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
Ova Music Studio – Feminism and Female Music Production in 1970s London
One of the most rewarding aspects of being involved with SoundGirls is hearing about (and learning from) the experiences of other members. At the most recent meetup for London and UK members back in January, I met members at all different stages in their careers, working across everything from theatre sound to podcasting. From members who had just graduated and were deciding which career path to follow, to members like Jackie Ord, who has recently started to work as an engineer and producer after decades of working as a musician.
It was through Jackie talking about her experiences as a young woman interested in sound and music in the 70s and 80s that I found out about Ova Music Studio and the fascinating story of the women who wanted to empower other women and girls to create and produce their music.
Rosemary Schonfeld and Jana Rumells established The Ova Music Studio in Highgate, north London in 1984, after had forming the radical feminist band Ova in 1976. As well as providing facilities to record and produce their music, the stud offered workshops for women on sound recording, voice, drumming, and percussion. Ova wanted to control their music production and recording outside of the commercial music industry, and the institutionalized misogyny that surrounded it and help other women to do the same.
Rosemary met and fell in love with, Jana in 1976. Both singer-songwriters started playing and writing music together, living in various squats and playing at lesbian and feminist nights across London. After their romantic relationship ended, they continued to create and perform music together as the Ova, first as a group, then as a duo. They released their first full-length album Ova in 1979 on the label Stroppy Cow, which was set up by fellow feminist group Jam Today.
The Women’s Liberation Music Archive (WLMA) describes the aim of Stroppy Cow as “to encourage women to make their kind of music in their own time and space without the counterproductive pressures of commercialism. The music industry often restricts creativity by pre-determining images and roles that women have to conform to be heard. The policy of Stroppy Cow Records is to encourage women to define their own musical output and to be involved in every stage of production.”
As Rosemary says in this interview with WLMA from 2010, this policy encompassed everything from to women owning the rights to their music to the position of how women’s voices in the mix. As she says “in the commercial music industry women’s voices were often being mixed right back, [it was] male choices for the final sound and production.”
Rosemary and Jana were introduced to recording technology by sound engineer Mike Trim during the recording of their first EP (released on cassette). Their new skills gave them the confidence to be able to hire recording studios and work with, as Rosemary puts it in the WLMA interview, “sympathetic sound engineer[s]…you had to find the ones that were helpful and encouraging…willing to share their knowledge”.
In 1983 they received a grant from the Greater London Council to establish their studio – Ova Music Studio – as a resource for women to record demos and learn about sound recording. One of the conditions of the grant was that they had to offer workshops, and so they did outreach work, travelling to schools with a 4-track recorder, as well as holding music and sound workshops at the community centre in Highgate, north London, where Ova Music Studio was based. They had a resident female sound engineer, Livvy Elliott, who also toured with Ova and taught the sound recording workshops.
Rosemary eventually left the studio in the late 1980s and moved away from London to study music. Livvy went on to establish Studio 9 in Brixton. Ova Music Studio continued for a while, eventually becoming Overtones Studio. It appears to have closed sometime after 2007.
The full interview with Rosemary is available here and you can read more about Ova and listen to recordings in their Women’s Liberation Music Archive entry here (scroll down to find their listing).
The interview is well worth a listen – it’s a fascinating journey through feminist music-making from the mid-1970s – early 1980s, taking in the London squatting scene, touring, the lesbian and feminist movements in the US, UK and Germany, intersectionality, musical influences and working in music and music production as a woman.
Thirty years ago, these original “SoundGirls” were facing many of the same challenges as women working in sound and music production face today. It’s an interesting and sobering thought to consider SoundGirls as part of the same history – a lineage of (in Rosemary’s words) “agents of social change.”
Stereo Recording Systems
In order to select the technique with which we will work, first, we must consider some details such as budget, available equipment, and music style; having this clear we can make a decision on the system that best suits and works to the circumstances that we face.
The distance between the sound source and the recording system. (D)
From there arise some of the best-known stereo recording systems, such as:
XY (Blumein)
AB
Equivalent stereo (ORTF, NOS, EBS)
There is a relationship of the position in which a virtual source appears between a pair of speakers and the difference in sound intensity (in dB) for a stereo signal. This variation is achieved in stereo recording systems through the four elements previously discussed: polar pattern, position, the angle between the microphones and distance to the source. (Recall that we are talking about stereo recording techniques)
For example, we know that to get a virtual source to be 100% towards one of the speakers, the difference must be 18dB (1.5 ms), 75% is 11dB, 50% is 6.5dB, 25% is of 3dB and 0dB to be completely at the center.
