Join Us

Empowering the Next Generation of Women in Audio

Join Us

What is the Fair Labor Standards Act?

Fair Labor Standards Act – Know the changes and how they might affect you.

Effective December 1, 2016, the Fair Labor Standards Act (FLSA) will create a change in salary base pay for many people working throughout the US.  FLSA increases the weekly base pay requirement for salaried employees from $455 a week to $913 a week or $47,476 a year. You can find more specific and direct details here.  As a bit of an overview with this new act if you make less than the $913 per week as a salary for a 40-hour work week, and you end up working more than 40 hours within that week, you are entitled to either compensation time or overtime pay; both at time and a half.  Compensation time (comp time for short) means paid time off for 1.5 times the amount you worked over 40 hours during that week. Let’s use for example a situation where you work 42 hours in one payroll week.  With the changes in the FLSA, you would get that 2 hours in either comp time or overtime pay plus half equaling 3 hours of overtime for that week.  Your employer gets to decide if they will give you comp time or overtime pay when you work any extra time.

You’ve maybe run into this in the past and just altered time the next week so that it all balances out.  With the new rules, it doesn’t work like that any longer.  Overtime is based on a “per payroll week” schedule which is 40 hours within one 7-day period. That 7-day period can be determined by the employer.  Mine has set it up as the workweek is Sunday through Saturday. So if I work 42 hours one week and 38 the next I would end up with 3 hours of comp time or extra pay from the first week and 2 hours missing from work or being taken as vacation time from the second week.

This FSLA policy is another layer on top of an earlier act that does not allow you to volunteer for your employer doing the work that they already pay you to do.  As a result, volunteering for work is also not an option. You can read up on the rules regarding volunteering at your workplace for the work you are already paid to do here.

At this time, I am unable to speak about or clarify any rules regarding what FSLA looks like for anyone who freelances or works solely for themselves so I recommend that you take a look at the ruling so you know if there are any changes for you or your workplace. I do know FLSA does not affect those who are already paid hourly and already have overtime opportunities.

What does it looks like when applied to the workplace?

For many of us, this change is big as our work weeks are often very full, loaded with non-standard hours, and rarely ever 40-hours a week. I have been asking what other people are doing and many people have said they weren’t sure or are going to figure it out later. The system that I work in adopted these new rules almost immediately, so I thought I would share what has been happening for me in hopes others might be able to learn more and work out their own plan.

Personally, FLSA is causing a lot of change for me and many others in my organization. My salary is less than $47,476 a year and the organization I work for is not prepared to pay the overtime. It also happens that there is a policy within my organization that limits how much comp time I could accrue, if allowed at all, as a result they have decided to save the comp time for emergencies and high profile events. Overall, the goal in my organization is to never pay overtime or to allow anyone to accrue comp time.

My organization decided to start practicing for this change in September of this year.  That means once I reach my 40 hours each week, that’s it. Time to go home. Although I am excited for an opportunity to get paid fairly for the hours I put in, I am struggling with the idea to just walkout at the 40-hour mark. My integrity seems to be getting in the way. I struggle with the idea of walking out no matter what is happening, and potentially not being there for critical issues. The other force that I am up against is the policies of not accruing comp time, not paying for overtime, and not volunteering.   It has been interesting to find a way to navigate between these lines and feel good about it.

Now some people would say well that means they need to hire a second person, or that I’m doing too much work for one person, which could be true nevertheless in the near future with budget concerns the staffing level isn’t going to change. Just like some of you who work in smaller clubs sometimes the money just isn’t there to create the needed change so we take it one step at a time.

But I digress, to navigate this new balance there are a couple of things I have been doing.  First, I do what I can to plan my upcoming schedule accordingly to balance out the needs of events and other responsibilities of my position, while adhering to my time limit. I submit my work plan in advance of each workweek for approval to show when I will be working and when I will be away. I find myself working only 4 days a week on average, working various days and hours each week. Second, I have set specific office hours’ time where I can do the planning, administrative tasks, and ensure that I am managing my staff effectively.  I set these items into my calendar when I think the office is quiet to prevent interruptions, and when I can best connect with my staff.   Third, I find now I am even more focused on reviewing my schedule from a longer-range perspective.  Instead of working 2 weeks out, I have found I am looking 3 or 4 weeks ahead. This is so I can get the information I need for events farther in advance to plan my hours accordingly. It also helps to combat the time draw that last-minute events create on my now extremely tight timetable.  For the most part, this process seems to be working, although I have still had a couple of weeks with some extra time.  The schedule is something that those around me have struggled to deal with.  In the past, I had a more fixed schedule, and people knew when they could find me.  Now each week varies, and there is a lot of adjusting going on. It’s been a reasonable place to start, a good practice also, as it isn’t even my most busy season yet.

