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Strategies and a Suggested Standard Operating Procedure for Soundcheck

Welcome to Part Two! For a monitor engineer, consistency is key in making sure musicians always have great-sounding mixes, smooth communication, and awesome performances. Let’s explore a solid method for dialing in perfect mixes and living your best life in monitor-world

Part One

Ringing It Out

Before the Band Arrives

Recall your start scene.
Use pink noise to check that all monitors are functioning, set, labelled, and positioned as intended. Do this for your cue wedge too, which ideally matches the stage monitors for consistent referencing. Confirm your talkback system works to both stage and FOH. Do a line check to make sure the patch is correct and noise-free. Confirm every input is showing up at a reasonable level and troubleshoot anything that’s not.

Zero out the mix sends.
Start with a clean slate for each performer’s mix by making sure no input channels, other than talkback from FOH and MON, are being sent to the mixes. Check that aux or bus sends are activated and outputting properly for the room. Decide on pre – or post-fader per channel or mix and be extra mindful of which ones are post-fader, as fader moves will affect the artist’s mix. This can be useful, for example you can mute problematic channels quickly and catch the nuances of solos. If the band’s rider states what is desired in their IEM mixes a good starting point is 0 dB for vocals, -10 dB for instruments, and less for everything else.

Confirm the stage plot and input list with the band or manager.
Update the stage team and FOH if anything’s changed and adjust your start scene accordingly. At festivals, a clipboard or whiteboard you can draw the stage plot, input list, and monitor mixes on can be helpful.

Add wireless and IEM channels to your software.
Once the input list is validated, add any wireless and IEM channels into your coordination software (e.g., Wireless Workbench or Wireless Systems Manager). Always have a few backup frequencies ready in case of interference.

Do a wireless frequency scan.
Conduct a scan (as discussed in Part One: Ringing It Out) to check for any RF interference in the venue. Use your system’s scanner to identify the clearest frequencies and update the wireless system accordingly making sure all transmitters are synced and ready to go. If you don’t have a dedicated RF tech, make sure to continuously monitor RF levels pre-show and during the show and be ready to swap gear or channels if needed. If interference arises after the scan, assess whether it can be addressed within the changeover time. Sometimes you may need to prioritize getting the stage workable.

Be Careful with In-Ear Monitoring (IEMs)

Soundcheck Process

Introduce yourself:
Use the talkback mic, make eye contact, and confirm the band can hear you. Use mnemonics or other memory activating techniques, like the method of Loc, or simply writing down names, to remember as best you can the band members’ names. Remembering names is a soft skill that speaks volumes, it shows respect, builds rapport, and reinforces all the hard skills you’ve worked so hard to develop over the years.

Start with vocals:
Most performers rely on vocals as their main reference. Getting this right first helps everyone feel grounded; it’s essential for communication and is often the loudest input requested in monitor mixes. That said, some bands or FOH techs may prefer to start with channel one, usually the kick drum, you can always just ask and check what works best for the team, but I would default to vocals first and then moving on to the rhythm section.

Guide the band through the check:

Some Tips on Handling Feedback Before reaching for the EQ

Always Remember

Leveraging Technology on Stage

Using a tablet like an iPad connected to the console can streamline soundcheck and save you a lot of literal steps. Just make sure you’re on the right Wi-Fi network/subnet and enter the correct IP address from your console. Additionally, some systems, such as Klang, allow musicians to control their own monitor mixes their own device. If the band is comfortable with this, it can empower performers to punch in their own preferences. Let them know you are there to assist, adjust settings, and even teach them how to use software whenever needed. Remember, making them feel confident and comfortable is the priority. Even if the band is self-mixing, check in to make sure their devices are connected properly and that they know how to use the system.

Final Touches Before the Set

When the Show Starts

By following these strategies and suggested operating procedures you’ll be able to deliver a smooth, personalized soundcheck experience that supports the performers and keeps you loving life in monitor world. Stay consistent, be proactive, communicate clearly with artists and crew. Keep on gigging and don’t forget to giggle sometimes.

I love references and cite it out when in doubt!
Check out these two fantastic articles by Michelle Sabolchick Pettinato, one of the OG SoundGirls. Her wisdom on live music mixing continues to inspire and guide generations of engineers.

While you’re at it, dive into the psychology of mixing monitors by Becky Pell—a must-read for anyone serious about understanding the human side of sound.

 

Reference links: 

1https://www.mixingmusiclive.com/blog/what-does-a-monitor-engineer-do

2https://www.mixingmusiclive.com/blog/the-sound-engineer-is-the-conduit

Additional Resources:

https://www.rationalacoustics.com/pages/smaart-home

https://opensoundmeter.com/en/

https://soundgirls.org/ringing-it-out/

https://www.prosoundweb.com/different-strokes-mixing-monitors-for-disparate-personality-types/

Who Has a Sharpie? – A Tech Case Tour 

It did not take me long to learn that showing up to a gig prepared is EVERYTHING. Whether it’s a sweaty rock show or a black tie corporate event, having an organized, thought out, tech case is crucial and will be your saving grace at one point.

