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December 30, 2013

Dear SoundGirls.Org Members and Supporters,
Seasons Greetings. SoundGirls.Org wishes you a Happy Holiday Holiday Season and all the best in 2014.

It has been less than a year since we launched SoundGirls.Org and it has already expanded in directions that we could not envision a year ago.  From the beginning we have been humbled by the amount of positive support from the industry and women worldwide. We have enjoyed meeting and connecting with talented women working in professional audio and sharing their stories with you. We are also encouraged by the amount of interest from young women and girls wishing to enter the field of sound. (more…)

Kim Watson- You Have to Learn From the Best

UK-based sound engineer Kim Watson has been a freelance audio engineer since 1999.  Kim’s foray into live sound started with a love of music and a desire to work in the music business.  “I always knew I wanted to be in the music industry, I just never quite knew in what respect.”  Although having started her training in recording school, she found recording sessions boring and monotonous.  Kim was attracted to the challenge of live sound, “having one chance to get it right and then, that moment is gone.”

It never hurts to ask

While she was at a show, Kim approached the FOH engineer to whom she expressed her interest in live sound.  Luckily for her, he was the owner of a local PA system and gave her a call the next week to show up for work.  Kim recalls how she was the 3rd person on the show and was ‘paid in pizza and information.’   It was a proper sound company, and Kim spent the next three years learning as much as she could.  “First thing he showed me was how to coil cables.  Then how he wanted mics plugged in Stage box end first, roll the cable to mic stand, so it lies flat, coil left at the bottom of the mic stand in case it needs to move, etc…” She got on very well with the crew, earning their respect by getting her hands dirty, asking questions, and learning how to not get in the way if a problem arose.  Her fellow crew guys became very protective of her, jumping in if anyone gave her a hard time.  One bit of wisdom she retains to this day, ” If a mic goes down on stage, you have 30 seconds to fix it before everyone notices, and the band stops the song and kills the flow of the show.”  Kim paid close attention to the crew guys when they were talking tech, ” At first I didn’t understand much, so I picked up on words- ‘Crossover,’ and would then go home and research what it does.  The next time I would ask questions. I made it my mission to read the Live Audio Boards every day, even if I didn’t understand it, things would sink in.”

Festival FOH Four years later while she was working with another company, Kim would get her big break as a monitor engineer, when she got drafted to replace a co-worker who didn’t show up for a festival.  It was a 50’s Rock and Roll weekend with ten bands a day and a crash course in mixing monitors.  “First time on the monitor board was fun.  Feedback wasn’t so much an issue as we set up the day before, and Barry, the guy I was working for, had me ring the monitors out, teaching me as we went.  Barry introduced me to the principle of subtractive mixing, pulling back something that’s in the way of the item they want more of, be it through EQ or nudging the aux back a touch”, she says.  Kim’s been doing monitors ever since.

She is currently the monitor engineer for The Subways.  When she isn’t touring, Kim works freelance for PA companies, such as ESS (based in Mansfield), and is also an audio tech for the O2 Academy in Newcastle, UK.  Having a sweet house gig at the Academy is a huge advantage for Kim, being that she can always find work in the downtime between tours.

Kim is an experienced system/fly tech and more than capable of mixing FOH when required, but most often finds herself at the stage end of the snake.  “Primarily I tend to end up being Monitor Engineer and these days specializing in mixing IEMs.”  The close interaction with the band and the on-stage shenanigans that the audience doesn’t see is one of the things she enjoys most about doing monitors.

FestivalmonitorsNever stop learning

During her school years, Kim went to careers meeting with her parents where she was told that being a “sound engineer” wasn’t a real job.  While her parents tried to guide her to a more reliable career as a music teacher, she knew it wasn’t for her.  “It wasn’t until after I had started work experience with the PA company, that they realized it could be a job, but I would have to MAKE my way job in the industry.  For me, it was all or nothing.  I got into the habit of giving 110% on every show.  People are always watching, and that is what gets you up the ladder.”

Her educational background includes; studying music throughout her school years, Technical college, which included education in Music Tech, Math, Computing, and Physics, also getting her HND* in Music Production, while she was cutting her teeth working at the PA companies.  Kim also plays several instruments and has a background in music theory, which she finds very helpful in mixing.

