Empowering the Next Generation of Women in Audio

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District of Screen Composers

Empowering Women & Youth in Music Film Composing

One of the most important components of a film is the musical score. It sets the pace and emotion of the story, engaging the viewer to identify with each character. Composing the soundtrack requires the director to write and arrange music that pairs perfectly with the film, utilizing flawless performances by instrumental ensembles, choruses, or musicians. Being a woman composer in a field dominated by men adds to the challenge, something that 22-year-old Romanian composer Ioana Selaru knows all too well.

Ioana Selaru was born in Galati, Eastern Romania where she studied music at an early age. She is an accomplished violinist of over 12 years and has grown up surrounded by music, art, and literature. Her love for composing music sparked the idea to create DISC – District of Screen Composers, a cultural and educational enterprise centering on the music field, consisting of talented and ambitious young musicians, with the common purpose of creating, adapting, and mastering a wide variety of audio products.

Her main goal with DISC is to become a household name on the audio-cultural market, all the while making a positive impact on the local youth through workshops, projects and collaborations. At the same time, initiate and take part in various cultural programs aiming to bring added value to the community.

But, as a female entrepreneur, Ioana faces many obstacles running a successful business in a field dominated by men.  She is motivated by her love for film composing and recognizing that the film industry is very poorly developed in Romania. Ioana states there is currently no community to support ideas like hers in her country that encourages young composers, especially women. She wants to be a part of that change, just like Soundgirls is.

We interviewed Ioana Selaru to learn more about this phenomenal woman on how she came into this industry, and what DISC is doing to increase awareness of women in the music film composing industry.

Myki Angeline: Where is DISC located, when was it established, and how can anyone take part in your workshops and projects?

Ioana Selaru:  DISC, District of Screen Composers, is a music studio located in the heart of Bucharest, Romania’s capital city, is a cultural hub called Manasia. The studio was established three years ago, in 2015, but with another vision and under a different name. The studio is open to anyone who is interested in our activities, and any student or young music enthusiast, willing to be part of the music field, can take part in our cultural programs aiming to bring value to the community.

Myki Angeline: What is your background in music and knowledge, and how is this incorporated into DISC?

Ioana Selaru:   Much of my passion for art comes from the environment I grew up in. My father was a musician in his youth, a guitarist in a rock music band, and my siblings studied architecture, painting, and literature. My passion for composing music has emerged in the final years of high school when I started creating my own arrangements for a band. Then I saw the movie “American Beauty” and listened to the soundtrack composed by Thomas Newman. It was the first time film music really drew my attention in a meaningful way because I was simply absorbed by the perfect blend between music and story. Being trained in a classical way from a very young age is a factor that is easily recognizable in my own compositions. From the way, I build my melody, to harmony and orchestration. I like to integrate the sound of violin in almost any creation. Regardless of whether it is a plucked string, making a percussive sound with the bow or with the body of the instrument.

Myki Angeline: Have you encountered any hurdles as a woman in your industry? If so, what have you done to overcome them?

Ioana Selaru:   I was lucky enough not to have experienced blatant sexism directly. I think prejudice is everywhere, all around the world. Many people, I think, are still not used to the idea of seeing a woman in a leading role. Inappropriate comments are just a sign of insecurity. It is quite clear that there are more men than women working in the film industry, but that does not mean that women are not interested in this kind of job. Every time I am faced with a similar situation I try not to show that I am affected and treat it as a normal work problem. Apart from the above, my male colleagues have been very respectful and supportive.

Myki Angeline: Do you have any upcoming films to be released, or upcoming projects for others to become a part of to share with our readers?

Ioana Selaru:  Apart from my composing work and efforts to develop productive professional relationships, I am investing a good amount of time into organising events that combine visual art with music.  On May 19, the works of three young graphic artists will be accompanied by live ambient music created by us. We will also be interacting with guests and presenting the studio and the artists’ activities in a laid-back atmosphere. There are several future projects, so it is best for readers to follow us on Facebook, Soundcloud, and Instagram.