Over the past few years of loading gear into venues, I feel I’ve finally fine-tuned my kit into a reliable, compact, (and cute) kit that has saved me from embarrassment more than I care to admit!

*disclaimer: some of these seem crazy but I’ve been asked for everything in here at least once!*

Here is what is in my tech case! **aka survival kit**

Cables

Tools

Backline

Survival

Misc

Approaching Involvement

At this moment, many of us find ourselves living in states of uncertainty about the future of our industry, insecurity regarding our personal rights and safety, and concern about the conditions we live, recreate, travel, and work in. As these stressors have impacted us in familiar and unfamiliar ways, we may also find ourselves lonely, needing help, seeking protection, hoping to distract ourselves, or in dire need of support. We may feel burnt out, overwhelmed, or hopeless. We may find ourselves instinctively seeking out mutual aid, community, or affinity groups. We may also find ourselves wanting to give — to make an impact, defend those being attacked, encourage others, or be of service. We may feel pulled in multiple directions while struggling to satisfy our personal self-care needs.

If you feel any of these things right now, you’re not alone.

All of these impulses lead us to questions about changing our level of availability within, commitment to, and engagement with the world around us. Let’s not shy away from that. Instead, let’s think about how to approach community involvement better than we have in the past; if it’s more important now than ever, we should treat it that way. This blog is about a spectrum of community-centric skills we can use to effectively give and receive in the spaces we have available to us — whether those spaces manifest as local gatherings or wide-reaching online discourse.

We need to start somewhere, so let’s start with relationships. Nothing that I write below will work particularly well if you’re not ready to open yourself up to new people. Forging new relationships is difficult, but when the world changes, we need to change too. The other side of that openness to new relationships is adapting our personal roles based on what others bring to the table. Get comfortable with both of those ideas, especially if your instinct right now is to hunker down. I invite you to do the opposite — stretch out, take up more real estate, and connect. It’s scary, but you’ll feel better once you make the active decision to let yourself into the light rather than hiding from it.

So: how do we create a situation for ourselves in which we feel like we belong in a space and can thrive there, even when it feels like our world is falling apart?

The first step is taking a down-to-earth look at what your skills, talents, personality strengths, and proximity to resources are like. Taking stock will reveal a wealth of information about how you can naturally contribute to the types of causes or spaces that you resonate with. I encourage you to get away from the computer for a bit, grab a pen and paper, and brainstorm about the type of projects that you:

No matter where you come from, you have a role that is useful to the causes you care about. Maybe you’re not particularly skilled in XYZ, but you can do ABC passionately and effectively — and perhaps you’ll want to find a space where you can be mentored on XYZ. Your unique set of practiced and not-so-practiced skills is useful. Take ownership over that.

Now, here’s the thing: we can’t personally champion every single cause we care about. So when you do this, narrow it down to one, two, or three things. Maybe it’s trans rights. Maybe it’s creating educational material for underprivileged groups and fighting for climate justice. Maybe it’s addressing sexual harassment in the touring industry. Whatever the combination of things that you want to fight for, don’t hesitate to accept that the seed is there.

It might take a couple of days; sleep on it. Narrowing down what you value right now may take more than one sitting and maybe a talk or two with a trusted friend. But once you feel good about what you possess the energy to work on right now, great — we’ve got a seed to work with.

Second, let’s talk about different types of communities.

No group, cause, or non-profit can satisfy all of the things we as human beings need in our village to thrive. We need an array of different types of people, places, and resources in the same way a child needs variety in diet, caretakers, and social skills to grow up well-rounded and strong. We may need more of one thing than another based on our personality, too.

Let’s explore for a second what types of audio communities exist, no matter where we are in our careers:

While these might take different levels of importance depending on where we’re at, I believe that these categories — or any additional ones that came to mind as you went down the list — provide the balance of nourishment necessary for the seeds we individually bring to the garden.

But what if you can’t find fertile soil to begin with? What if you search and can’t find the space to germinate? Where do you turn to?

There are many lists of resources that exist to help you find those spaces, and I have accumulated some of those below for your exploration. But I think there’s a different issue here, and it starts with the general approach to searching. If you are struggling to find a place where you feel like you belong, sit with it in honesty and think about these things:

Looking for a space that’s right for you may take you down unexpected paths. Sometimes, those paths can be triggering, reintroduce you to people you found challenging to be around, or remind you of ways you’ve acted in the past that you weren’t proud of. All of this is a part of growing and getting to a place where we can show up.

Third, once we do find a space we feel good about showing up to, how do we navigate it from sunrise to sunset and through the night, too?

A common issue I see is that members of communities — myself included — don’t always take the time to understand the identities, perspectives, and context of the leaders of the organization. What is the structure? What are the limitations of the folks in charge, including time and money? What are fair expectations for their investment, and what are not? How are they nourished to optimize the sustainability of their efforts while nourishing everyone else? For example, if you find yourself getting critical that there aren’t enough events or training happening, or perhaps that the events don’t cover topics you think are important, then introduce solutions and assess what you need to make them happen. What you are looking to have in a community is likely something that is shared by others, so if you create something that you see a need for, others will probably recognize their own need for it, too.