The process of adhering to the FLSA definitely changes things for me.  I appreciate the early planning and progress that has been made so far, to understanding the impact of adhering to the new rules.  Figuring this out is a work in progress, and is not yet perfected.  However, I wanted to share with you a reminder of the new rules, in the event, they impact you, as they do me.  I hope that sharing the basics of the rules helps you start thinking about how this may impact you and that sharing my approach may help you determine your own plans in anticipation of this change. It’s not too soon to get started thinking about what this may mean to you and how it may change your work-life balance.

Links:

https://www.dol.gov/whd/overtime/final2016/overtime-factsheet.htm

http://webapps.dol.gov/elaws/whd/flsa/docs/volunteers.asp

 

The Audio Girlfriend’s Guide to Pregnancy

Pregnancy and the audio industry aren’t exactly two terms you hear together. As I look back on the past 9 months of my pregnancy, I laugh at how little I knew – I thought pregnancy meant being sick in the morning, going to the doctor more often, and eventually wearing flip flops and not reaching the EQs on the console. Pregnancy has been a challenge mentally, physically, and emotionally and can completely take over your life at times. It’s also been a fun and fascinating experience – one that can be balanced with work if you’re flexible and can adapt to your new (and changing) limits.

First trimester (weeks 4-12)

There’s no anticipating how good or bad you will feel. Some women have no symptoms and others can’t keep down water. You really won’t know til you’re there.

Morning sickness can be like the worst hangover ever for weeks. You know the feeling when you’re at a greasy diner with a horrible hangover and the smell of food makes you want to vomit but you know you need to eat to feel better? That was 23.5 hours a day for me for 6 weeks.

Your nose/palate can dictate your lifestyle for a while. Normally, if you smell or taste something rotten or unappealing there’s a mild reflex saying “eww”

During pregnancy, the body reacts more like,“EMERGENCY! YOU INGESTED POISON!!” (even if it’s a whiff of a food truck a block away). I was “lucky” to only have nausea and usually could get to fresh air if something triggered me (like a coworker’s burnt popcorn). Some women can’t go anywhere without scouting out the nearest trash can, toilet, or bush because of a more visceral reaction to smells.

Eating is hard on a schedule. If you feel continually sick and there’s a small window where you feel well enough to eat, you need to eat. It’d be tough to be in a work environment where you can’t snack or only have designated meal times.

There’s a good chance you’re irritable and grouchy.

During the weeks I wasn’t eating much, my fuse was short, I didn’t have much of a filter and I had no patience for BS or attitude. I didn’t take on extracurricular gigs or stressful work during this time knowing my client etiquette and demeanor would probably be poor.

Exhaustion can be overwhelming – I had a yoga mat in my recording booth and would sometimes take a quick nap during breaks. Working swing shift was great because I could sleep in or leave work a little early if I was having a rough day.

The first trimester can be isolating. All of this is going on and you may not feel comfortable telling anyone. It can help at work to have someone in the know who can nudge the crew to eat their smelly pizza elsewhere or change the topic when someone teases you for not going out for a drink.

Second trimester (weeks 13-26)

Forgetfulness. The struggle of “pregnancy brain” is real. I was a guest on a podcast and could not remember the names of the plugins in my channel strip that I’ve used daily for at least 5 years. At work, I had to take extra notes and sometimes ask for detailed/complicated things in writing.

Need to focus on something? Good luck. Normally I have laser focus and can work for hours without being distracted. During pregnancy, I sometimes felt like a kid who was hyped on sugar and had a puppy in the room. I had to plan for extra time on mixes knowing I might get totally sidetracked or completely forget what I was doing.

Peeing all the time. There’s a reason for the old saying “bladder of a pregnant woman” (It’s hormone related.)

Even with all this going on, you might feel like Superwoman. In my second trimester I did a demanding scoring session in Canada (with long work days) and spent a week in Europe walking 5-10 miles a day. In both cases, I felt great (and ate more than the people I was traveling with).

