice they have just received.

It can take up to 30 days for invoices to be processed and paid which is standard. In the UK, usually, VAT invoices must be issued within 30 days of the date of supply or the date of payment (if you’re paid in advance).

Overdue fees: In the UK we have the ‘Late Payment of Commercial Debts (Interest) Act 1998′, which means that if a payment is overdue, you can claim a late payment fee. The statutory right to claim interest and compensation is not compulsory, and it is for the supplier to decide whether or not to make use of their rights.

Make sure to look up your rights and acts in your country and do not hesitate to get in touch with a solicitor to help you if you need further assistance with any claims or questions regarding any late payments.

 

Interfaz de Sonido

Es muy importante conocer más a fondo los diferentes componentes y equipo que necesitarás para montar tu home studio, y para ello nos adentramos en el mundo de las interfaces de audio.

Qué es una interfaz de sonido?

En primer lugar, vamos a aclarar qué son las interfaces de audio. Antes de meternos a fondo, una aclaración: es probable que hayas escuchado hablar de interfaz de audio, interfaz de sonido, tarjeta de sonido etc. ¡No te preocupes, es lo mismo! Tan solo son diferentes formas de llamarlas, pero el nombre más técnico y más extendido es interfaz de audio.

Explicado de una forma sencilla, una interfaz de audio es el hardware que te permite trasladar los sonidos que quieras grabar a tu DAW (recuerda, la estación de audio digital, o en otras palabras, el software de producción musical). Es decir, la interfaz de audio es lo que te permite pasar el sonido acústico, la señal analógica (por ejemplo, la que produce cualquier voz o instrumento), a señal digital, que es lo que tu ordenador puede leer y procesar.

Por qué necesitas una interfaz de audio?

Esta es siempre la pregunta que todo el mundo se hace al plantearse comprar una interfaz de audio. El motivo es precisamente el que ya hemos visto. La mayoría de los estudios de grabación en la actualidad (y mucho más los home studio), centralizan la producción musical a través de la computadora. Con el avance de la tecnología, hay una tendencia cada vez mayor de abandonar los equipos analógicos para pasar a lo digital. Por lo tanto, todo lo que queramos grabar debe poder ser procesado por la computadora y por el software de producción. Piénsalo así: una computadora no entiende el sonido, así que para que puedas trabajarlo, es necesario pasarlo a un lenguaje que pueda comprender, y este lenguaje es la señal digital. No te preocupes, de momento no necesitamos profundizar mucho más sobre esto. A medida que avancemos, ya habrá tiempo de entrar en más detalle sobre los tipos de señales y otros conceptos más técnicos. Pues bien, la interfaz de audio es el equipo que capta esas señales analógicas que emite un instrumento y las convierte en señales digitales, capaces de ser tratadas por la computadora. Por ese motivo, una interfaz es algo de lo que no podemos prescindir en nuestro estudio. Si queremos hacer música en casa, necesitamos una interfaz de sonido.

Siguiente pregunta: Por qué tengo que comprarme una interfaz, si en mi computadora ya viene integrada una tarjeta de sonido?  La respuesta es muy sencilla. Efectivamente, en tu computadora seguramente ya viene integrada una tarjeta de sonido. El problema es que las tarjetas de sonido que vienen incorporadas en las computadoras comunes no están preparadas para realizar ese tipo de procesamiento de sonido, que requiere mucha potencia y muchos recursos. Piensa que no estás montando un estudio de grabación para reproducir un par de canciones en Spotify. Lo que queremos es hacer nuestra propia música, y para ello no es suficiente el equipamiento común, sino que necesitaremos componentes de buena calidad que estén preparados específicamente para el tratamiento de audio.

En qué fijarte para comprar una interfaz de audio

Ya sabemos qué son las interfaces y por qué necesitamos una en nuestro estudio. Ahora la pregunta es: ¿cuáles son sus principales características?  ¿En que debo fijarme para comprarme una? ¿Cuál es la que mejor se adapta a mis necesidades?

