Empowering the Next Generation of Women in Audio

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

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

October Feature Profile

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

The Blogs

Living In and Out of A Big Fat Suitcase

Sound Design in Another Medium

Launching Content 

SoundGirls News

 

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up


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

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

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


SoundGirls Events

Portland SoundGirls Chapter Social

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

Living In and Out of A Big Fat Suitcase

Tips for packing smarter

I love travelling, I love going on tour, but I hate packing. I think it boils down to my inability to make decisions, which is what packing is after all; deciding what you’ll need for maybe months at a time. You might leave home during a heatwave and not come back until the middle of winter, taking in all sorts of weather in between. How can anyone know what they’ll need through all that?

I tried to pack light for years, partly so I wouldn’t put my back out dragging everything around, but partly because I didn’t want to be seen as the clothes-addicted, materialistic woman. As I’ve grown older (and stopped caring what other people think so much) and spend more and more time working away, I’ve come to realise that my suitcase is the closest thing I have to a home on the road. I’m not a follower of fashion or a hoarder by any means, but if having more than one day-off outfit and a bath bomb or two makes a big difference to my quality of life, damn it, I’m going to bring them. I now look for smart swaps that I can make that will streamline my packing while leaving space for a few creature comforts.

I read travel and backpacker sites to get inspiration for lightweight, collapsible, or multipurpose versions of things I need. Some of them can be very expensive, but if you can afford the initial outlay, buying great quality items that will last for years will save you hassle and money in the long run, and have the added bonus of being better for the environment than buying multiple cheaper versions. A lot of the high-end brands also have lifetime guarantees, which can be invaluable. I have a wishlist and keep an eye out for any discounts or sales that will make them affordable. Here are the main changes I’ve made, whether packing for one night or three months:

Water Bottle

An increasing number of festivals and venues in the UK have stopped supplying disposable water bottles, and rightly so. Besides, bringing your own means, you don’t need to waste time searching for the water stash when you run out. Just find a tap. I got a silicone one that rolls up when it’s empty so I’m not losing space in my bag to air.

Coffee Cup

Again, reusable cups are much better for the environment, but they take up a lot of space. I bought a collapsible cup, with a wide foot so I’m less likely to knock it over.

Laundry Egg

I’ve replaced washing detergent and fabric softener with a reusable, eco-friendly laundry egg. They last for months and months before needing a top up, so I know it’s sorted for my whole time away.

Ereader

I know some people can’t be parted from paper, and I love reading real books too, but having the ability to choose from thousands of stories while taking up less space than a paperback is worth it for me. You can also load them with user manuals and catch up in your bunk if you’re struggling to get to sleep.

Coat

Unless you’re touring through the arctic circle, you shouldn’t need a big bulky coat. The key to packing smart while being prepared for any weather is lots of thin, breathable layers. I invested in a super thin jacket from Arc’teryx, which has lots of smart features like moisture-wicking material and a hood that will fit over my hard hat, while rolling up to the size of my headphones. I can use it all year round, and add thermals in the winter to keep warm.

Base Layers

You can avoid having to bring thick warm clothes ever again by getting some good thermal base layers. Merino wool ones are super toasty while staying breathable. Apparently, they also keep you cool in summer and can be worn for a week or so without smelling, but I have too much respect for my colleagues to put that to the test. More and more sports and outdoors brands are making ‘smart’ clothing, which can be super thin, moisture-wicking, breathable and quick-drying and many are made from synthetic material or bamboo, so don’t involve animal products.

Zip-off Trousers

Ok, you’re not going to win any best-dressed awards in zip-offs, but they are really useful. Not only will you save space compared to packing separate shorts and trousers, you have options for when the temperature suddenly changes without having to run back to the bus or hotel. I got a couple of pairs from an outdoors shop that are lightweight and quick-drying, so if I get caught in a downpour, I’m not soggy for the rest of the day.