Myki Angeline: What advice do you have for those choosing to pursue a career in film score composing?

Ioana Selaru:   My advice would be simple: to get out of their comfort zone and experiment. As an artist, it’s important to find your own style and draw inspiration from other people, but what leads to being a real artist is experimenting and developing productive relationships.

Follow DISC on Facebook, Soundcloud, Instagram, and Vimeo.

Follow Iona Selaru on Facebook and Soundcloud


 

What is in my toolkit?

There is one thing every engineer should have, and that is a toolkit. It does not have to be a full box of random tools, but just a little kit with handy tools and necessities for you to carry with you in your bag. I have recently upgraded mine with tools and things that I use the most. For me, it is also important to keep my kit compact and only with things that I really need. Every toolkit should be customised to your own needs!

Tape – Electrical tape, gaffer tape & masking tape – you name it. Should live in your bag always.

Drum keys – I am not a drummer, but I always carry drum keys in case a drummer have forgotten theirs. Tuned drums sound better and makes your mixing a hell of a lot easier!

Hex key (Allen Key) – In all the different sizes, good for drum pedals, DJ speaker stands, etc.

Lighter – I am not a smoker but always have lighters with me in case an Apocalypse is around the corner. Seriously though, I’m sure one day I’ll think that I need one and then I will. Better be safe than sorry!

Flashlight – For tight and dark spaces, though most smartphones nowadays have a built-in flashlight, it is always handy to have one in case you need to use your phone for something else.

Adapters – All kinds of adapters – Jack adapters, XLR adapters, RCA adapters – they are always needed and the more, the merrier (because they do tend to disappear).

Multi-tool – If I could only bring one thing with me to a deserted island (or gig) it is the multi-tool for multi-purposes.

Cable cutter & cable stripper – Whenever you need to repair a cable, a cable cutter & stripper will save you a lot of time rather than using scissors.

Sharpies & Pens – For labeling, buy a multi-pack of sharpies and always have loads with you. As with the adapters, the sharpies tend to grow legs and walk away!

Measuring tape – So handy for the odd jobs. I have had to measure stages, workspaces, desks, pianos, etc.

Batteries – Always good to have extra batteries especially AAs & AAAs.

USB sticks – For backing up session files. Have some tracks on it for testing CDJ’s or good for recording stereo tracks on digital desks!

Earplugs – Invest in a good pair of earplugs, trust me it is worth it. Mine are custom-fit from RealAudio, but there is plenty of companies making custom-made ones in all price ranges. Always have some spare disposable foam earplugs though for an emergency, in case you forget your good ones or if anyone in your surrounding needs a pair.

Headphones – If you can afford to get a good pair of IEM’s that is great, but if you cannot afford it just any pair will do, trust me, a pair of shit headphones are better than none!

Super glue – Seriously good to have when needing to fix and hold together something quickly.

I fit more or less all of these things into a medium makeup bag that I bought from Primark (In the U.S I think the equivalent is Walmart) as I wanted something compact that I could have with me anywhere I go.

Another good thing to have at work or home is a soldering iron to repair cables. We live in such a wasteful society and repairing XLR’s, and Jack cables are so easy to do yourself! If you are unsure of how to solder cables, ask for help!

If you have a Smartphone there is also a few good apps to have downloaded on your phone:

Sound meter – To measure dB, not always the most accurate but if you do not have a real dB measurer, a sound meter app will at least give you some idea of how loud it is.

Laser, Clinometer & Bubble level – 3 in 1 app, good to have if you do not have the real deal. Again, it is perhaps not the most accurate but better than none!

Google translate – If you are working abroad or communicating with someone who may not speak your language fluently Google translate is the one to help you out on the go! There is no reason for things not to be communicated properly when we are so lucky to have such a great tool to help!

I am sure my toolkit will continue to grow, but for now, it has got everything that I need on a daily basis.