No te dejes engañar. Todas las interfaces de audio tienen básicamente las mismas características y funcionan de la misma manera. Son estas:

Entradas y Salidas

 

Por una parte, debemos tener muy en cuenta el número de entradas y salidas de nuestra interfaz. Es fundamental que te preguntes lo siguiente: ¿Para qué la quiero? ¿Qué uso le voy a dar?

La regla es que necesitarás tantas entradas como líneas quieras grabar simultáneamente. Eso dependerá en gran medida de la forma en la que grabes.

Básicamente existen dos métodos principales de grabación:

Mi consejo, sobre todo si estás empezando, es que grabes por pistas. Es una forma más sencilla de iniciarse en la producción musical y de conocer cómo funcionan los flujos de sonido. También es una técnica increíble para potenciar la creatividad mientras compones. Además, necesitarás menos entradas, ¡por lo que podrás ahorrar mucho dinero y espacio!

El siguiente punto que hay que valorar es el tipo de entrada o salida. No todas las líneas necesitan del mismo tipo de entrada. En términos generales, existen dos tipos de entradas:

Las interfaces incorporan entradas híbridas, que gracias a su diseño permiten conectar tanto instrumentos como micrófonos.

Otro factor por tener muy en cuenta son las salidas de audífono. Hoy en día prácticamente todas las interfaces de sonido incorporan una salida de audífono. Es una característica fundamental para poder intercambiar de una forma sencilla entre escuchar tus producciones a través de los monitores y de los auriculares. Un consejo: si puedes, adquiere una interfaz que tenga más de una salida de audífonos. Te aseguro que te será muy útil cuando estés grabando a otra persona, ya que de esa forma los dos podrán escuchar cómodamente mientras graban.

  1. Preamplificadores

Los preamplificadores son probablemente el elemento más importante de las interfaces de sonido, ya que determinan la calidad de tus grabaciones. El objetivo es buscar una interfaz que lleve integrados unos buenos preamplificadores, fiables y, sobre todo, que transmitan un sonido claro y limpio. En la actualidad, la gran mayoría de las interfaces del mercado incorporan unos preamplificadores de una calidad suficiente.

  1. Conexión

Existen tres tipos de conexiones:

  1. Precio

Como siempre, es importante tener en cuenta el precio de los diferentes modelos. En Tu Home Studio, el objetivo es aprender a producir música y montar tu propio estudio de grabación con el presupuesto más ajustado posible.

Actualmente hay interfaces de audio para todos los presupuestos. Claro que, también hay opciones mucho más caras, que normalmente ofrecen más entradas y salidas y unos preamplificadores de la mejor calidad.

Conclusiones

En mi opinión, la mejor opción cuando adquieras una interfaz es que se ajuste a tus necesidades ya sea utilizando USB o Thunderbolt. Hablando de las conexiones con USB, la velocidad es más que suficiente y ha mejorado mucho con el USB 2.0 y 3.0. En cuanto al número de entradas, mi recomendación es que empieces con una interfaz de mínimo 2 entradas, con la que podrás grabar cómodamente por pistas e incluso grabar algunas interpretaciones en vivo.

Aunque siempre es recomendable tener más de una entrada. Lo mejor es que tengas una interfaz de 2 a 8 entradas, una para micrófono y otra para línea. Además de cuidar la calidad de los preamplificadores ya que algunas interfaces no son de tanta calidad y no ofrecen un sonido tan limpio.


Carolina Antón es especialista en diseño y optimización de sonido, así como ingeniera de sonido independiente. Ha trabajado con varias compañías de sonido como la producción de 2hands, Eighth Day Sound, Britannia Row, Meridian Pro audio y Ocesa. Ha realizado giras por los EE. UU., México y América Latina con Zoe, Cafe Tacvba, Natalia Lafourcade, HaAsh. Carolina también es propietaria de Hibiki Production que proporciona servicios para grabación y transmisión en vivo.

 

 

Sound Interface

It is very important to know more in-depth the different components and equipment that you will need to set up your home studio, and for that, we enter the world of audio interfaces.