Or, let yourself take the follower position — which is no less important than the leader(s)! — and support a project that you believe in without being at the forefront of the discussion.

Especially if you’re in the early part of your career like myself, you may find yourself wanting to be a part of projects that would involve you doing unpaid volunteer work that makes the world better. There’s a difference between that and what we typically think about as unpaid labor. I invite you to consider breaking out of an understanding of your effort based on capitalism and instead think about opening doors, preventing gatekeeping, and being in service. Think of the intangible things that we can exchange that have nothing to do with money. If something is nourishing your soul and keeping you afloat, what does it matter if you aren’t making money off of it? I invite you to approach any volunteer work you find yourself doing as a combination of love and effort that gives back to you in a different form of currency. If you can’t see it in a positive way, instead of as unpaid labor, you shouldn’t be volunteering your time or energy. Once you start to grow jaded about it, make room for someone else to take over.

Listen to how the operation functions, identify where the shortcomings are with an open mind that you might be the exact person to solve those problems, and gather your resources.

From there, maybe we can build a bigger garden slowly and carefully around one that already exists. Or maybe we need to plant our seeds next to someone else’s that are complementary to ours. Maybe we need to plant a few seeds that aren’t quite meant to make it before we get a good solid one sprouted.

Now that you’ve done some planning, asked some questions, and are working and making moves — no matter how small they are — let’s think about the fourth step.

Let’s say you’ve got a few organizations you’re a part of that you care about and are gradually finding your voice in. This is gonna sound harsh: you need to keep showing up. If you don’t show up, you’re not a participant — you’re just a member. You can’t benefit or contribute without showing up. Being associated with an organization and not participating means you’re not engaged. Showing up means you are acknowledging that joining that weekly Zoom call or being present at that yearly event is important to you and that you care. Sometimes you can’t, and that’s okay.

But sometimes, there are other factors besides work, family needs, meetings, or appointments that you’ll find preventing you from doing so. Let’s talk about it.

One thing I have struggled with in the past is showing up when I don’t feel 100%. Sometimes, you will only have the energy to show up 50%. Or even 25%. But hear me loud and clear: that’s when the magic happens. When you only have so much to give, when you need to delegate to accomplish something, or when you are clearly in need of support, that is when you feel the power of community. That is when you experience others’ gifts and learn to receive. That is when you experience how it feels to be on the other side of all the energy you put forward in your work. Through the various trials that individuals in a community are going through, we discover that we are all both leaders and followers in our own ways; it’s just that sometimes we find ourselves talking, and other times we need to be listening. When we go through extensive periods where we can’t seem to show up how we want to, we learn about what other people might need when they are struggling.

This is all a discovery process, and showing up regardless of how much your self-doubt or imposter syndrome insists you stay home is an important pattern to establish for your involvement now and in the future.

Showing up also includes reading, appreciating, listening to, or amplifying other people’s work. It means engaging not just by being present but knowing your interest and enthusiasm for what others around you are working on has a positive impact on them.

So…invest in others as you keep showing up!

Let’s review:

  1. acknowledge that something is needed and that you have skills that are important to that happening — which is exciting! (you have a seed)
  2. search for spaces that resonate, which may mean processing some discomfort or past experiences first (which is necessary for a healthy, safe spot of even ground to start)
  3. make moves thoughtfully and graciously to make a sustainable presence for yourself in this new space (strategize your seed sowing)
  4. keep showing up (monitoring for pests, watering, and adding nutrients) as time goes on even if you need to ask for help to do so

This isn’t the end of our little sprout’s story, of course, and there could another point that says: know when the season has ended.

Sometimes, our relationships with certain communities do need to end or be reduced in scope. That doesn’t necessarily mean that something dramatic or upsetting happened, but simply that it’s time to move on. Everything has a cycle, just like at our gigs: we all start somewhere and work our way up. As we move on, it is inevitable to leave certain things behind. While those situations can be saddening, that shift makes space for others to progress and form new relationships, too.

Keep on progressing as you explore what spaces are healthy for you and which ones aren’t, and trust your instinct about whether you need to pause first, process first, or get straight to work.

Rest assured that there are people all around you who feel the way you do and that we will most effectively survive this (waves into the air) together by making our voices heard and acknowledging our changing needs.

Below are some places to explore on your journey. Because of my background, many of these fall under the categories of live sound and/or theatre sound.