It will save you so much time to invest in the tools you need the most. You will not have to ask around for it when you need them, and you will know how to use them correctly.

How is your toolkit looking, is it up to date?

 

Consideraciones para realizar un diseño de refuerzo Sonoro.

Que es el diseño de refuerzo sonoro? Reproducción del sonido en una determinada área de audiencia mediante medios artificiales, que tienen como finalidad realizar una amplificación del sonido para obtener un nivel de presión sonora homogéneo (se consideran aceptables las diferencias de +-6dB) en todos los puntos del recinto a sonorizar, además de asegurarle la inteligibilidad del mensaje a cada uno de los escuchas.

A continuación, mencionaremos algunas consideraciones a tener en cuenta para el diseño de refuerzo sonoro:

1) Consideraciones acústicas previas. Se deberá realizar un análisis de diferentes parámetros, tales como: Tiempo de Reverberación(RT60), inteligibilidad, Definición (D), Claridad de la voz (C80), RASTI, %ALcons.

PARÁMETRO ACÚSTICO VALOR RECOMENDADO
Tiempo de reverberación medio (500 Hz – 1 kHz), sala llena 0,7 ≤ RTmid ≤ 1,2 s
Claridad de la voz C50(“ speech average), sala llena C50 > 2 dB
Definición D (de 125 Hz a 4 kHz), sala ocupada D > 0,50
Relación primeras reflexiones ERR, sala vacía u ocupada 2 ≤ ERR ≤ 6
STI/RASTI, sala ocupada STI/RASTI ≥ 0,65

 

TIPO DE RECINTO REVERBERACION (s)
Cine 0.4 s
Salón de Clases 0.6 s
Teatro y Música Auto amplificada 1.0 s
Sinfónica 2.2 s
Iglesias 3.0 s

2) Debemos preguntarnos qué tipo de recinto vamos a sonorizar

 

3) Solicitud de planos del reciento a diseñar.  En este punto se recomienda tener medidas del lugar por medio de un scouting al recinto; se deberán solicitar planos en AutoCAD, tanto en vistas en 3D, 2D, plantas y cortes del recinto, para poder realizar un análisis exhaustivo. Asimismo, debemos recordar que este diseño se llevará a cabo en la práctica, por lo que no debemos olvidar hacernos diferentes preguntas que nos permitan determinar el alcance adecuado del proyecto: ¿que se espera de este diseño de refuerzo sonoro por parte del solicitante?, ¿existe alguna obstrucción visual posible?, ¿existe limitación en cuanto a peso del equipo?, ¿es un espacio abierto o cerrado? a nivel subjetivo ¿que se busca o que se espera?, ¿qué tipo de sistema se solicita: arreglo lineal o sistema convencional?, todo esto encaminado a determinar el alcance adecuado del proyecto.

 

4) Análisis de cobertura.  Se aplicarán y comprobarán diferentes técnicas de diseño apoyándonos de un software de predicción, tal como MAPPXT el cual se utiliza para medir y cuantificar parámetros. En este punto debemos ser capaces de resolver problemas de interacción entre altavoces, selección de nivel de presión sonora adecuado, análisis de la respuesta en frecuencia y fase en diferentes puntos del recinto, cobertura vertical, horizontal, ubicación de altavoces, ángulo de inclinación y peso de altavoces, distribución de señales para un adecuado ajuste del sistema buscando así una cobertura homogénea en todos los escuchas por igual. Asimismo, debemos aplicar parámetros de referencia o normas existentes según el tipo de aplicación; por ejemplo: en cines con formato de reproducción ATMOS existen normativas por parte de Dolby que ofrecen especificaciones a cumplir referentes a nivel de presión sonora, altavoces en pantalla, posición de altavoces, niveles de presión sonora en la zona de baja frecuencia, entre otros. En recintos deportivos existen normativas que ofrece la FIFA como guía para realizar un diseño. De igual forma, se deberá realizar el análisis de qué tipo de sistemas serán necesarios con base a las necesidades de cobertura de los altavoces: sistema principal, sistema frontal, sistema bajo balcón, sistema de retraso, sistema lateral, sistema de baja frecuencia, sistema multicanal 5.1, 7.1, por mencionar algunos. Al finalizar dicho análisis se genera una memoria de diseño del mismo.