Kim continues educating herself to this day.  To keep her chops up, besides working and mixing as much as possible, Kim also makes an effort to attend manufacturer’s training seminars.  “I did the Meyer Sound Comprehensive System Design (5 days) and the SIM3 (5 days) courses a few years ago.  I learned so much from both.  Understanding a lot more about the physics behind the sound system, audio interactions, and system measurement has helped a lot.”  Kim is also grateful for having studied Physics at College; she says it “made understanding the principles of phase and wave interactions (in wave theory) very easy.”

She has done training on every digital console she could get her hands on.  “I have always been a computer nerd and got my head around digital desks very early.  I am one of those engineers, that even though I have never used a certain type of board, I can make the show happen the same as I would on analog.  This makes festival walk-up gigs really easy.”

EmiliSande monsystemtech Royal Albert hall

Emili Sande at Royal Albert Hall

For The Subways, who she’s been with for going on two years, Kim is mixing IEMs.  The band usually carries their own LS9 and Sennheiser transmitters, and she’s hoping to have them fully self-contained on stage by next year’s tour.

Kim has been working for the O2 Academy since it opened in 2005.  Recently, she was Monitor System Tech for the two UK legs of Emili Sande’s tour, Monitor tech and Fly tech for Brit Floyd UK and Europe, and Monitor Engineer for “Wow- A celebration of the music and artistry of Kate Bush.”   Kim loves the people she meets on tour.  Familiar friends of The Subways will show up at their local gigs, sometimes joining band and crew on the bus for a few days.  She is also lucky enough to work with a band that enjoys organizing days off in towns with something interesting to do or see, such as visiting a castle or museum.

Lack of sleep is the hardest part of touring for Kim.  “There have been a few tours where hours of sleep at night are very minimal, with lots of back-to-back shows.  That nearly killed me, pushing me right to my limits and making me quite ill.  It’s learning to get the balance.  When you are on tour and you have the option of one of- shower, food, or sleep – choose wisely as it can be your undoing.”
While she admits to having difficulty picking a favorite piece of gear, since gear is always changing, she says, “ My favorite piece of gear is the one that works when you plug it in, and it’s right for the job at hand.”

From the start, Kim’s long-term goal has been to be in the top 10% of live engineers.  “I was told early on by one of my mentors, to be the best you have to learn from the best.  I went out and found out who the top engineers in the world were and read everything I could online that they had written, (through prosoundweb.com and other sites).  It’s been awesome over the years meeting, working with, and hearing the engineers I looked up to.”

Britfloyd Systemandmontech

Brit Floyd

When she first got started in the business, Kim asked another female engineer for advice which she quickly adopted as her own rules.

And one final word of advice: “The most important skill in this job is attitude.  Do it all with a smile and your day will be very easy.  Become a ‘yes person.”

*An HND is roughly the equivalent of two years of university and generally vocational in nature leading to work in a specific industry and entry into advanced levels of the university, somewhat similar to an Associates degree in the USA

Ode to Analog

In my previous blog, Analog vs Digital, I talked about my undying love for old analog consoles and how, after I spent the summer sinking my teeth into the Midas Pro6, it created internal conflict of deciding which console to take on an upcoming European tour. I almost chose digital, just for the sake of making it easier (load ins/outs and space issues) but in the end, went with the tried and true Midas Heritage 3000. (more…)

Taking the world by storm, one tour at a time- Suzy Mucciarone

 

When you have a chance to work with and learn from the best, you set your standards high.  This was the case for Suzy Mucciarone on her very first tour, in 2001 with Neil Diamond.  Starting out as a stage tech, and moving on to co-systems and PA Fly tech on later tours, Suzy had the opportunity to work with people who she believes displayed the standards in audio and conduct that should be achieved on all tours.  She has worked hard to reach and exceed those standards ever since and has spent more than a decade working for Baltimore-based Maryland Sound International.  However, the path that led Suzy to a career in Live Sound started many years before and was on the other side of the globe.

Suzy's Pics Josh 2007 - 179

Perth, Australia
A high school requirement, to organize a week of work experience, led Suzy Mucciarone to one of Perth’s two top 40 radio stations. When she completed her workweek, Suzy kept in touch with the station, returning occasionally to spend the day.  Shortly after graduation, she was offered a position of ‘carting’ which, at the time, was the junior position to production.