Safety Shoes

If your role requires safety shoes, it’s non-negotiable. However, there are lots of lighter, trainer-style shoes out there so you don’t have to lug massive steel-toed boots around. I have some great springy, composite-toed, high-top style ones (because I don’t trust people not to push flight cases into my ankles) from Jallatte, which are not only lighter to carry in my bag, they’re a pleasure to wear.

Toiletries

I’m trying to replace as much as possible in my washbag with solid alternatives. They’re more compact, use less plastic, last longer, don’t leak and you don’t need to worry about taking them through airport security. I have solid shampoo and conditioner and use soap instead of shower gel (I was really interested in a major chain’s solid shower gel until I realised that it was just an expensive way of saying ‘soap’). I use stick deodorant, but it’s best not to bring aerosols on tour anyway. It’s rude and inconsiderate to use sprays inside the bus. For liquids, I buy the smallest bottle or decant it into travel containers. Again, this saves space and means I can bring most stuff in my hand luggage if I’m flying. You can always buy more as you go along.

Menstrual cups not only take up way less space than pads and tampons, but they’re also better for the environment, and you don’t need to worry about running out.

I use packing cubes to keep all this stuff organised. It’s quick, it helps you compress your clothes down so you have more space, and it’s an extra layer of privacy while you’re rummaging through your suitcase at the side of the road in front of your colleagues and passers-by. I also bring a smaller canvas bag so I can take everything I need until the next day off up to my bunk and leave the suitcase in the bus bay. If you delve into travel blogs, you can get a wealth of information for packing lighter and smarter, but don’t get too caught up in minimising your luggage. We aren’t on holiday, we do this full time. While it’s a good idea not to have too much stuff weighing you down, we deserve to have a few luxuries or reminders of home to make us feel human.

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

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

October Feature Profile

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

The Blogs

So you Think you Want a Career in Live Sound.

The Secret to Being a Woman on the Road

My Take on Line-By-Line Mixing for Theatre

SoundGirls News

SoundGirls at AES

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up



SoundGirls Events

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

My Take on Line-By-Line Mixing for Theatre

Theatre sound

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

My Console Setup

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

 

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

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

October Feature Profile

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

The Blogs

An Open Letter to Theatre Reviewers

 How to be the New Crew Person

Glossary of Sound Effects (Part 1)

SoundGirls News

AES Exhibits-Plus Badges for SoundGirls Members

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up


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Natalie Hernandez – synthesizer and electronics technician

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


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


SoundGirls Events

Colorado SoundGirls Chapter Social

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Vancouver SoundGirls Console of the Month

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

An Open Letter to Theatre Reviewers

The play includes more than the actors on the stage

Dear theatre critics and reviewers worldwide,

First off, I’d like to say thank you for the love and enthusiasm you have for live theatre.  While the general population launches forward to keep up with technological trends such as virtual reality, wearable gaming, augmented reality, high-def displays, and holographic video, some of us, yourselves included, are desperately clinging to the lost art of live performance.  While technological leaders spend billions of dollars trying to invent the next piece of equipment that will make that game or movie look so real you can touch it, theatres everywhere are struggling to get people into their auditoriums to witness what can only be described as the pinnacle of reality, and no, the irony is not lost on me.  We theatre-makers appreciate you because you still believe in the magic of theatre. You still come to the shows, you put your phones away, you pay attention, and most importantly, you report. We rely on these reports to get the word out about this beautiful piece of REAL magic that’s happening in the readers’ very same city. There’s just one little thing I want to discuss, though: There’s more to the play than just the actors on stage.

I’m a sound designer working mostly in regional theatre, and I would say 85% of the reviews I read don’t even mention designers or technical crew.  Now, I know that there is a lot that happens in this industry that people on the outside just don’t know about, so I get that, but if you are reading your program before the show starts, you’ve probably noticed that there’s an entire page dedicated to production.  There’s probably an artistic director, production manager, scenic designer, costume designer, lighting designer, and sound designer. There’s sometimes a projection designer, wig designer, music director, pit musicians, composer, choreographer, fight director, and honestly, probably some other designers/directors that I didn’t even know existed.  You will also most likely find a stage manager and sound engineer, a light board operator, spotlight operators, deck crew, wardrobe crew, audio crew, and all of the artisans that built, sewed, and painted all of the physical aspects of the show. At the level of theatre, I work on; I’d say there’s generally an additional 40-50 people contributing to the show that are never seen on stage.  Isn’t that also worth reporting on? The actors do an amazing job of taking audiences out of their worlds for a few hours, but would it even be possible to make that journey in a dark, empty, silent room?