______________________________________

Communities, Organizations & Associations:

AES — https://aes2.org/

Association of Sound Designers in Production (UK) — https://www.associationofsounddesigners.com/

Audio Nerd Book Club — https://audionerdbookclub.org/

Black Theatre Network — https://www.blacktheatrenetwork.org/

OISTAT (Organization of International Scenographers, Theatre Architects, and Technicians) — https://oistat.org/

Themed Entertainment Association — https://www.teaconnect.org/

The Parity Database (NYC) — https://theparitydatabase.org/

TSDCA (Theatrical Sound Designers and Composers Association) — https://tsdca.org/

USITT (United States Institute of Theatre Technology) — https://www.usitt.org/

Wingspace NYC — https://wingspace.com/

Women’s Audio Mission — https://womensaudiomission.org/

Some Events and Networking Opportunities to Explore:

InfoComm — https://www.infocommshow.org/

Live Design International (LDI) Show — https://www.ldishow.com/

Prague Quadrennial (PQ) — https://pq.cz/

Sound Kitchen — http://www.sound-kitchen.net/

Organizations that can support you if you’re struggling right now:

Behind the Scenes Help — https://wp.behindthescenescharity.org/

Nami — https://www.nami.org/

Open Path Therapy — https://openpathcollective.org/

Therapy for Black Girls — https://therapyforblackgirls.com/

Trans Life Line — https://translifeline.org/

Trevor Project — https://www.thetrevorproject.org/

Production on Deck’s List of Databases — https://www.productionondeck.com/databases

^ This page is a treasure trove of resources with something for everyone, primarily consisting of contact directories for theatre artists.

The Shop Person: Your Secret Weapon for Breaking Into Live Audio 

When people think about careers in live audio, most picture mixing at front-of-house, dialing in monitors, or tuning a PA in a massive venue. These positions can seem extremely out of reach for a beginner in the field, and I am lucky to have found an amazing way to climb this career’s ladder that often gets overlooked: the shop. 

Whether it’s a rental house, a production company, or a venue’s equipment storage, the shop is where gear is prepped, tested, repaired, and packed before it goes out to a gig. And the person who keeps it all running—the “shop person”—is one of the most valuable connections you can make.

If you’re an aspiring audio engineer, working in the shop isn’t just a stepping stone; it’s an opportunity to learn, network, and position yourself for bigger gigs. Here’s why starting in the shop has been one of the smartest moves I’ve made in my career and examples of how it could help you.

You’ll Learn Gear Inside and Out

Before you can confidently troubleshoot problems during a show, you need to understand how gear works—and the shop is the perfect place to learn. Working in the shop gives you hands-on experience with:

When you spend time in the shop, you’re not just pulling racks off a shelf—you’re reading through orders, quality-controlling gear, maintaining inventory, working with all kinds of technicians, all while staying organized, working quickly, and learning anything and everything you can. This experience will give you a major advantage when you start working on shows!

You’ll Become an Expert Troubleshooter

One of the most important skills in live sound is troubleshooting under pressure. When something goes wrong during a show, you need to figure out the problem fast. The best way to develop that skill? Fixing gear in the shop before it even gets to the gig.

If you’ve spent time repairing faulty DIs or tracking down bad cables in the shop, the chances of this happening on the gig is much slimmer. Not to mention, you’ll have a much easier time diagnosing and fixing these issues in the field. Working in the shop, you are surrounded by every tool you need to be a great tech—and that’s invaluable on a live gig.

You’ll Earn the Respect of Your Peers

In the live audio industry, respect is earned through knowledge, skill, and work ethic. Starting in the shop is one of the best ways to gain credibility.

You’ll Make Connections That Lead to Gigs

One of the biggest benefits of working in the shop is the networking opportunities.

The Shop is a Stepping Stone to Bigger Gigs

Many top technicians started in the shop. It’s a place where you prove your work ethic, gain technical experience, and get your name out there.

Some look at the shop and think it’s just a behind-the-scenes job with no upward mobility. It’s important to know how to use the shop as a launchpad, don’t see it as a dead end.

You’ll Gain Confidence in a Low-Stress Environment

Live shows are high-pressure. Things move fast, mistakes are costly, and there’s no “pause” button when something goes wrong. The shop, on the other hand, gives you time to learn in a lower-stress environment. You can take the time to ask questions without the pressure of a live show, make mistakes and learn from them, and experiment with gear setups and configurations. By the time you step onto a gig, you’ll have way more confidence in your abilities.

How to Make the Most of Your Time in the Shop?

It’s easy to find a lot of down time when working in a shop, especially during slower seasons. 

Your Environment will Cue Motivation

Humans are incredibly responsive to their surroundings, and being in an environment that reflects your interests or career can constantly trigger motivation. Just being surrounded by equipment can act as visual reminders of what you’re working towards and can fuel your passion, especially when you see and interact with it daily.

Surrounding yourself with your profession keeps your mind engaged with your field, which can help foster creativity and persistence when you’re faced with the inevitable challenges this career will bring. I’ve found that working in a shop is like a continuous source of encouragement that helps me stay focused and energized, reminding me that I’m working towards something bigger.

Final Thoughts

For anyone breaking into audio engineering, working in the shop is a game-changer. It’s a place to develop skills, prove yourself, and make connections that will lead to bigger and better gigs. So if you’re looking for a way to get your foot in the door, don’t overlook the shop. It might just be the key to launching your career.

Trial and Error – Considerations in System Design from a FOH Engineer

Like most things in our industry, learning the behaviour of a sound system takes some trial and error. Understanding what you like does also.

When I started touring, I had no clue what was really out there. I had tried one brand of speakers in a fairly contained environment, and had read Bob McCarthy’s Sound Systems: Design and Optimization book, but had yet to gather true experience to be able to guide my teams with any real opinion. As I navigated the world, it became clear how much variety there was. I started to gain opinions as time continued, but struggled describing what I was hearing or why. Advancing shows felt like a huge obstacle since I still lacked practical application and wasn’t sure how to communicate my experience.