These differences in level (dB) or in time (ms) can be achieved by manipulating the distance and / or the angle between the microphones, so that the sound that arrives at each of the microphones’ capsules of the system is translated in different images in the speakers, with different positions and image widths of the virtual sources.
For example, when the microphones are brought closer to the source, the image becomes louder in the speakers. Or if the angle between the axis´ of the microphones of an XY system is reduced, the image decreases because the recording area becomes larger. In the same way, we can observe image differences between each of the systems AB vs. XY vs. equivalent.
The image of the orchestra represented above shows an extreme example of how the results may vary according to the chosen configuration; however, this does not mean that whenever we select an AB stereo recording system we will obtain an image that comes from the left and right ends. The right of the loud speakers, or that by choosing a matching system, a concentrated image will be obtained in the center of the loud speakers. Everything depends on the selected parameters (polar pattern, angle, distance between the microphones and distance between the source) for each configuration.
Specifically, if we compare an XY system with a cardioid polar pattern vs an AB one, we might hear:
I invite you to listen and select your favorite stereo recording system, making variations in the polar patterns, distances, and angles of the recording systems.
I take this opportunity to thank the person to whom I owe this knowledge, whom I greatly appreciate and admire, Thorsten Weigelt.
Additional notes:
Below you will find a list of the specifications of the most well-known established stereo recording systems.
Blumein: bidirectional polar pattern, a 90º angle between the microphones, there is no distance between the microphones.
ORTF: cardioid polar pattern, a 110º angle between the microphones, 17 cm distance between the microphones.
NOS: cardioid polar pattern, a 90º angle between the microphones, 30 cm distance between the microphones.
EBS: polar pattern cardioids, a 90º angle between the microphones, 25 cm distance between the microphones.
DIN: cardioids polar pattern, a 90º angle between the microphones, 20 cm distance between the microphones.
RAI: polar pattern cardioids, a 100º angle between the microphones, 21 cm distance between the microphones.
OLSON: polar pattern cardioids, a 135º angle between the microphones, 20 cm distance between the microphones.
Andrea Arenas: I’m a sound engineer. My first approach to music was through percussion since I was 10 years old. I graduated electronic engineer and dedicated to audio since 2006. I also have composing studies and crazy love for music.
Nizarindani Sopeña: A journalist by the National Autonomous University of Mexico (UNAM), a specialist in subjects of the cultural field. Publisher since ten years of Sound: check Magazine, a Mexican publication aimed at professionals in the entertainment industry in Latin America and the world
Giving Back to the Audio Community – Lenise Bent
Producer/engineer LENISE BENT is one of the first women recording engineers and has worked on many iconic records including “Aja” by Steely Dan, “Breakfast in America” by Supertramp and “Tusk” by Fleetwood Mac. She was also the first woman to receive a platinum album for engineering on Blondie’s AutoAmerican.
Lenise is a native of Los Angeles and comes from a musical and technical family. She studied piano and played flute in the Compton Festival Orchestra and at the age of eight was enrolled in the Screen Children’s Guild, working in film and television. This lead to studying film and TV production in college until one day she was invited to a recording studio. With her love of music, she was hooked, dropped out of college and enrolled in a recording school the very next day. Fortunately, her parents were supportive.
After graduating from Sound Masters Recording Institute (this was one of the only schools in Los Angeles at the time), she was hired as an assistant engineer at The Village Studios in Los Angeles, eventually working her way up to engineer. It was at The Village that Lenise furthered her education in audio recording, working with and being mentored by many legendary engineers and producers, most notably Roger “The Immortal” Nichols and Roger Linn. Lenise then became chief engineer for hit producer Mike Chapman, working with several artists including Blondie, Cher, The Knack and Suzi Quatro. Together they recorded in several iconic studios such as The Record Plant Sausalito, Air London and United Western, which is now United Recording and EastWest Studios.
Lenise’s first session as an engineer was April 1977 at the Village Studios (formerly The Village Recorder) Studio A. The equipment was a Harrison 3224 console, Ampex ATR 100 2 Track, Technics ¼ Track, and M-79 2” 24 Track tape machine. The Artist was Americana musician (and uncle) Willie Wilson. The Village encouraged all the assistants to use un-booked studios when they weren’t working on their own projects.