 

5) Supervisión de montaje.  Una vez que se terminó la etapa anterior, lo más importante que se debe considerar y no debemos olvidar es que ese diseño se llevará a cabo en la práctica, por lo que debemos asegurarnos que el diseño se lleve a cabo tal como se planteó. En ese momento debemos contar con las herramientas adecuadas para poder supervisar dicho montaje, tal como inclinómetro, láser, cintas métricas y memoria de montaje.


Gabriella Galán Mendicuti estudió audio estudios como ingeniera de telecomunicaciones con especialización en audio y video en la Universidad Politécnica de Madrid. Ella ha estado involucrada en audio profesional durante los últimos 12 años con un énfasis especial en el diseño de refuerzo de sonido. Actualmente trabaja en Meyer Sound México como Especialista en Servicios de Diseño para México y América Latina. Ha participado en varios diseños de refuerzo de sonido de los lugares más importantes en varios países, como teatros, iglesias, espectáculos en vivo, eventos especiales y lugares.

 

 

Considerations for a Sound Reinforcement Design.

What is the sound reinforcement design? Reproduction of the sound in a certain audience area by artificial means, which have the purpose of amplifying the sound to obtain a homogeneous sound pressure level (the differences of + -6dB are considered acceptable) in all the points of the room to sound, in addition to ensuring the intelligibility of the message to each of the listeners.

We will outline some considerations to take into account for the sound reinforcement design

 

 

ACOUSTIC PARAMETER RECOMMENDED VALUE
Average reverberation time (500 Hz – 1 kHz), full room

Average reverberation time (500 Hz – 1 kHz), full room

0,7 ≤ RTmid ≤ 1,2 s

0,7 ≤ RTmid ≤ 1,2 s

Clarity of the voice C50 (“speech average), full room C50 > 2 dB
Definition D (from 125 Hz to 4 kHz), occupied room D > 0,50

D > 0,50

Relationship first reflections ERR, empty or occupied room 2 ≤ ERR ≤ 6
STI / RASTI, occupied room STI/RASTI ≥ 0,65

 

ENCLOSURE DESING REVERBERATION   (s)
Cinema 0.4 s

.4 s

Classroom 0.6 s
Theater and Music  autoamplified 1.0 s
Symphonic 2.2 s
Churches 3.0 s

 

 

 

 

 

 

3) Request for drawings of the design to be designed. At this point it is recommended to have measurements of the place by means of a scouting to the enclosure; Plans must be requested in AutoCAD, both in 3D, 2D, plant, and court views, in order to carry out a thorough analysis. Likewise, we must remember that this design will be carried out in practice, so we must not forget to ask ourselves different questions that allow us to determine the adequate scope of the project: what is expected from this sound reinforcement design by the applicant? Is there any possible visual obstruction? Is there a limitation regarding the weight of the equipment? Is it an open or closed space? At a subjective level, what is being sought or what is expected? What kind of system is requested: the linear arrangement or conventional system? All this aimed at determining the adequate scope of the project.

4) Coverage analysis. Different design techniques will be applied and tested, supported by a prediction software, such as MAPPXT, which is used to measure and quantify parameters. At this point we must be able to solve problems of interaction between speakers, selection of adequate sound pressure level, analysis of frequency response and phase at different points of the enclosure, vertical, horizontal coverage, location of speakers, angle of inclination and weight of loudspeakers, distribution of signals for an adequate adjustment of the system looking for a homogenous coverage in all listeners alike. Likewise, we must apply reference parameters or existing standards according to the type of application; for example: in cinemas with ATMOS playback format there are regulations by Dolby that offer specifications to be met regarding sound pressure level, on-screen speakers, speaker position, sound pressure levels in the low-frequency area, among others. In sports venues, there are regulations that FIFA offers as a guide to design. Likewise, the analysis of what kind of systems will be needed based on the speaker coverage needs must be carried out: main system, front system, balcony system, delay system, lateral system, low-frequency system, system multi-channel 5.1, 7.1, to mention a few. At the end of this analysis, a design memory is generated.