When Suzy began working there, she recalls, “the station was still AM, soon to be FM, and largely resembled an episode of WKRP in Cincinnati”.  The modest studio housed an 8 track Studer, and “well used and abused, 16 channel Soundcraft, that you had to hit in certain places to get the occasional weird noise to go away, or patch connection to work”.  “We actually managed to shut down all the power to the room one time, when a coworker accidentally clipped the side of the console with his Doc Martin.”  Once the station gained its FM license it underwent a total overhaul making it the most up to date, digital, on air and production studio in the country for that time.

Through her position as a production engineer at the station, Suzy had the opportunity to see almost every tour that came through town.  Her work with presenting concerts, soundcheck parties, sitting in on interviews with artists, as well as meeting many of them, helped her make the decision to move into the area of live sound.  “I love the energy of a live show.  It was never really a consideration until then, because there were large differences in knowledge and technology at that time in Australia, compared to the USA or England.  Quite simply, we were lagging behind.  I also knew that to move into live sound/touring in Australia, I would have to pack up and move to the east coast.  Even then, I would only be temporary, local crew to overseas tours, and I knew I wanted to be further up the food chain than that.”

Circumstances would soon provide the motivation for her next step.  A change in ownership turned the radio station into a very unhappy place to work, and while on a long-overdue holiday trip to the U.S., Suzy discovered The Institute of Audio Research in New York City. Less than six months later, she decided to return to attend school.

MA Miami 2012

Corporate gig broadcast mix

Baltimore, MD
Suzy began working full-time at Maryland Sound International in August 2001, roughly six months after graduating from the Institute of Audio Research.  In her position as a senior A1 Audio/Systems Engineer at MSI, having now worked for the company for the past 12 years, Suzy is well versed in all areas of sound reinforcement.   “In the corporate world, from basic podium gigs to large formal dinners with high-end feature bands,  events on the National Mall with tens of thousands of people, to being the broadcast engineer on nationally aired events, I have been fortunate to find myself doing it all over the years. From designing and putting a system together, getting them in, up and running on-site, then running either FOH or Monitors (and sometimes both), I’m happy to say I can jump in anywhere.  And while I admit that touring is my first love,  I’ve done a ton of corporates and I have learned a great deal about audio in doing so.”

Inauguration PIX 2

Inauguration

On that first tour with Neil Diamond, Suzy was working as provisional crew and was able to work with a well-seasoned crew who had been together for many runs.  All were very secure in their abilities and working together in a happy environment, where the tour looked after its crew very well.  Things were well planned and organized to make the day from load-in to load-out as efficient and painless as possible.  One of the key factors was excellent communication and professional interactions in the work environment.

When it comes to touring, Suzy tends to lean towards monitors as her preferred gig. “Although working for the size company that I currently do, by the time tours end up here  the tour already has their engineers so the opportunity to step into those gigs in that position are rare.”   She’s been FOH tech/Systems Engineer for many major tours including Hall and Oates, Seal, Josh Groban, and Linkin Park, and generally ends up mixing FOH or Monitors for support acts as well.

She’s also no stranger to challenging gigs and situations. Suzy had the pleasure of being FOH and Systems Engineer for the “Spirit of America” tour last year.  Spirit of America was an in the round, arena performance profiling the history of the US Army.  All of the performers were enlisted, 30 or so of them on headsets, as well as the fully live, United States Army Band “Pershing’s Own” Orchestra, making up approximately 150 odd inputs.  A Soundcraft Vi6 handled FOH Production with a Studer for the orchestra and one PM1D for monitors.  The floor of the arena was the performance area, complete with horses.   PA was a 270° Arena hang with a separate Surround Sound PA for special effects.

Suzy has done several tours with Josh Groban, which included a string of shows at the Sydney Opera house where she says, despite having to cram all of their gear into the opera house, the Aussie crew made it as painless as possible.  She started with Josh Groban in 2004 as a stage tech and moved on to Systems/Fly/Foh tech on later tours.