You’ll start feeling the “thing” that’s living in your body. I’ve never been so excited to be kicked in the stomach.

Third trimester (weeks 26 -?)

Baby can hear! Babies start to hear between 23 and 27 weeks (especially low frequencies) and they can be startled by loud sounds. My little dude would often get squiggly/active when I was mixing. Studies show that babies recognize their mom’s voice after birth and will recognize patterns they heard while in utero (like if you read the same story out loud every day).

You will have some physical limitations. As your belly grows, little things become difficult (socks are my nemesis). Heavy lifting restrictions may start earlier in pregnancy, too, in part because of a hormone called relaxin which causes your joints to loosen. Belly weight isn’t necessarily the source of discomfort, either – your organs (and someone else) are moving around, too.

People may step in to help more than you want. People have good intentions but sometimes visibly pregnant women are treated as disabled or incapable. Staying active through pregnancy is great for your health (and your recovery). One thing I find funny is how often someone offers their chair or insists I sit when I’m more comfortable standing or moving around. But, there are also times where the offer for help (or the chair) is welcomed.

You never know if/when you’ll be forced off your feet. I was shocked to be admitted to the hospital and put on bedrest at 29 weeks when I felt fine and worked the night before. I was planning to work as long as I physically could but ended up on disability for over two months instead. Luckily I had a backup plan – I already had arranged a backup person for every freelance gig and my main job had a substitute list in place. Financially, I had prepared for some unpaid time off with an emergency fund (for a “worst-case” scenario).

Things to consider when you’re working and pregnant:

There are times you can’t function at full speed. This especially applies to the early and late months. Early on, I kept my schedule light and didn’t commit to anything more than a week ahead (when possible). I also turned down gigs unless I knew for sure I could handle it (I passed on a gig in China during peak morning sickness, for example).

It helps to work for companies/clients who can accommodate you in an emergency. A few years ago my husband broke both his arms falling off a bicycle. The studio I was freelancing with at the time didn’t have anyone prepared (even in case of emergency) so I had to leave him at the hospital and go in for the session. After that, I refused to ever be in a work situation like that again. Pregnancy has been much less stressful knowing that my employer can find a sub (same day, if needed) or that my clients know upfront I may bring in a backup person in case of emergency.

Guy awkwardness. One of the times it can be difficult to work with a team of guys is when you have something “female” going on. Once the weirdness passes (if there is any), pregnancy can be a fun topic to talk about – especially the name suggestions and bizarre questions.

Girl awkwardness. Being “one of the guys” in this field may also mean we don’t have many girlfriends let alone close ones who can pass down maternity clothes or give advice on breastfeeding. The jump from Audio Engineer to Mom can be completely foreign. Part of the challenge is finding resources and people who you feel comfortable asking for that kind of support.

You may get philosophical about your career. There’s a lot of questions about what your new life will look like. How do you want to balance work and a baby – or are you going back to work? If you are career-oriented or pride yourself on your work accomplishments, how are you going to handle being away from that? How will you balance your own identity and needs with your kid’s needs? Are you prepared to be “Mom” sometimes before “engineer”?

It’s sad, but loss happens in pregnancy more often than you’d think. It’s estimated that 1 in 4 pregnancies end in miscarriage (the majority in the first trimester). It’s not something that many people share openly until you go through it yourself. Loss can take some time to recover physically, mentally, and emotionally. It’s also a reason to be careful about when (or if) you share your pregnancy publicly (especially on social media or with colleagues you don’t know well).

Sometimes you see the doctor A LOT. Even in a healthy pregnancy, you may be seeing the doctor weekly or bi-weekly as labor approaches and they’re usually only available during the day. I’ve had more doctor visits and medications in the past year than the past 10!

If you are a contract worker (in the US), pregnancy protection laws may not apply. As an employee, your employer is legally required to hold a job for you for a period of time (even if your maternity leave is unpaid) and can’t fire you for being pregnant. Contractors don’t have the same legal protection.

In the US, there are disability insurance options for freelancers. California, for example, has a state disability plan workers can pay into (which is a great idea even if you aren’t pregnant). It’s very affordable and once in the system, you’ll qualify for the same disability benefits as an employee (currently in CA maternity leave covers 6 weeks paid disability time and 6 weeks paid family leave – even longer if there are complications or bedrest). There are also private disability insurance options that cover lost wages.