Repetition and analysis have helped me to decide what I want in a system (when I’m given resources to carry one,) and how to conceptualize it. I could break down my observations into data in this blog, but this is just intended to interpret the decisions I make, which ultimately boil down to how I feel when I mix on a system. I have taken accountability by attending classes, reading, and watching videos, so that I am capable of understanding what is happening mechanically that influences the results, and can communicate with systems engineers as needed. However, I am ultimately concerned with what my ear prefers, in which I’m asking myself questions such as:

On top of being able to make qualitative observations about a PA, it equally became necessary to understand the tools at hand. Most modern systems utilize their own software with tools that assist you in the final product. L-Acoustics, Meyer, and d&b, for example, all have varying approaches, and being able to understand those tools can help you determine why you’re hearing what you’re hearing, and provide insight into how to approach it. Also invaluable are the systems engineers who know how to turn expectations into a tangible end result.

These were definitely not concepts I was familiar with initially, but when comparing mixes on PA du jour, I was able to quickly familiarize myself with what I was hearing out of different boxes. Being able to identify these trends have made me comfortable as a mix engineer. Most importantly, being able to recognize trends between the systems has improved my mixing greatly because I was able to begin anticipating the shifts in my mix system to system, night to night. This isn’t an all-inclusive guide or necessarily actionable, just simply considerations for qualifying your experiences. At the end of the day, use your ears and be observant of how you feel.

Ringing It Out

Part One: Strategies and Standard Operating Procedures for Festival-Style Monitors

Introduction

After immersing myself in the fast-paced world of live sound from a young age, I’m taking a step back this winter to refine strategies and establish best practices for delivering consistent sonic success moving forward. This SOP is intended to streamline workflows and help achieve reliable, high-quality monitor mixes in festival-style settings. It condenses years of hard-earned experience into actionable steps to ensure artists have the monitor support they need to perform at their best.

Kiesza at Calgary’s Olympic Plaza on August 30th, 2023

The Non-Negotiables

Proven Equipment:

Comprehensive Event Information

Venue and Stage Details:

Pre-Production Logistics

Console Prep

Familiarize yourself with the desk ahead of time. Lay out buses, sends, and channel layouts for efficiency.

Ringing Out Wedges

Setup and Workflow

Identify Feedback Frequencies

Feedback Management SOP

  1. Gradually increase the mix fader on Wedge One until feedback starts.
  2. Identify the ringing frequency using the RTA and your ears, then call it out.
  3. Apply a 3dB or more cut on the closest band of the graphic EQ.
  4. Repeat this process 2-3 times until multiple frequencies ring simultaneously, achieving an optimal balance.
  5. Save (or document if on analog gear) EQ settings in case adjustments need to be revisited during the performance.
  6. Be prepared to make aggressive EQ cuts for performers who cup the mic or move around frequently.
  7. Sometime you will have to prioritize a feedback-free environment over perfect tone, adjusting in real time as needed.

Optimizing for the Room

Save the Start Scene

Save a “ready-to-go” scene if you can that includes:

Conclusion

By focusing on preparation, communication, and precision, this SOP will help you deliver consistent, high-quality monitor mixes, even under festival-level pressure. Remember: your ears, clear communication, solid preparation, and a calm demeanour are the ultimate tools in your kit. Let’s make 2025 the year of flawless stage sound and sonic excellence!

Thanks

I would like to express my gratitude to Darrell Smith, Fred Boehli, Kiesza, UVS and SoundGirls.

Mastering the New Workplace: The Art of Being a Sponge 

As a 22 year old female who is growing in this industry everyday, I have been told on multiple occasions how important it is to be a “sponge” in a new workplace. What does this mean? And why does everyone say it?

Well, it means to:

  1. Soak up as much knowledge as possible.
  2. Observe keenly.
  3. Adapt to the environment quickly.

I completely understand how nerve racking this feels. Its hard to find the balance between being helpful and not being in the way. So how do we change our mindset so that it focuses on growing in this field?

BE CURIOUS! it’s so crucial to approach every interaction and task as an opportunity to learn. Show your genuine interest in your colleagues and the production. Volunteer on things that will immerse yourself in the team’s workflow. I have also found that it is really helpful to familiarize yourself with all of the gear before the gig, if possible. And if you are unsure about a piece of gear, ask someone to explain its function and application. Ask thoughtful questions in quieter moments about why certain decisions are made.

CHILL. It has taken my fair share of gigs to learn how crucial it is to stay calm under pressure. Watch how others handle sudden issues and take notes. Offer help when it is needed or simply shadow the troubleshooting process. Being able to resolve problems effectively will ensure smooth operations and prevent issues from happening in the future. This will ultimately increase your confidence in yourself and others, building the core trust that is needed for a strong production team.

MASTER THE INTANGIBLES! Besides the technical details, you must learn the intangibles! Notice the informal norms like when and where decisions are made, recognize the way the A1s, music A2s, Production A2, Monitor techs, System techs, etc collaborate with one another, observe how a crew talks to the talent. Learn the dynamics and integrate quickly. Even being proactive in a production meeting with a friendly introduction can go a long way.