Some other touring highlights include Hall and Oates- “I did a couple of years touring with them and it was a great run.  The band and crew were fantastic and they still sound better than ever.  I started as Stage tech/Fly, moved on to Systems/Fly, and mixing FOH or Monitors for the support acts.  It was also the first gig that took me to the Bahamas.  It was a gig at the Atlantis Resort.  I happily blame them for my love of the island, and oddly enough, the best Italian restaurant  I’ve found yet, Cafe Matisse, is there.”

She loves to spend her days off being a ‘tourist’ with a passion for Zoos, Aquariums sightseeing, and outdoor fun. Finding a great restaurant where she can enjoy a lovely meal and glass of wine is always a treat.  Touring with Seal (Systems/Foh tech), gave her the chance to experience places in Europe she never thought she’d get to, including the white nights in Tallinn, Estonia.

Linken Park in Adelaide

Linkin Park in Adelaide

Earlier this year Suzy handled System Engineer/Foh tech duties for the last leg of Linkin Park’s tour, working closely with Ken “Pooch” Van Druten, who she says does an “absolutely jaw-dropping job of mixing the band”.  The tour made stops in Australia and New Zealand and the crowds were massive.  It also gave her the chance to visit the Lone Pine Koala Sanctuary.

When asked what she likes best about touring, Suzy says, ” I love touring!  I’m one of these people who love being on the move and traveling.  I love the energy of a live show and the consistency and order of a well-put-together tour, although some tours are far better than others, this is very true.  Even living on a bus with a bunch of people for a while, it’s a great way to get to really know someone.  There is nowhere to hide.  Everyone falls out of their bunk with bed hair.”  And what she likes least- ” I’ve had to trudge through a couple of bouts of food poisoning and that was miserable.  I don’t think too many on the road haven’t experienced it at some point.  Being unwell on the road is tough no matter what the ailment.  I also have very little time for individuals who are unpleasant, they can drag an entire tour down.   Good people skills and common courtesy is a must.  When you’re living on a bus with 10 others, you’re living in each other’s pockets.  You have to be mindful… and clean up after yourself.”

Advice for women wanting to enter the field of Live Sound- “Know your craft better than most because the rules are different.  Unfortunate, but true.”  People skills are essential as well.

Suzy’s ideal tour would schedule days off near Wimbledon, The Australian, French, or US Open, with a fabulous brunch.  And as for her favorite gear- “Dolby/Mesa units.  You will pry these out of my cold dead hands…”

 

Life in the shop

 

Working in Eighth Day Sound’s shop has been a fun adventure and at times a challenge.   Since I began working at Eighth Day Sound, I have rotated around the shop to many of the different departments.  I’ve worked in the Mic Room, Cable World/Rigging, Audio Repair, and Electronics. (more…)

One for the boys part 2

10/2/03
Djibouti- ick..

It’s very dirty here, like a giant garbage dump.  Lots of homeless living in shanties, on sidewalks, under makeshift roofs made from strung sheets and blankets.  The streets are lined with trash and sewage and who knows what else.  Herds of goats are scattered about having a buffet.  The few modern roads are virtually useless, as the handful of locals with cars drive very badly.  Those without cars crowd the roads and streets since the sidewalks are covered in garbage and the homeless. (more…)

The Volume Battle

 

Over the course of twenty-two years with Pearl Jam, the stage volume has always been an issue. Back in the day, stage volume measured around 120 to 122 dB on any given day. Mind you, we were playing clubs and small theaters, and often the stereo drum mix ( 2 Rat dual 15”/ dual 10”/2” cabinets) with a sub was loud enough to fill the room. (It would have been louder than most of the club sound systems, except we were carrying production). The vocal mic would feedback in the drum monitor. Our first soundman, Brett Eliason, would often joke that he only needed to add HH and Vocal to the house mix. (more…)

Grace Royse – Rock & Roll Not a Pipe Dream

 

Rock and Roll was no ‘pipe dream’ for Grace Royse. Despite all of the discouragement from those around her and closest to her, Grace fought her way through to a touring career as a live mixer, never giving the negativity an ounce of energy.

“I was always obsessed with music for as long as I can recall. I still own the mixtapes I dubbed in my garage as a kid. In high school, I discovered Punk Rock and made some brilliantly terrible recordings.”  Once she was old enough to drive, Grace started following bands around and working her way into recording sessions where she met a few engineers and learned whatever she could.  “I ended up in the beginning stages of CRAS (Conservatory of Recording Arts and Sciences) in Phoenix. Back then the school was taught mostly by working engineers and the classes rotated through local studios, some of us even landed internships while in class.”