This is not the first letter to theatre reviewers that I have written.  Several years ago, I kept reading review after review of shows that my colleagues and I had designed the sound for and never read even a mention of those designs.  All of those shows were reviewed by the same person, and I emailed him asking why he never reported on what the show sounded like. Given that most of those shows were musicals, I’d say the aural response was a pretty significant one.  His reply to me was that he didn’t know what sound design was, or that it was even a thing. I get that, I really do, but as a newspaper writer, aren’t you something of a journalist? Haven’t you been taught to investigate, research, and find out the whole story?  I gave him some enlightening information on the practice of sound design and waited on pins and needles for an improvement in his next review. I’m sad to report that I never received that satisfaction.

It’s not just sound designers that get this treatment, even though, as a sound designer, it is the area where I am the most sensitive.  Many of the reviews I have read of theatres in my area over the past year have had little to no mention of design or crew. Instead, the reviews have consisted of a paragraph or two sending glowing praise to leading actors in the show, the occasional shout-out to supporting ensemble members, and then the rest of the review reads like a book report telling us what the story is about.  Sometimes there is the rare and seemingly obligatory list of designer names at the bottom of the review like their editor told them they had to say something about design, so they mentioned the designers’ existence to appease the boss. I’m not a reviewer, so maybe I’m wrong, but I just don’t think that dedicating 75% of the column to writing the show’s Cliff’s Notes is a review of what actually happened in that room.

As I mentioned before, I know that what we do is mysterious, and sometimes difficult to understand, so here are some facts about regional theatre and the kinds of questions you should be trying to answer:

  1. Making a play takes a lot of planning!  The design team of a regional show will probably start that planning process 4-6 months ahead of the show’s opening, and meet every 1-2 weeks to discuss the show’s progress.
  2. Making a play also takes money!  A large-scale musical on the regional theatre level could cost $30k-$60k to get the show looking and sounding spectacular.
  3. Making a play takes research!  The next time you’re reviewing a show, take a look at the details.  Do those civil war era costumes match what you remember from history books?  Where did they come from? Did this theatre make them in-house? What about that authentic-looking Mid-Century Modern furniture that is so popular now.  That chair alone would go for $5000, so how did this theatre get it?
  4. Making a play takes technical knowledge!  See all of those lights moving, changing colors, and making interesting patterns on the stage?  Do you hear all of those sound effects swirling around the space? Can you hear the amplified voices blending with the music? This is not a My-First-System kind of thing.  Someone went to a lot of trouble to make that cool stuff work.
  5. Making a play takes coordination!  There are so many moving parts to a play, and once it starts, it has to keep going.  We can’t just skip over the hard parts, and if something goes wrong, someone has to make a quick decision on what to do to keep the train moving.  Who’s doing that, and how? How do the people on the ground know what do to? How much practice does all of this take?

So, reviewers of theatre, again, thank you for your dedication and love.  We really do appreciate it. But please, the next time you go to the theatre, try to answer the not so easy questions, because for this dying art, “the actors were great, and this story is a lot of fun,” is just not enough anymore.  We need you to help expose this world to those who don’t know what they’re missing, and this world has some pretty stiff competition in this modern and highly technical society.

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

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

October Feature Profile

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

The Blogs

Radioactivity and Sound

Hearing Health – Hearing Test

Deconstructing a Song

SoundGirls News

Opportunity to Shadow Sound & Lights National Tour

AES Exhibits-Plus Badges for SoundGirls Members

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers


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

Internet Round-Up


Lisa Affenzeller on Roadie Free Radio!
FOH Engineer, Tour Manager, Production Manager, and Stage Manager based in Hamburg, Germany.