 

5) Assembly supervision. Once the previous stage is finished, the most important thing that should be considered and we must not forget is that this design will be carried out in practice, so we must ensure that the design is carried out as it was proposed. At that time we must have the right tools to monitor such assemblies, such as inclinometer, laser, tape measures and mounting memory.


Gabriella Galán Mendicuti studied audio studies as a telecommunications engineer with a specialization in audio and video at the Polytechnic University of Madrid. She has been involved in professional audio for last 12 years with a special emphasis on sound reinforcement design. She currently works at Meyer Sound Mexico as a Design Services Specialist Tech Support for Mexico and Latin America. She has participated in various sound reinforcement designs of the most important venues in various countries, such as theaters, churches, live shows, special events, and venues.

 

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

May Feature Profile

Daniela Seggewiss – Time Flies When You Are Doing What You Love

The Blogs

What’s Your Plan B?

Mix With the Masters Experience

The Sound of Cinematic Femininity


SoundGirls News

https://soundgirls.org/scholarships-18/

Line Check! Experience Sound Check a Grammy Nominated R&B/Pop Artist

Accepting Applications for Ladybug Music Festival

Representation on Panels – Music Expo – Boston

Philadelphia SoundGirls Chapter May Meeting – May 19th

SoundGirls Productions Meet & Greet

https://soundgirls.org/event/orlando-soundgirls-chapter-social-2/?instance_id=1273

Amsterdam SoundGirls Tour & Social

SoundGirls London Chapter Social – June 17

https://soundgirls.org/event/glasgow-soundgirls-meet-greet/?instance_id=1272

NYC – Location Sound Mixing Opportuntity

Shadowing Opportunities – Berlin

Shadowing Opportunities

Telefunken Tour & Workshop

Round Up From the Internet

https://www.themarysue.com/support-ladies-get-paid/

 

 

 


SoundGirls Resources

Directory of Women in Professional Audio and Production

This directory provides a listing of women in disciplines industry-wide for networking and hiring. It’s free – add your name, upload your resume, and share with your colleagues across the industry.


Women-Owned Businesses

Member Benefits

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

SoundGirls Scholarships

APPLICATIONS For 2021

We are awarding four $250 scholarships to be used for audio education and continuing education. Applications will open on June 1, 2021

WHO IS ELIGIBLE?

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

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Applications will open on June 1, 2021 – Apply Here

DEADLINE FOR SUBMISSION

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

SELECTION PROCESS & NOTIFICATION

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

ADDITIONAL DETAILS

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

QUESTIONS?

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

 

 

 

 

The Sound of Cinematic Femininity

What do feminine films sound like?

Masculinity is well established in the sonic world:  baritone voices boom, while the steady pacing of drums interplay with fists or bullets landing their mark.  Femininity, in contrast, seems to be developed only as far as to say “not manly,” or in characteristics that attract the leading man.  Just as scripts provide women with roles that exist solely in relation to the men of the film, sounds that are feminine often act as an antithesis to the masculine and nothing more.  I want to explore what films get right and wrong aurally about femininity, and create an argument for diversity in how a character design is approached (and by extension diversity in the field of sound design).  Full disclaimer, this is not an exhaustive list, but a journey to see past shallow stereotypes.