While attending CRAS, Grace met David Nichols, who was the owner of Livinghead Audio Recording and a talented engineer himself.  “Livinghead had amazing vintage gear and the best of the new digital platforms. I worked with Jazz, Classical, Rock, Rap, Country, and Indie. We attended several AES’s as a studio, and after graduation, I worked with David for three years before opening my own studio in Tempe.”

Grace and her business partner built their studio by at first, providing PA and live multi-track recordings. Maintaining her own clients and running shows, even on a small scale, is where she really learned the most.   “A few years after the studio opened, a Production Manager friend called and said his engineer had quit and he needed help. That very day I ran my first real touring show as a favor to my friend. I worked at that venue for the next 6 years, meeting hundreds of Engineers and Tour Managers was eventually scooped up by a Fat Wreck Chords tour, and have been touring ever since.”

When she was first getting started in the business, Grace faced a lot of opposition from family and friends who believed touring to be an unsafe environment and bought into false rumors that she had fallen prey to drug use and promiscuous sex.  Learning to stand up for what she wanted was her biggest obstacle, but one she has overcome.  “I never gave in to what others thought was best for me, pushing forward with my own voice in my heart.  It’s a technical job.  It’s no different from any other career with a long learning curve and long hours. You must prove yourself, starve for a while, stick to your guns, and love what you are doing, even when it gets really, really hard, even if you stand alone in your vision. ”  “As a doctor, it takes 12-14 years to actually get anyone to call you “Doctor” with an ounce of respect, and though being a Doctor is looked on with reverence in our culture, with the long hours, and travel schedules, not many people can maintain relationships with them. The struggle feels similar to me, though we aren’t curing cancer out here, some days it feels just as hard.”

Touring life can be brutal on relationships, which Grace experienced recently with both a supportive significant other, who was unhappy and wanted her home all the time, and a very old and close friend who, overcome with jealousy, told her touring would make her ugly.  To make things easier, Grace started actively seeking out like-minded people.  “I continue to build an expansive network of colleagues who support me and have big goals of their own. It’s kind of like growing up in a small town where everyone becomes a farmer, and you are the outcast who wants to be an artist, then one day you move to San Francisco and find amazing, happy people to create with. Touring was my grand move. Over the last nine years, I have met the most amazing teammates. We push each other to succeed, believe in what we are doing, and offer this rare comfort: You aren’t crazy to have such wild dreams and I believe you can do it! “

Over the last nine years Grace has had an exciting career in a variety of roles:  FOH engineer, Monitor Engineer, Stage manager, Production Manager, Recording Engineer, Pro Tools Op, and Broadcast mixing, with a variety of bands:  No use for a Name, Useless ID, Pour Habit, Dirty Heads, Cypress Hill, Pennywise and the Descendants.  She is currently the Monitor Engineer and Stage Manager for Sublime with Rome, and FoH/Production Manager for Rome.  That’s a lot of hats to be wearing.   When asked how she handles all of the responsibilities Grace replied, “I love working within a company that has me doing lots of different things. There is no chance of getting bored around here, that’s for sure. There’s huge comfort in that. I’m kind of an organizational freak and to be able to steer my own ship is awesome. To be able to work with people who trust me is awesome.  I hope in the future, they continue to give me even more responsibility, because not only do they know I can handle it, it’s a benefit to the whole project and everyone involved to have me at the helm, and that’s one of the biggest compliments in the world. I don’t mind that my hat changes and I don’t mind that they lean on me for just about anything.”

“I remember the first time one of my Artists introduced me to someone as simply “my Engineer.” I really took that as a huge compliment. I’m going on four years with these guys, and we have done just about everything you can imagine. Fly dates where I’m mixing them in this little room, with scarcely a PA and I’m the only one there, to these huge arena tours, where I’ve got several semis trucks, tons of local hands, and my own PA to fly.  I think in that time, my whole network has learned that they can come to me with just about anything and I’ll make it happen.”

Her favorite day off activity is hiking to a swimming hole, as long as the destination permits, and being a huge foodie, she likes to seek out the best cuisine around.