 


 

 


SoundGirls Events

Bay Area Chapter Monthly Meeting

Alberta SoundGirls Chapter Social

Colorado SoundGirls Chapter Social

AES SoundGirls Events

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Vancouver SoundGirls Console of the Month

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

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

Jobs and Internships

Women in the Professional Audio

Member Benefits

SoundGirls Electricity and Stage Patch

Learn the basics of Electricity and Stage Patch, and Putting together a Gig Bag.

Electricity

This workshop will cover the Basics of Electricity.  What you need to know on the gig – Not a bunch of theory, but what we need to know for gigs. There are two basic aspects of working with electricity. One is to move enough electrical power from point A to point B to adequately energize the equipment that requires it. The other is to do it safely. Sometimes, these two factors will be in conflict with each other, usually because of budgetary restraints Large wire and cables are needed to move a lot of power, and they are expensive to purchase and install properly, but small, cheap gangs of “extension cords” may seem to get the job done, until a plug or receptacle burns out, or a cable catches on fire. And therein lies the potentiality for serious problems.


Stage Patch

Stage Patch is the most important job on a gig. You will learn how to properly wire a stage, learn how to make input lists, festival patches, and best steps to becoming a patch master.


Gig Bag

What’s in your Gig Bag:  Learn what tools you should have in your gig bag.


Taught by Ivan Ortiz

Ivan Ortiz is an audio veteran, with over 18 years of experience in professional audio – gaining his education working for a small sound company that specialized in Latin acts while attending Full Sail. After he graduated he headed to the west coast – taking an internship at Rat Sound Systems and his “can do attitude” led to weekend work with several Los Angeles based sound companies. Ivan would go on to tour as a system tech for Blink 182, Jimmy Eat World, Pepe Aguilar and toured for several years as a monitor engineer for My Chemical Romance, Gavin DeGraw, and multiple fill in gigs for other bands as FOH or MON Engineer.

Ivan would go on to work for LD Systems in Houston Texas working the Houston Rodeo as Monitors Engineer for the event for five consecutive years. While working for LD Systems Ivan also had the opportunity to work on national televised events as the A1 for NCAA Final Four, NCAA Sweet Sixteen, Houston’s Thanksgiving Day Parade, before returning to Rat as shop manager and all around Tech Master.  Ivan is now the Technical Resources Manager at Rat Sound Systems.

 

SoundGirls FOH Tuning Workshop – Los Angeles

This  workshop covers various Front of House system design and scenarios. Topics include designing the PA, software prediction, coverage over SPL, time alignment, sub-woofer configurations, and coverage gaps. This is an intermediate course and will help professionals to hone their skills.

Designing  your  PA  

Using  Prediction  Software  accurately  

Coverage  over  SPL  

Time  Alignment  

Subwoofer  configurations  

Filling  the  gaps  of  coverage

About Ivan Ortiz

Ivan Ortiz is an audio veteran, with over 18 years of experience in professional audio – gaining his education working for a small sound company that specialized in Latin acts while attending Full Sail. After he graduated he headed to the west coast – taking an internship at Rat Sound Systems and his “can do attitude” led to weekend work with several Los Angeles based sound companies. Ivan would go on to tour as a system tech for Blink 182, Jimmy Eat World, Pepe Aguilar and toured for several years as a monitor engineer for My Chemical Romance, Gavin DeGraw, and multiple fill in gigs for other bands as FOH or MON Engineer.

Ivan would go on to work for LD Systems in Houston Texas working the Houston Rodeo as Monitors Engineer for the event for five consecutive years. While working for LD Systems Ivan also had the opportunity to work on national televised events as the A1 for NCAA Final Four, NCAA Sweet Sixteen, Houston’s Thanksgiving Day Parade, before returning to Rat as shop manager and all around Tech Master.  Ivan is now the Technical Resources Manager at Rat Sound Systems.

 

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