Let’s start with the baseline of what is masculine.  In skimming the top “manly” or “masculine” titles from popular men’s magazines and film review sites, I see recurring themes of sports, war, and fighting action.  The lead is usually a man with muscles, a confident catch-phrase, and he is usually armed. Building up the sonic world we have guns with their loud and jarring accessories of bullets, ricochets, and death screams (The Godfather, 1972).  Any sport, including martial arts, require grunts and intensive body movements that might include collisions and punches (Bloodsport, 1988).  With the intensity of the action, these films are often loud; there might be explosions, helicopters, police sirens, and even robots (Transformers, 2007).  The leading man’s voice is steady, and according to The Pudding’s 2016 article on film dialog by Hanah Anderson and Matt Daniels, the leading man (and his male co-stars) dominate the conversations.  Musical themes, when orchestral, are full and will give a nod to Gustav Holst’s Mars when war is included (Gladiator, 2000).  80’s action films, which relish the masculine tag, often benefited from hair metal title tracks (Rocky, 1976).

I do not have to search long to find examples of masculinity, and even with gross generalizations, there are many genres and lists that support these stereotyped characteristics.  There is variation, but the archetype is well established. The initial films cited are from the United States, but I could also use Machete (2010, Mexico) and Oldboy (2003, South Korea) as examples.  I feel I almost do not have to mention the low percentage of women in the crew of these films, Django Unchained (2012) for example has one woman on the sound team, Renee Tondelli as ADR mixer.  That is not to say that women are incapable of being sound crew members, Paula Fairfield (Emmy Award winner) shows, along with the other names I drop in this article, the skill does exist from an underrepresented pool of talents.

With masculinity established, I want to look at femininity from a male context.  What I mean by this is femininity created by and for men: male directors, male crew, and possibly male protagonists.  This is not always coming from an uninformed mindset and can be perfectly nuanced for the LGBTQ community. First, however, I will look at what does come off as cliché and expected.

As soon as sound was introduced into film there was an expectation of what starlets should sound like. A notable example is Snow White and the Seven Dwarfs (1937) with Snow White’s delicate soprano voice singing opera with the birds.  The voice actress was even kept hidden from the public eye to keep the perfect illusion of the character.  Her frail voice, like its main character, was an object for the masculine to acquire and was not any more developed than pure and frail.  The transition to talkies with the focus on voice timbre was parodied too with Singin’ in the Rain (1952) when the blonde bombshell’s voice was too shrill, nasally, and contained the edge of city life.  Debbie Reynolds’ warm alto was more “leading lady” material, although her own voice was overdubbed by soprano Marni Nixon for “You Are My Lucky Star.”  Nixon is the invisible songbird of many classic performances, and her voice is a great example of the feminine stereotype, clean and sweet. Synonyms like dainty, modest, careful, nice, and pure could also describe her voice.  Often leading ladies are cast as “vulnerable,” “fragile,” “frail,” and “passionate.”

Soundtracks latch onto these words for love themes, embodied by the string section of the orchestra, for example, Dr. Zhivago (1965), and Once Upon A Time In The West (1968).  Xochimilco (1944) is another film that focuses on the fragility of women and uses the set of the lead’s solitary home on calm waters with rain and nature to contrast the bustling town that antagonizes her.  The silence does not overcome noise, and like the main character, it exists in a brief moment only as a spectacle. In the world of male directors, composers, and sound designers, femininity is an object to be won in love or tossed aside in favor of strength.  Where it finds its footing is when it is embraced by LGBTQ stories like Moonlight (2016).  In this battle of masculinity and femininity, the most intimate moments are quiet, soothing, and peaceful.  Ocean waves complement a refreshing breeze, tiny bell chimes, and meal-lovingly prepared sizzles. This is tenderness and vulnerability intertwined with hope.  Femininity becomes a character that is part of the journey and exists as both positive and negative. The strength is subtle, breaking silence with a tiptoe and not a roar.  Hedwig And The Angry Inch (2001) roars, but it too has vulnerability and anguish woven into the soundtrack.  As Hedwig is trying to figure herself out, her songs explore many emotions while fading in and out of diegetic context.  For Hedwig femininity is a spectrum, and not an end goal and so it cannot be as static as films of old would have it.