Emergencies can come up. There’s probably going to be at least one unplanned doctor or ER visit. If I was working out of town (or out of the country), I’d want to have a logistical plan in place in case I needed to get to a doctor/hospital and a gig replacement ASAP.

In theory, you can work until labor. It’s totally safe to travel until late in pregnancy (each airline has a point where you need a doctor’s note to fly). One of my doctors said she preferred her patients to stay working, saying, “You could take time off, but I don’t’ want you sitting on the couch eating and worrying.”

Or you may be forced to stop completely. One in ten women deliver prematurely (before 36 weeks) and babies over 24 weeks have a good chance of survival. At 6 months pregnant most women aren’t thinking or planning for delivery but it’s a risk that’s worth planning for. I’m looking forward to my new “gig” (and to meet my new little assistant). I hope other women will share their stories of pregnancy and parenthood so we can create a resource where one doesn’t really exist.

Musings on the Role of Femininity in the Music Industry

Historically speaking, women, and those that are female-identifying, have largely been unwelcome in the music business. Unless you were an overstated, hyper-exaggerated version of a sexual, feminine ideal in a front person role, you had no place, no business being near a stage, studio, or mixing board.

The concept of the feminine identity in relation to the music industry is one that perplexes and fascinates me. Now I don’t necessarily mean simply dressing in a “girly” way – most, if not all, of us, are unable to wear a skirt when working (it’s not practical in the slightest, not to mention a possible safety hazard in live situations. I prefer my trusty blue jeans.) – but more the attitude, the feeling of being “feminine,” whatever that means, and how it translates to our work.

I interviewed a few of my colleagues regarding their thoughts on this topic, asking the question, “have you ever felt like you’d have to reject your femininity in order to be successful in the industry?” Most that I asked this question to initially responded with a hard, “no.” Jill Meniketti, band manager for Y & T stated,

“That’s not something I’ve ever focused on.  I focus on my work, which I take seriously.  When you excel at your job, that garners respect, regardless of gender.”

Delving in a little deeper into the feminine mentality/attitude aspect garners a slightly different response. When I first got started in the studio, my college professor insisted that being a woman in the studio was a massive advantage, because they are better at keeping the peace and stepping into the role of the band’s creative therapist. My friend Eva Reistad, a studio engineer based in Los Angeles, echoes this thought. When I asked if there was a time when being feminine proved advantageous, she stated, “yes there was: band members sometimes are more open to the fact that you’re a woman, in which case they’ll sort of open up and tell you more things, which will cause the session to go better. I don’t think it’s really anything so much as femininity so much as being female.” Somehow, just being a woman allows people to feel more secure and comfortable in that situation.

Through all my discussions on this topic, the main conclusion I come to encompasses more than just femininity. It’s about being comfortable with who you are. As Eva puts it, in the end, what I think is how you present your aura, your energy, that will determine how you are treated. You cannot control how other people react. Be comfortable with yourself entirely.”

There is power in being a woman in the music industry. Being confident and secure in who you are provides a sturdy foundation for the rest of your work, whether you are a tech or an artist.

Jill’s Website:

Eva’s Website:

 

Anna Bulbrook’s GIRLSCHOOL

 GIRLSCHOOL is a celebration of women challenging the status quo.

 

 

Anna Bulbrook has been playing music her entire life. She is a trained classical violinist and is best known for her work with The Airborne Toxic Event. She has recently started her own project The Bulls, with Marc Sallis, bass player for The Duke Spirit. The Bulls is Anna’s outlet for her own songwriting and vision.

Two years ago Anna volunteered at the Los Angeles Girls Rock Camp and says she 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. (This is exactly how and why SoundGirls.Org was started). So she started GIRLSCHOOL.8965_764298326969973_1887516619067237208_n

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 really don’t see a lot of other women around—onstage or on your crew—I started to really 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.

SoundGirls recently talked to Anna about Life on the Road and GIRLSCHOOL 2017.

GIRLSCHOOL is expanding this year–what is in store for this year’s festival?

First, we have some REALLY exciting headliners that I can’t announce. It’s just going to be a freaking amazing lineup. Second, we are adding a lot more educational and community programming that will doing the boots-on-the-ground work of literally creating opportunities for women from across the music industry to meet, connect, learn, and maybe get inspired to try something new: panel discussions, mentoring events, informative talks, Q&As. That kind of thing.