SEEK FEEDBACK. Asking for feedback and embracing the outcome gracefully is an amazing skill to have and will help you improve. Reflecting has always been a key part of the load out for me. Analyze what worked and recognize what could improve. It’s important to evaluate your progress and assess what you’ve learned and identify the gaps. Everyone has room for improvement.

OWN YOUR EXPERTISE. Lastly, be confident! You deserve to be here as much as everyone else does. Focus on your own qualifications and what you bring to the table. Advocate for yourself and ensure that your contributions are recognized. I believe that authenticity fosters respect and using the inevitable challenges to strengthen your skills will make you that much more resilient.

I also want to acknowledge how easier said than done all of these things are. It’s hard to be assertive, quick, and confident in an environment where you are uncomfortable. It is hard to bypass the nerves and jump headfirst. It’s terrifying to walk into an uneasy position, but that is where transformation happens.

Leaning into discomfort will lead to incredible opportunities you may not have found by playing it safe. It’s important to remind yourself that you can only do your best, stay calm, and simply be a sponge! Every show is a chance to refine your skills and become a better technician. By maintaining a learning mindset, you can carve out your place and thrive in any workplace. Respect will grow from your knowledge, collaboration, and authenticity. So in the beginning, soak it all up, baby!

Reflections on the Touring Year

I’m going to reflect on internal dialogue I’ve had throughout the span of a 3.5 month tour. I’ll share some current mix and lifestyle perspectives that may encourage others to start conversations and consider their own journeys.

Systems 

As a FOH engineer, I find it beneficial to invite people into a conversation. For example, I can create a dialogue with the systems engineer and ask them if they’re familiar with the room, what their approach for tuning is, and make them aware of my expectations for the show. I’ll ask if they can walk around during the show and I’ll inquire about specific areas of concern. This can highlight areas of improvement for me, as well as learning how other’s ears work.

In the off-season, I’ve found it important to study and attend systems classes from the manufacturers. Meyer, L-Acoustics, and d&b all offer online and in person educational opportunities. After being in many this past spring, I’ve felt more confident than ever approaching systems engineers with more comprehensive knowledge of software and have been more equipped to articulate my needs. This in turn has helped us achieve better products and have a much nicer day.

Mixing 

Refraining from gatekeeping your mix can benefit you and also other engineers. I’ve learned a lot about my perception of sound and have gained new techniques from having intentional conversations with other audio folks.

Compression can be useful, but it’s important to become comfortable exploring my comfort zone and not always doing what visually seems appropriate, but instead trying to listen and feel to achieve the best translation between systems and rooms. For instance, you may use less vocal compression in the studio, but if you’re mixing a pop vocal live, you might find it useful to introduce slower attack and release times to massage the articulation and phrasing into a suitable place for the mix. Double compression can also be your friend. Also in some instances this last tour, I’ve felt as if the PA responded better to less compression, especially on drums. Anticipating these changes ahead of time has helped me be more efficient.

Mental Health 

Having some type of routine can make a significant impact on your well-being. Make time to exercise, journal, or read at some point in the day, either to wake up or wind down or just to get away from the noise, even for a second. Call your loved ones back home, and find ways to have connected conversations. When we are physically disconnected from people, refraining from or partaking in certain conversations can make you feel even more distanced.

Kindness and a little bit of patience with everyone goes a long way, whether it’s your tour companions or local support.

Figure out what drives you, and what you consider success. Make sure you’ve positioned yourself in an environment that helps you live out your dream and not be resentful of the life and career you’re living. You should have a team supporting you, and a team you want to support. Lastly, those people should also encourage you to have fun, relax, and enjoy the little moments.

Kitzy – Independent Touring FOH Engineer and Production Manager

Kitzy is an independent touring FOH (Front of House) Engineer and Production Manager based in Philadelphia, has been immersed in the world of audio for over 20 years. In addition to owning a small audio production and rental company, Kitzy dabbles in studio work and podcasting.

Their journey began in the early 2000s, organizing punk shows in a firehall in central Pennsylvania, using a second-hand PA system. Reflecting on those days, Kitzy notes, “Audio wasn’t really the focus, but more of a means to an end. I thought I wanted to be a promoter, but in reality, I think I just wanted an excuse to put my band on shows.”

During the early to mid-2000s, Kitzy toured with various bands, experimenting with digital recording—again, primarily as a way to support their own band’s music rather than as a central career goal. However, in 2010, after their band dissolved, Kitzy found themselves at a crossroads. With family and personal pressure to find a “real job,” they set aside their musical ambitions, entering the tech industry and climbing the corporate ladder.

By 2015, Kitzy had relocated to San Francisco for work. While there, they reconnected with a former bandmate, reigniting their passion for music. This time, Kitzy delved deeply into recording and producing, benefiting from the wealth of free educational resources available on YouTube. “I realized how much I had been missing working on music,” Kitzy recalls. Despite their growing knowledge, the tech world and life in San Francisco left them unfulfilled, prompting thoughts of a new chapter.