As for advice to other women who wish to enter the field: “Hold your own. Set boundaries and stick to them. If you are not true to yourself, your goals, and your own professionalism, you won’t make it, not in Rock n Roll, not anywhere.”  “You’re a technician but also an artistic performer. Passion drives art. If the passion is in your heart for that chilling silence right before the first note hits, and the thunderous applause after the last, proceed.”  Grace’s future plans include the goal of FOH/TM.  “As long as I stay with people and projects I care about, I know it’s within reach.”  “All the amazing people I have met and grown with over the years are invaluable to me. I am beyond grateful for their years of guidance and support. Lapping the globe with your best friends is beyond amazing.”

Grace’s favorite gear includes Digidesign, Neuman, Shure anything, and D&B. I have a huge lady crush on AKG 4050’s, Neumann KM184’s, anything Manley Labs, API or Great River.

“I am totally a closet gear junkie.” She’s quick to add, “I have worked with the worst gear you can imagine over the years, having to duct tape together a PA for a show, and repair things on the fly has made me a better engineer. I feel really bummed when I think about the privileged kid that gets to buy all the really nice gear right out of school or goes right into a super clean gig. They are totally getting jipped out of the struggle that will make them amazing. I laugh now, thinking about this disgusting club me and my friends worked in many years ago. I had to repair an NL4 that got stepped on in the middle of the show because we didn’t have spares. There I was on stage, right there under the lead singer, who was spraying fake blood all over the crowd and me. That club taught me to repair, maintenance, and really down to the point physics of sound and electrical science of what we do. You will never learn that if you walk in, flip a switch and it always works. Get your hands dirty and make it work when it won’t.”

Grace’s Recommended “Must Have” Skills

People Skills!

It is unreal, the broad spectrum of people you will work with. Be ready to have thick skin for that loud tough boss. Be open to the quiet, humble tech who doesn’t speak much, he likely knows more than anyone. Get along with everyone. You never know where you will see them again on your journey

Technical Aptitude.

You’re a super dork now. Read the books, hit the conferences, get in the blogs, and nerd down with your gear head friends. Stay on the edge of the coolest and greatest. Someday, when you are a really big deal, they’ll give it to you for free! For now, do what you can to put your hands on the gear and read anything you can find.

Organize, Prioritize and Be Prepared.

Learn to be the neat freak. The cleaner you are, the smoother the show will go. I make lists. I lay out my gigs in my head on the airplane. And I anticipate a million scenarios.

Stay Calm.

As the saying goes, “anything that can go wrong will go wrong.” If you live by #3, you are already, ready. I tell my interns, the people I respect most are calm amidst the storm. A pillar, the one you go to when the sh*t really hits the fan, and there they are, calm and with the answer in hand.

Have a good sense of humor.

Number five should very likely be number one.  If not for my ability to laugh, I’d never have made it this far. Humor, when you make mistakes. Don’t beat yourself up about it. That’s how anyone gets great at anything, by getting it wrong first. Laughter, when you are too tired and too busy to think. Humor is vital to the ability to brush off stress. Laughing with my friends is the #1, hands down, the greatest part about this career.  Laugh lots.  Laugh that you are blessed to wake every day to a career you love, that you followed through with what you started, and now your dreams are chasing you around the world.

More on Grace

Grace on The SoundGirls Podcast

Grace Royse on Roadie Free Radio

Grace Royse on Signal to Noise

Grace Royse, Virtual Congregations

The Right Balance: The Diverse Career And Life Of Grace Royse

Grace Royse on Mixing Sublime with Rome with VENUE | S6L

Grace Royse Website

Find More Profiles on The Five Percent

Profiles of Women in Audio

One for the boys

It’s September 2003 and the band I’m working for is embarking on a tour of US military bases in Europe and the Middle East to show support for the troops stationed there.

9/24/03
9:00 am The band and crew meet in front of a Holiday Inn just outside of Dobbins Airforce base to be to escorted onto the base and to our plane. We’re scheduled to fly from Atlanta, GA to Rota, Spain via military aircraft. Once we arrive on base we learn that our aircraft is stuck in Norfolk for some maintenance so we’ll be delayed until they can get our plane checked out and to Atlanta. (more…)

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