Lenise moved into post-production audio, beginning with creating the foreign music and effects tracks for the entire Disney cartoon catalog, and eventually specializing in recording and editing Foley. She has worked on several films and animated series, such as “Robo Cop,” “Street Sharks,” and “Extreme Ghostbusters.” She has traveled the world for Dreamworks supervising and producing the foreign dialogue and vocals for “Shrek,” “Spirit: Stallion of the Cimarron” and “Shrek 2”. This rekindled her love of recording music, and she is now engineering and producing up-and-coming musicians as well as seasoned artists. Currently, one of her projects, a blues/rock band called the Primal Kings, is all-analog, recording and mixing to tape and cutting vinyl.
Lenise believes in giving back to the audio community and is a sought-after lecturer at colleges throughout the country. She holds workshops and consults with singer/songwriters to learn basic recording techniques and is currently creating a workshop for recording and editing analog tape. She taught Production Sound, Post Production Audio and Studio Protocols and Procedures at SAE-LA and conducts “History of Audio Recording” presentations at The Grammy Museum. She also works in audio restoration and repair, including restoring the audio for the photo exhibit “Who Shot Rock n Roll” for the Annenberg Space for Photography.
Lenise is a long-standing voting member of NARAS and the Producers & Engineers Wing of the Recording Academy and is on the advisory board for the TEC Awards at NAMM as well as the executive committee of the Los Angeles chapter of the Audio Engineering Society. She also belongs to SoundGirls, Women in Music, ARSC (Assoc. of Recorded Sound Collectors), the prestigious Hollywood Sapphire Group, The Blues Foundation, and Women’s Audio Mission (WAM).
SoundGirls interviewed Lenise on her long career
What do you like best about your job?
I love working with musical creatives, inspiring and capturing their performances.
What do you like least?
The few times I got stiffed. Valuable lesson: always count your pay in front of the person paying you.
What if any obstacles or barriers have you faced?
Fortunately, very few. I was told once that I wouldn’t be working on a project I really wanted because they preferred to work with a guy but I eventually got the gig, and it was great.
How have you dealt with them?
Honestly and professionally.
Advice you have for other women and young women who wish to enter the field?
To me being a recording engineer is a genderless skill, I think the individual who is passionate about recording and producing and does the hard work to learn well will succeed. I learned early on that on a session my required skills were why I was there, not because I was a woman. In the studio, I am an engineer/producer.
Yes, I realized that there might be obstacles when I started out, there were VERY few woman in the recording world at that time, so I made sure I did my job well and brought good energy on the project.
Be versatile. The more you know, the more valuable you are. Have a strong work ethic and be willing to do the jobs others aren’t, you will move up faster.
Value yourself. Working for free is being a volunteer and if that’s what everyone else is doing then okay. Otherwise, have your rate.
Be trustworthy.
Do not say you can do something if you can’t.
Leave gender out of it. You are an audio professional; your gender is secondary. Dress appropriately.
Save your money. There was a time when being a recording engineer was a very lucrative career. Times have drastically changed. Be mindful of your audio opportunities. Join a union, work for a company that provides benefits and a pension. Start saving for retirement NOW. I know it sounds cold and unartistic, but it’s reality.
Don’t sleep with your clients or co-workers. Just don’t.
Have good social skills. You can be a ProTools wizard and know everything audio, but if no one wants to be in the same room with you for more than five minutes, it doesn’t matter. Be an asset to the project and the production team, not a liability.
Must have skills?
ProTools, basic recording techniques, signal flow, knowledge of electronics. Learn your gear and mic placement. I encourage learning what good audio sounds like. Have excellent social skills and hygiene. Remember that you are providing a service.
Favorite gear?
Neve 8068, 80 series consoles, Neumann U67, LA2A, 1176, DBX160 (Great on female vocals) limiters and compressors, EMT 140 plate reverb, Izotope RX 6, Burl converters, Prism converters, Altiverb. There is so much great gear out there that I love!
Do you ever feel pressure to be more technical or anything else than your male counterparts?
No, I don’t think more, but I better be at least as good. I prefer to be better. : ) When I started, I knew if I was more technical and did my job really well I’d have more credibility and work.
Is there anything about paying your dues you wish you would have paid more attention to that came back to haunt you later in your career?
Yes, I wish I had better electronic knowledge. When I started out studios had maintenance departments, and assistants and engineers weren’t required to know how to solder or build mic cables, etc. Good stuff to know.
When the DAW came along were you an immediate adopter? Or did it take you a long time to convert?
I was already doing post when it came along (SoundTool!), and it was a welcome tool for fixing audio right away. I was working on Foreign M, and E’s (Music and Effects) tracks so if there was any English it was so easy to remove it. Also editing foley was a breeze, everything could be synced so easily. The foley artist still had to have good sync though, still, do.