In their search for inspiration, Kitzy discovered Weathervane Music and its Shaking Through series, which sparked their desire to return to music production. With Philadelphia’s vibrant music scene and proximity to family, Kitzy saw it as the ideal location to start over.

In 2017, Kitzy moved to Philadelphia, where they built connections within the local music scene, attending workshops, shows, and eventually forming a new band. They recorded and released an album, and things seemed to be falling into place. Kitzy also bought a house and built a home studio, intending to focus on producing records. But the pandemic in 2020 disrupted these plans.

Undeterred, Kitzy adapted by launching a podcast with a friend, centered on independent music. They also invited bands to perform live streams in their studio, which marked Kitzy’s first significant experience mixing live performances. This work sparked a new passion: capturing live music as an integral part of the performance. Kitzy found the dynamic immediacy of live mixing deeply fulfilling.

By 2022, with live events returning, a band that had participated in the live streams invited Kitzy to mix their shows on the road. Kitzy vividly remembers the thrill of their first live show: “The power under my fingertips was like nothing else I had ever felt before. When the band hit their first note, I knew that this was what I wanted to do more than anything else in the world.” Since that pivotal moment, Kitzy has been pursuing live sound engineering with an unrelenting passion, rediscovering their love for live music with every performance.

Early Life

When did you discover audio as a career path?

It’s really only the last couple years I’ve been taking it seriously as a career path. I spent my whole life being told that I can’t make a living in music and that I need to get a “real” job.

Did music and audio interest you while you were growing up?

I’ve been obsessed with music, and by extension audio, ever since I can remember. A lot of my early music taste was a direct result of the stuff my mom was listening to, like R.E.M., The B-52s, Yes, James Taylor – stuff like that. My grandmother also had an influence on my music taste early on. She would play stuff like The Beach Boys, Jimmy Buffet, and Cliff Richard.

My mom would take me to the local video rental store once a week and we’d rent a movie to watch together. They had a small shelf of music related videos, and there were two that I made my mom rent so many times that she probably could have bought them several times over: R.E.M.’s Road Movie and Yes’ 9012Live. If you’ve never seen 9012Live, I highly suggest you track down a copy. The concert footage is inexplicably intercut with colorized footage from a 1950’s Edison Electric film for some reason and the visuals are truly bizarre.

I remember getting a karaoke machine one year for Christmas. It had a pair of microphones, and two tape decks. I think the intention was that you could play the karaoke version of a song and record yourself singing over it, but I quickly figured out that I could record my own music and then overdub myself playing and singing along with it. I was convinced I had invented this and that no one else knew this incredible secret.

In high school, I graduated to a Tascam 4 track tape machine, and I remember being amazed that I could change the volume of the things I was overdubbing AFTER I recorded them. With the karaoke machine, I had to get the volume balance right while I was recording. But now, I had the power to get the mix just right. It felt like magic.

Career Start

Did you have a mentor or someone that really helped you?

Brian McTear was a great mentor when I moved to Philly and thought my future was purely studio work, and continues to be a sounding board for me to this day.

I never really had a live sound mentor, but I’ve been lucky enough to form friendships with some other up and coming live engineers who are an amazing support system.

Career Now

What is a typical day like?

Every tour is a little different, but I’ll use my most recent tour as an example.

Wake up in a hotel room around 8AM, pack up my stuff and head to the van for an 8:30 van call. I’m sharing driving duties with the tour manager on this run, and she prefers driving later in the day, so I’ll typically take the first shift. We stop for breakfast somewhere and then it’s anywhere between a 3 and 5 hour drive to the next city.

Halfway through the drive, I switch off with the TM. I’ll use this time to catch up on a little more sleep, review the parking and load in instructions for the venue we’re heading to, read over their tech pack, etc. I’ll also bounce the recording from last night’s show and upload it to Google Drive for the band to review if they want. As I’m listening through, I’ll make myself a few notes of things I want to try differently tonight.

We get to the venue early afternoon and unload the trailer. It’s a self-contained tour, so we’re carrying backline, our own console, IEMs, and mic package, and a lighting ground package. We also have a few set pieces. As the FOH engineer and defacto Production Manager on this tour, I’m responsible for all of it. I get my big items placed on stage first, and then work on setting up FOH while the band sets up their backline.

If I have time, I’ll put up a few measurement mics and verify the PA with Smaart, and try to get the tonality of the PA close to my target curve. Then I walk the room with my reference playlist and make sure it sounds good.

If I don’t have time, I throw on some music and EQ the system by ear.

Then I move on to micing and patching the stage, and I’ll do a line check with my iPad. If I have time, I’ll pull up the multitracks from last night’s show in a virtual soundcheck and see how the room sounds. I’ll also go on stage and listen to each musician’s IEM mix while standing/sitting in their spot to see how it sounds for them. I might make some minor adjustments to their mix here if something obvious sticks out to me.