What is a sound interface?

First, let’s clarify what audio interfaces are. Before getting to the bottom, a clarification: you have probably heard about an audio interface, sound interface, sound card etc. Do not worry, it’s the same! There are only different ways to call them, but the most technical and most extended name is the audio interface.

Explained in a simple way, an audio interface is hardware that allows you to transfer the sounds you want to record to your DAW (remember, the digital audio station, or in other words, the music production software). That is, the audio interface is what allows you to pass the acoustic sound, the analog signal (for example, the one produced by any voice or instrument), to a digital signal, which is what your computer can read and process.

Why do you need an audio interface?

This is always the question that everyone asks when considering buying an audio interface. The reason is precisely the one we have already seen. The majority of recording studios today (and much more home studio), centralize musical production through the computer. With the advancement of technology, there is a growing trend of abandoning analog equipment to become digital. Therefore, everything we want to record must be able to be processed by the computer and by the production software. Think of it like this: a computer does not understand sound, so for you to be able to work it; you need to pass it to a language that you can understand, and this language is the digital signal. Do not worry, at the moment we do not need to go into much more about this. As we move forward, there will be time to go into more detail about the types of signals and other more technical concepts. Well, the audio interface is the equipment that captures those analog signals that an instrument emits and converts them into digital signals, capable of being treated by the computer. For that reason, an interface is something that we cannot do without in our study. If we want to make music at home, we need a sound interface.

Next question: Why do I have to buy an interface if a sound card is integrated into my computer? The answer is very simple. Indeed, a sound card is already integrated into your computer. The problem is that the sound cards that come incorporated in common computers are not prepared to perform this type of sound processing, which requires a lot of power and many resources. Think you’re not setting up a recording studio to play a couple of songs on Spotify. What we want is to make our own music, and for this, the common equipment is not enough, but we will need good quality components that are specifically prepared for the audio treatment.

What to look for to buy an audio interface

We already know what interfaces are and why we need one in our study. Now the question is: what are its main characteristics? What should I pay attention to buy one? Which one best suits my needs?

Do not be fooled. All audio interfaces have basically the same characteristics and work in the same way. These are:

Inputs and Outputs

On the one hand, we must take into account the number of inputs and outputs of our interface. It is essential that you ask yourself the following: What do I want it for? What use will I give?

The rule is that you will need as many entries as you want to record simultaneously. That will depend to a large extent on the way you record.

Basically, there are two main methods of recording:

Recording by tracks: Nowadays, there are many people who record by tracks, that is, you record a track first (example, drums), then on that track you record the next one (eg the bass) and so on until you complete the track. It could also be called layer recording. The technique consists of adding layers until the final result is obtained. Therefore,  if you record by tracks (which is the most usual in a home studio environment), it will be enough to have an audio interface with few inputs.

Live recording: unlike recording by tracks, for live recording you will need as many inputs as there are sound lines being played at the same time. For example, if you want to record a group of 4 people simultaneously playing live, you will need as many inputs as you want to record: several entries for the voices and many others for the instruments. Keep in mind that there are instruments, such as the battery, that need several microphones to capture the different components (bass drum, snare, cymbals, etc.).

My advice, especially if you are starting, is that you record by clues. It is a simpler way to get started in musical production and to know how sound workflows. It is also an incredible technique to enhance creativity while you compose. In addition, you will need fewer entries, so you can save a lot of money and space!

The next point to assess is the type of entry or exit. Not all lines need the same type of entry. In general terms, there are two types of entries:

Line input: these types of inputs are used to connect instruments such as basses and electric guitars.

Microphone input: as its name suggests, it is used to connect microphones. However, we must bear in mind that condenser microphones require a different power to operate (48v). Most audio interfaces already have a built-in button to activate the 48v of power for when you want to connect your condenser mic, but I recommend that you make sure before buying it.

The interfaces incorporate hybrid inputs, which thanks to their design allow to connect both instruments and microphones.