What part of analog engineering practices have you maintained?
I still record to tape. The main thing I apply to digital recording is the style of recording, making commitments to performances and moving forward, like recording to tape. I like to work quickly and in the moment while the emotion is still high and not wait until later when I can’t remember what nuance I liked. I record and comp, boom.
What are your favorite plugins?
I like the UAD bundle and Altiverb. I try a new plug-in on every project so I can learn it. I admit that I don’t use many plug-ins as I am usually in a studio with the outboard gear that I’m used to. The most important thing about plug-ins is to understand how to use them and why you are using them. I’ve received tracks that I’m hired to mix, and there will be five or six plug-ins on one track!
Do you have a few stories you can tell that have taught you valuable skills? Whether industry people skills or tech skills?
Here’s a good one…do not get stoned, high, drunk, etc. during a session. I was working with the group The Band, and we were recording basic tracks to 2” tape. I’m not a pot smoker but their keyboardist Garth Hudson kept insisting that I take a hit of his pot, that it was different and would help me really focus. After several refusals, I finally took that hit just to get him off my back. We had done three takes of a song, and now it was time to comp the track. Robbie Robertson and the others decided they wanted the first verse from take 2, the first chorus from take 3, the bridge from take one, and well you get it. Remember this is 24-track tape, folks, totally destructive audio, razor blades and splicing tape, requiring focused experience and skill in the finest of times. Thankfully, the group took a long dinner break, allowing me to spend all that time juggling take-up reels, going back and forth, as I put the track together. Yes, there was major panic. When they returned from dinner, I had just finished. We played it back, and it was all good except the bridge was upside down. They all laughed like crazy except for Robbie who was not amused. I was amazed I got it as right as I did. Ugh.
GIRLSCHOOL is a Celebration of Women Challenging the Status Quo.
A few years ago Anna Bullbrook, (Airborne Toxic Event and The Bulls) volunteered at the Los Angeles Girls Rock Camp and had a “ mind-bending experience of seeing women use rock’n’roll to encourage young girls to take risks, grow, and be more themselves in a really utopic, positive, and very thoughtful all-female environment. The experience changed my brain. The relief of connecting to a community of positive and pro-active musical women hit me like a wave”. Once Anna got a taste of what she calls “Utopia” she knew she had to do something to keep that feeling of community alive and continue to grow it, and so she started GIRLSCHOOL (This is why SoundGirls was founded).
GIRLSCHOOL is a music festival that celebrates women-identified-fronted bands and women artists. After spending a decade as a “sideman” in the alternative rock world, where you don’t see a lot of other women around—onstage or on your crew—I started to miss and crave the camaraderie of women. I mean, growing up in classical land, I saw women players everywhere and had a million girlfriends who also played instruments. It wasn’t this segregated thing.
With GIRLSCHOOL 2017 Anna did create a weekend of “Utopia.”
With a production crew of all-women sound engineers, production designers, and lighting designers GIRLSCHOOL 2017 Festival featured; Chelsea Wolfe, The Bird and the Bee, Francisca Valenzuela (acoustic), Deap Vally, The Regrettes, Rituals of Mine, Summer Twins, Vox, Luna Shadows, KONA, Boyfriend, Pearl Charles, The Wild Reeds, Winter, Liphemra, Trace, Caroline Smith, Kid Wave, Starcrawler, Soto Voce, and DJ sets from Tamaryn, Mereki’s Club House, Bleached, Honey Power, Val Fleury, Linafornia, and Play Like A Girl.
The festival also included afternoon panels discussions and workshops with; Ruidosa, SoundGirls, Music for Pictures (Alicen Schneider, NBCUniversal), Own Your Own Voice (Kiran Gandhi), Women in Media (Andrea Domanick, Noisey), Women in Music (Jasmine Lywen-Dill, GIRLSCHOOL Co-Founder/WBR), Queer & Trans* Women Discussion on Sexualization and Media (Dannielle Owens-Reid), Radical Aliveness (Jennifer Huang), Ableton Controllerism (Laura “Alluxe” Escudé), Intersectional Feminism in Music (Mukta Mohan, MTV/KXLU), and Rock’n’Roll Camp for Girls LA.
Anna has big plans for GIRLSCHOOL in 2018 with plans to bring the festival to other cities (stay tuned) and providing year-round programming. SoundGirls had such a great time being involved with GIRLSCHOOL last year, and we are eagerly looking forward to 2018. Check out last year’s scene report.