Then I bring the band on stage for sound check. My FOH mix is pretty dialed at this point, and the room is going to sound different once we fill it up with people anyway, so my main focus here is to make sure everything is working (i.e., that the timecode from the playback rig is firing our lighting cues and console automation) and that the band is comfortable with their IEM mixes. Once the band is happy, I bring the principal artist out and we run through whatever she wants to run through. Once she’s happy, we end sound check.

We have an opener on this tour that I’m not handling production for, so I’ll strike our front line to make room for the opener and hand things off to the house crew. At this point, I swap the batteries in all of our IEMs and RF mics/packs with freshly charged batteries. I deliver the IEM packs to the green rooms so that the band knows where to find them before the show.

I’ll use the time between sound check and our set to eat dinner, take a nap, answer emails, and if the venue has a shower I will probably take a shower. At the very least I’ll put on a fresh pair of socks. Something about a fresh pair of socks really makes a world of difference.

In the changeover before our set, I re-set our front line, tune the principal artist’s guitar, and line check EVERYTHING. I send the console’s listen bus to my IEM pack, and I use my iPad PFL each channel one by one with my IEMs in and make sure I’m getting the sound that I expect. I even check that the timecode channel sounds like timecode. I always do this from the stage so that if there’s an issue that needs to be addressed, I’m already there.

Then it’s showtime. Perhaps counterintuitively, I’m doing the least amount of work during the actual show. This is a pop tour with backing tracks, so the same things happen at the same time every night. I’ve automated most of my moves throughout the show, like muting the acoustic guitar when it’s not being played, and boosting the electric guitar during the big solo. I’m just there to make sure nothing catches on fire, and I get to enjoy the show.

Once the show is over, I’m in a race with our merch manager to see if I can get all of our production packed up and loaded into the trailer before she has merch packed and loaded. I do not know if she is aware of this race.

Once the trailer is packed, we head for the hotel for the night and get ready to start the process all over again.

How do you stay organized and focused?

Early on, I would get super overwhelmed with everything that I had to do, especially during set up and strike. I’ve found that the best way to combat this is to just focus on the next thing I need to do. I don’t worry about needing to strike the entire stage, I just focus on collecting all of the microphones and putting them in their case. Once that case is packed, I move on to the next one. Rinse and repeat until I look up and everything is packed.

Whenever I’m in the moment, I’m only focusing on the next thing that I need to do. I trust my planning, my prep work, and my team around me, that things won’t go too off the rails if I’m not constantly stressing over every little thing that hasn’t happened yet.

What do you enjoy the most about your job?

I love when a band is really locked in and playing well to a room full of people who are enjoying every moment. I love knowing that I’m a small part of making that happen.

What do you like least?

Chasing people down to pay my invoices.

If you tour what do you like best?

I love traveling and seeing new cities every day. I love working in new venues with new people. I love seeing how a show changes and develops over the course of a tour.

What do you like least?

How long the days are, how little sleep I get, and when house crews are shitty to me because I don’t fit their expectations of who a sound engineer should be. I also hate the grind of always having to figure out what my next tour is.

Oh and being away from my dog.

What is your favorite day off activity? 

Sleep.

What are your long term goals

I’d love to have a long, sustainable career with a small handful of artists who are doing well, where I’m making enough money that I don’t have to stress about it.

I’d also love to get to a point where I’m not driving, and have enough of a production budget to hire a crew so I’m not doing everything alone. That sounds really nice.

I’d still like to work on records in my downtime between tours as well.

Oh, and I really want to mix a show at Red Rocks.

What if any obstacles or barriers have you faced?

Being both transgender and autistic has been a barrier, not in my ability to do my job well, but in other people’s ability to see my value. That said, I have been coming across a lot more neurodivergent people in the industry lately and it’s been so refreshing to be around other people with brains like mine.

I think the biggest obstacle I’ve faced has just been finding consistent work. All of the artists I work with are on really tight budgets, so even if I do a tour with an artist and they want to work with me again, there’s no guarantee that they’ll have the budget to hire me on the next tour.

I think I’m in a weird spot since I started my live sound journey so late in life. Because my live sound resume only goes back a few years, I get a lot of absurd offers like $500-700/wk, which would be fine if it was 2005 and I lived with my parents and was on their health insurance, but that’s not my reality. I know that this is an industry where you need to grind and work your way up, but I’m still trying to figure out how to survive while doing that.

How have you dealt with them?

I’m still figuring that out. I’ve been focusing on networking, making as many connections as possible, and putting myself out there as much as I can.

Advice you have for women who wish to enter the field?

If you love it, do it. Keep doing it. Don’t listen to anyone who tells you that you can’t. Find your tribe and then hold on for dear life.

Must have skills?

In my opinion, the actual audio engineering skills are only like 10% of it. They’re important, and you need them if you want to work in this industry, but I think that people skills, communication, organization, planning, delegation, and a positive attitude are more important and will take you a lot further than being the best mixer. At the end of the day, nobody cares what ratio your compressor is set to or what your reverb decay time is.

The people skills are probably the most important. The grumpy, bitter, and jaded sound tech stereotype exists for a reason. I don’t care how good of an engineer someone is, if they’re an asshole, I don’t want to work with them.

Favorite gear?

The Beyerdynamic M 201 is the GOAT on snare.

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