Another factor to keep in mind is the hearing aid outputs. Nowadays practically all sound interfaces incorporate a hearing aid output. It is a fundamental characteristic to be able to exchange in a simple way between listening to your productions through the monitors and the headphones. A tip: if you can, get an interface that has more than one headphone output. I assure you that it will be very useful when you are recording another person, since that way you can both listen comfortably while recording.

Pre-amplifiers

The preamplifiers are probably the most important element of the sound interfaces since they determine the quality of your recordings. The objective is to look for an interface that has integrated good preamplifiers, reliable and, above all, that transmit a clear and clean sound. Currently, the vast majority of market interfaces incorporate preamps of sufficient quality.

Connection

There are three types of connections:

USB: is the most used currently, especially in the interfaces of medium quality. Although it is not the fastest connection of the existing ones, it is a very good option for home studios, especially for its easy connection to computers (all computers on the market have a way to connect to USB ports). In addition, with USB 2.0 and USB 3.0, the speed has increased considerably, making the USB connection preferred by both manufacturers and users.

Firewire: Formerly firewire connections used to be faster than USB, but today, the USB connection has nothing to envy to the firewire, getting to provide very good speed.

Thunderbolt: it is the fastest connection in the market, now more frequent in current computers. Normally only higher quality audio interfaces (and, therefore, higher price) incorporate thunderbolt connection.

Price

As always, it is important to take into account the price of the different models. At Tu Home Studio, the goal is to learn how to produce music and set up your own recording studio with the best possible budget.

Currently, there are audio interfaces for all budgets. Of course, there are also much more expensive options, which usually offer more inputs and outputs and preamps of the best quality.

Conclusions

In my opinion, the best option when you acquire an interface is that it suits your needs, whether using USB or Thunderbolt. Speaking of USB connections, the speed is more than enough and has improved a lot with USB 2.0 and 3.0. As for the number of entries, my recommendation is that you start with an interface of at least 2 entries, with which you can comfortably record tracks and even record some live performances.

Although it is always advisable to have more than one entry. The best thing is that you have an interface of 2 to 8 inputs, one for microphone and another for the line. In addition to taking care of the quality of the preamplifiers since some interfaces are not of such quality and do not offer such a clean sound.


Carolina Antón is a specialist in sound design and optimization as well as a freelance sound engineer. She has worked with several sound companies such as 2hands production, Eighth Day Sound, Britannia Row,Meridian Pro audio, and Ocesa. She has toured throughout the U.S, Mexico, and Latin America with Zoe, Cafe Tacvba, Natalia Lafourcade, HaAsh. Carolina is also the owner of Hibiki Production providing services for Live Recording and Streaming. Carolina is the Chapter Head for Mexico Chapter of SoundGirls.

 

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

First to Record Elvis – Marion Keisker

The Blogs

Making Hard Decisions – Career Choices

Dancing on the Demon of Ignorance

A Guide to Supporting Women in Sound


SoundGirls News

 

https://soundgirls.org/event/los-angeles-soundgirls-social-3/?instance_id=1350

Vancouver SoundGirls Social

https://soundgirls.org/event/nashville-soundgirls-chapter-launch/?instance_id=1347

https://soundgirls.org/event/los-angeles-soundgirls-social-2/?instance_id=1327

Hearing Health Seminar

Analog/Tape Recording Workshop w/Lenise Bent

https://soundgirls.org/namm-2019-badges-for-soundgirls-members-2/

SoundGirls and SoundGym

Shadowing/Mentoring/Internship Opportunities

Shadowing Opportunity w/Guit Tech Claire Murphy

Shadowing Opportunity w/ FOH Engineer Edgardo “Verta” Vertanessian

Shadowing Opportunity w/ FOH Engineer Sean “Sully” Sullivan

Shadowing Opportunity w/ ME Aaron Foye

https://soundgirls.org/soundgirls-mentoring/

 


Round Up From the Internet

https://www.prosoundweb.com/channels/live-sound/keeping-it-real-psychoacoustics-in-iem-mixing/

 


SoundGirls Resources

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