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
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
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
When I was 17 and an intern at Interscope Records in New York City, my boss, head of radio promotions, said to me, “Don’t get into this business. The music business is a terrible business.”
I can handle it. I thought to myself. I looked at the photos on the shelf next to her desk. “Haha, yeah, it seems pretty crazy. Hey is that you and Eminem?”
“We’ve been together since the beginning. He is a true artist.”
I sort of listened. And I sort of knew what she meant. Mostly I was thinking about how badly I wanted to prove, mostly to myself, that I could handle it.
When I was 11, I learned to play finger style blues guitar from the guitar teacher and music store owner in my town. He is now one of my closest friends, but at the time we barely knew each other (also I was 11, and he was a man who owned a music store so…yeah). One fall day he hosted an open mic at our community center. We never had stuff like that going on in town, so I didn’t even know what an open mic was. He encouraged me to perform, and I ended up playing “Foolish Games” and “Save Your Soul” by Jewel, and an old swing number called “Believe.” I was so nervous I was shaking. My dad filmed the whole thing on our camcorder, which my little brother recorded over a week later when he and his friends wanted to document their backyard dinosaur-bone excavations.
1991 – me and my older brother Ariel in 1991 in East Chatham, New York
For my 12th birthday, my dad took me to see Ani Difranco headlining the Falcon Ridge Folk Festival in nearby Hillsdale, New York. He bought me a pentagram—I was really into Wicca at the time—and sat on the grass hill with me, surrounded by RV hippies and babies on boobs, and watched Ani give herself to us. Her body was a channel, and her voice and guitar were the message. She hit the strings so hard that the buzzing and the sliding out of tune became part of her songs. She roared her lyrics like a lion, completely free of all fear. It felt like the first time she’d ever been in this moment, and simultaneously like she’d always been in this moment. She was her, and she was us. And yet she was beyond herself and us. I don’t know how or why, but I wanted to do that, and I felt like maybe I could. So I decided to try.
A few days later I performed a song I’d written for my dad and grandparents. It was called “I Am A Puzzle, ” and the guitar part was inspired by Ani’s playing. The lyrics were:
I am a puzzle
I am hard to complete
it’s hard to find the whole thing
and then put it all together
but I have a missing piece
I have a part of me missing
if you have a puzzle
and you wanna see
the whole damn thing
you’re gonna need
that last piece
I don’t remember exactly how 12 year old me felt at the time. But I do feel like those lyrics, however silly, bore an uncanny resemblance to my life that came later.
There are so many pieces to this puzzle.
I spent my teen years performing songs like “I Am A Puzzle” and “Tears On My Pillow,” and “Crying and Cold” to farmers, bikers and any friends and parents I could get to come out to whatever Columbia County bar and cafe would let me play. I took great pride in my ability to make bikers cry when I sang the sad songs.
2012 – Setting up Ableton for a show in Bushwick, Brooklyn
That summer at Interscope was the only summer since I was 14 that I didn’t have a paying job, and I didn’t know what to do with myself. I was living off the student loan I’d taken out earlier that year. I mostly stayed at home and worked out acoustic covers of my favorite songs by The Knife.
For my birthday in July, my then-boyfriend gifted me a Focusrite audio interface and a pair of AKG headphones. He’d given me a bootleg version of Logic 9 and was adamant it was going to be my “new favorite thing.” My grandparents gave me an SM58, which I’d asked them for. In my spare time between school and work, I would play in Logic. Over the next year or so my boyfriend and I collaborated quite a bit. But we ran into issues because he didn’t have to work and I did. I would get frustrated that he was making more than me, and he would want me to sing the things that he’d written. But I wanted to write and produce too. Was I territorial and stubborn? Or was I just in a different position than him?
Writing good songs was one piece of the puzzle. Producing was another. And yet another was the balance of work (for money to live) and art. It was becoming painfully obvious that the cards I’d been dealt in that regard were not the most generous.
2017 – Rehearsing with my live band this past summer, Los Angeles, CA
In the years since then, I have experienced all kinds of resentment toward those that have more cushion/support/time/money/etc. But resentment is a heavy thing to carry around, and I decided at some point to stop carrying mine. Perhaps it was when I realized that, even though I’d spent most of my life working on music, I still had many many pieces of the puzzle to find and put together before I was going to have a career.
Ten years later, I wonder where I would be if I’d heeded the advice to stay out of the music business. I have never truly considered another path aside from that of a musician and artist. Sometimes I feel overwhelmed by the complexity of it all. But mostly I still feel like I want to prove, mostly to myself, that I can handle it.
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