Femininity can be portrayed properly and improperly in the hands of men, but what about from us?  While there is still a ways to go in representation, there is a surge of female-driven films across a variety of genres.  The Little Hours (2017), yes the raunchy nun romp is directed by a man, but there is no doubt Aubrey Plaza (whose boyfriend directed the film) has a lot of control.  Profanity, dry sarcasm, and deadpan absurdity fill the mostly improvised dialog, and it contrasts with the saccharine purity of choir music. Hildegard von Bingen is vital to the period comedy’s soundtrack, and that choice is deliberate as she is a keystone in medieval sacred music.  As with any comedy, sound effects and their timing are essential to the jokes. The setting is isolated, nature surrounds the scenes, and many jokes are about keeping silent or listening for little sounds. Andrea Gard, the foley artist, had many punchlines riding on her shoulders. Patience was rewarded, in a way that some films, like Guardians of the Galaxy (2014) and The Hangover (2009) do not have time for.  In fact, the whole opening sequence with the women’s choir is a lesson in waiting.  Even with the extremity of the comedy, this feels more naturally feminine than Bridesmaids (2011), another female ensemble comedy.  For all of the pink dresses and drunken karaoke, explosive diarrhea and vicious catfights do not have the same nuance as an old crone’s whistling breath.

An example of femininity in the thriller category is Into the Forest (2015), a tale of two sisters’ survival directed by Patricia Rozema.  The foley artist in this film was Sandra Fox, the sound effects editor was Katie Halliday, and they are joined by several other women on the sound team.  This film was full of intimate moments and loneliness. This was not an apocalypse of explosions and running, but of impending isolation and staying still.  Even with the amount of quiet and the lack of volume of this film, there were moments like rhythmic diegetic sounds to portray perseverance and intensity. The two sisters face two ends of the femininity spectrum, and while they falter at times, in the end, there is balance.  Neither sister could survive without the other, and their tenacity is woven into the soundtrack, both ambient and musical. Meek’s Cutoff (2010), directed by Kelly Reichardt, is similar in many ways to Into the Forest, with its survival elements and solitude in nature, but it is set on the Oregon Trail.  The time period, location, and thematic elements would normally call for raucous gunfights and shouted threats, but instead, the families are slowly lead to their fate.  The prairie wind dominates the design, and the desolation is matched by the scarcity of animal sounds. Leslie Shatz, the sound designer, gives us the subtle and claustrophobic silence that gnaws away at the confidence of the guide and builds the despair of the group’s situation.  Silence should not be confused for passivity. Another big thing to note is that in the world these women are from, they are homemakers and not survivalists, but they are determined to endure. I found it important for Shirley Henderson to get serious screen time and dialog with a voice as iconic as it is.  She is not an exaggerated parody, like her turn as Moaning Myrtle in the Harry Potter franchise, but a real human lost in the expansive West.  With a focus on the female pioneers, the sounds of the West morphed and provided a refreshing take on a cliched genre.

Femininity is not treated the same across genres with the variety of films I listed with proactive female crew members, and that is important.  John McClane in Die Hard (1988) does not have the same masculinity as John Wayne, so why should femininity get the cookie-cutter treatment?  There are complaints of Hollywood remaking the same films for box office draws instead of risking on original screenplays.  With the all-women reboots, instead of just changing the cast and calling it a day, there are capable women behind the scenes that can provide nuanced direction to revitalize the industry.  Thanks to the many organizations and celebrities who are using their power to bring up the nontraditional film crew, there are many outstanding choices. For those truly original scripts that happen to feature femininity, instead of resorting to tired tropes of damsels, why not branch out to a multifaceted embodiment with resilient, subtle, conniving, elegant, deliberate? Why not let them exist for themselves, and center a world around them? There is a sonic world out there ready to be explored that is not just weak or anti-masculine.  Femininity is an underrepresented frontier, and the world is ready for it.