What are your long-term goals?

I’d like to grow Girlschool to be a traveling or pop-up festival around the world. I’d like to build the platform to celebrate and connect and share the work of more and more amazing women from across the music industry. And I’d like to hear from women who are in music or are interested in music to hear what would be most helpful to or inspiring for, YOU, so Girlschool can try to answer those needs as we go forward.

More on Anna and GIRLSCHOOL

Anna Bulbrook: On GIRLSCHOOL’s Mission of Empowerment

Where have all the Credits gone?

By: Catharine Wood

Advisory notice: This collection of words is 100% based on my opinion and observation as a professional engineer, producer, composer and music maker in Los Angeles, California, USA. I reference consumers and listeners with love and utmost respect…it is not your fault that the current, primary consumption mode of listeners now is streaming — which largely does not pay the creators of the music. My thesis here is directed at the streaming services: Where have all the Credits gone?

Back in the day (post-Wrecking Crew era), producers, engineers, studios, players, and songwriters (the list goes on and on) … became known for their work via Liner Notes (among other avenues – like word-of-mouth, playing live, etc.). As their reputation built, so did their workload, pay rate, and visibility. Sustainable careers were made. Now, in 2016, with CD sales dwindling and digital streaming “the new radio”, a large percentage of artists are DIY and their budgets have become micro with the “downsizing” of commercial music revenue sources. With the “trickle-down” effect of diminished performance royalties as listeners shift from terrestrial radio to internet streaming, compounded by the massive shift from physical CD album sales to iTunes 99¢ downloads…and now free streaming (from which songwriters earn fractions of pennies in performance royalties for their work),…recording budgets are smaller than ever. I share the following information for those interested music consumers, creators, and music industry professionals alike who would appreciate knowing who created the music.

To the point – I recently attended an industry roundtable; an intimate gathering of working music professionals and top audio talent. Grammy® winning producers and engineers – collected for an open discussion on the “current state of the industry”. The topic of Credits came up (and the fact that they have, literally, disappeared since streaming took the driver’s seat) – and a heated conversation about HOW can we make music valuable again ensued.

Now that music has shifted from a tangible commodity to digital “thin air”…consumers want music to be free and convenient. And with that, the streaming services, iTunes, and any digital retailer where music can be purchased (except, to my knowledge, CD Baby…who does allow a Credits section for the artist to supply the info for…as well as YouTube)…do not have place on the sale, stream or download page to list Credits. No link to see who wrote the songs, where the music was recorded, who produced, engineered or played what instruments on the album. Unfortunately, not showing who worked on an album, single, EP – or listing where the music was recorded – further perpetuates the current myth that music should be free. It also gives consumers the false impression that the music has magically come to be without hundreds of hours of work, careful consideration, execution and … a budget – consisting of actual money.

“In my father’s record store, why would I say, ‘Okay, I’ll tell you what. I’m gonna close my eyes and I’ll count to 30 and you take anything you want and when I open my eyes just don’t be in the store.’” -Philip Glass

Labels and DIY artists pay good money to hire a producer to hire the right people and studios to help make their music come to life. The music does not come to life on its own – out of thin air … yet consumers have grown accustomed to listening for little to nothing … with ease of use, accessibility and maximum selection as the priority. The ART of CARING about the ART of MUSIC and its CREATORS seems to have disappeared. Culturally. This was the topic of discussion at this industry round table … and it was unanimously observed that for music makers in the room especially – their business had been directly, and negatively, affected by two things: 1) the failure of streaming services to properly provide a space, field, link – PLACE – to credit players, studios, producers, engineers, songwriters, publishers, etc. and 2) the lack of consumers, culturally, not caring about the details of the art they are enjoying as a PASSIVE listener. Very few care to purchase the actual CD anymore — if the artist or label even has the budget to actually manufacture physical copies. It is my observation that music consumers are no longer ACTIVE listeners. Music may be the soundtrack to everybody’s lives — but in 2016, it’s coming at an immense cost to creators.