 

Line Check! Experience Sound Check a Grammy Nominated R&B/Pop Artist

SoundGirls are invited to Experience Sound Check with a Grammy Nominated R&B/Pop Artist

Who: Young women between the ages of 18-26 who are actively pursuing a career in Live Sound Audio and/or concert production.

The experience will focus on Live Sound Mixing, Production Management, Professionalism Practices, and Life as a Tour crew member.

Please Apply here and then send a resume to linecheck@earshotagency.com.

Selected Candidates will be scheduled for a Skype Interview.

Deadline is to Apply is June 1st.

Cities available

Mix With the Masters Experience

I would like to begin with a huge thank you to SoundGirls for making this opportunity possible. I was selected in a raffle to win a spot with Mix with the Masters with Sylvia Massy. The whole experience was completely magical and eye-opening!

Mix with the Masters is a week-long seminar held in Southern France at La Fabrique Studios. Each week-long session is given by a number of legend status producers. The studio houses a Neve 88-R Console with tons of outboard gear, pres, and boutique microphones. There were 14 attendees from all over the world. It was such a mix of creative minds and brilliant ears and personalities that made the seminar even more special. I would like to take a brief moment to address the fact that there was a pretty significant turn out of women for the workshop. I was not expecting 6 of 14 attendees to be women. Gender was never an issue in this seminar. I personally believe it was amazing to see the inclusive nature between everyone and the fact that everyone was so supportive of each other. It honestly made me feel grateful and fortunate to be working in audio in such a time where women are now more prevalent in a “male-dominated industry”.

Some of the highlights of the seminar

We started out the seminar with experimental drum micing. Sylvia brought out her bag of tricks and quirky ideas to the table right away. We put microphones inside of hoses and submerged microphones underwater to capture a “filtered” room sound for the drums. Everyone was encouraged to get hands-on experience which allowed us to be a part of the creative process.

During the week we worked with Adrien T. Bell and his band from Prague. We watched the whole process from the concept of a song into the final product. During the tracking of guitar, the signals were passed through various objects like cheese and lightbulbs. The output of these objects was captured and created very unique sounds. The cheese made the guitar sound like a fuzz effect, and the lightbulb sounded like a distortion pedal. I also really enjoyed the dialog in the studio between Sylvia and the artists. It was an art in itself to see the interaction between artist and engineer/producer. Words of affirmation brought comfort to the artist, and Sylvia always made sure everyone was completely comfortable. The environment was definitely designed to be stress-free and a safe place for the artists to unleash their best performances.

At the end of the seminar, Sylvia took time for a critique of peer mixes. Every participant brought a Pro Tools session or a finished mix and had the opportunity of getting a mix from Sylvia herself. Sylvia offered expert advice and insight to everyone and at the same time provided encouragement to each one of us.

Mix with the Masters is such a unique educational experience. I never felt like I was in a classroom as a spectator but was very much allowed to be a part of this learning experience. The leisure time allowed us to share experiences and get know each other. I learned from every participant in attendance. Countless conversations were exchanged regarding philosophy, approach, and style. I really enjoyed the camaraderie among everybody. No one was secretive including Sylvia of their own personal mix or tracking tips but more than willing to share insights and discoveries.

It was truly an intimate environment for learning from the best in the business in a retreat-style setting with lots of time to mix and mingle with the rest of the engineers. Also, I cannot stress enough how fantastic the staff was at making us feel right at home and spoiling us with the finest meals I’ve ever had in my life. Just like one of my colleagues said, “It was like being in a dream”. It was magical, and the air in France was glorious coming from the LA smog city. I am looking forward to having another experience like this in the near future. I brought back a new air of confidence


Melissa Samaniego is a freelance audio engineer and works in film sound post-production, tracking, overdubbing, mix engineer. She also works a theater technician at Fullerton College and is a songwriter and upright bass player.

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