One solution presented by NARAS (The Recording Academy, aka The GRAMMYs) in their “Give Fans The Credit” initiative is to lead by example. Somebody, please, either update their streaming service to include a place to credit the creators … or create a new service that makes creators the focus with deserved recognition. Build a streaming service that focuses on the whole listening experience … as in the days of yore. Opening up the album, checking out the lyrics, seeing who’s singing or playing guitar…who wrote the songs…etc. The ART of LISTENING to music has devolved culturally to a nameless, earbud, playlist experience. I would argue that this has only happened since iTunes downloads and Streaming took over and turned music as a tangible commodity into a VIRTUAL commodity. With that said, I believe it wouldn’t take much to re-engage listeners again…with the right tools.

Photo Credit - Catharine Wood

Photo Credit – Catharine Wood

It may sound like too simple of a solution — but if people are listening and SEEING how many people work on an album to make it come alive … perhaps they might VALUE what they’re listening to a bit more … and understand “what a deal” their 99 cent download is or Free streaming. It’s a reality that “streaming’s here to stay” – but it doesn’t have to be the end of the line for music creators (many of whom have either had to resort to making music as a HOBBY or are leaving the profession altogether). Right now, with the Consent Decree issues going on in Washington, woefully outdated performance royalty rates, and the Copyright NOI loophole (if you don’t know anything about this, Google “DOJ ASCAP BMI 100% licensing”, “Songwriter Equity Act” and “Google And Amazon Leverage Copyright Loophole”), songwriting as a profession is on the verge of extinction. This sounds nuts to anybody who isn’t in the industry or doesn’t know what’s going on – but it’s the crazy truth of the current situation…because, in part, our culture, at present time, is more interested in commerce than it is in supporting art. IF credits were allowed for with the streaming services (like watching a movie with end credits…where you get to see who actually WORKED on the movie), you’d get to put a “name to a face”, so to speak, with guitar players, drummers, producers, songwriters, publishers — you name it: The great “de-mystifying” of modern commercial music.

The streaming services have essentially created an environment of music with nameless faces — so people can listen without caring. I truly believe that IF Credits were allowed again — as in the days of BUYING CDs and Vinyl after hearing a song on the radio that you can’t get enough of — and cracking open the record case or sleeve and having the opportunity to LEARN about and ENGAGE IN the music…the current, passive CULTURE of consumers would change – and caring (ENGAGING) would return. So would gainful employment for players, engineers, songwriters and producers on albums. Why? Because artists would see who did what and want to work with them. It’s very simple.

wonderlust_picbycatharinewood

Photo Credit Catharine Wood

It has become the “Wild West” in the music industry “behind the scenes”. We do everything we can to maintain our livelihoods as music professionals — and it does not need to be an insurmountable task. Though I am gratefully managing to continue paying my bills through sheer grit and passion for my craft and profession, my father aptly calls what I do “miraculously rowing up hill”.

Music is a beautiful part of life. For those of us who create it – it IS OUR LIFE – as artists & creators. Commercial music is a commodity. It is not free to make and it should not be free to consume. Can you imagine showing up at your favorite restaurant and sitting down – ordering – eating your dinner & then leaving without paying the bill? We call that dine-and-ditch…and it’s stealing. Streaming services: Please give creators the credit we deserve…so that consumers can know what their listening to – and appreciate it enough to actually value it enough to pay for it…and become engaged again.

#IRespectMusic #SupportMusic #StandWithSongwriters

1_catharinewood-300x300Catharine Wood is a professional mix, mastering, and audio post-production engineer. She produces singer-songwriters, composes music for film and television and owns and operates her own Los Angeles-based studio, Planetwood Productions.

 

Beckie Campbell – Versatility and Passion

beckie-1Beckie Campbell is the owner of B4MediaProduction, a growing production company, supplying anything from small corporate set-ups and medium to large concert system set-ups. Being versatile, Beckie also works as an independent contractor to several companies around the US. Beckie’s experience  in the audio field is comprehensive, having the ability to work as Production Management, FoH/Monitors, and as a PA/System or monitor tech.

B4MediaProduction works with an impressive list of regular clients including the City of Orlando, PennellChing Development (Corporate events), Hibiscus Festival/New Year’s Eve Bash/Freedom Fest(Florida Festivals) and Next Level Productions and Promotions (Concerts and Festivals).

Raised in McMillan, Michigan, Beckie’s interest in music started when she was a kid. She remembers locking herself in her uncle’s jeep and listening to Three Dog Night on an 8 track as loud as she could. She would close her eyes and visualize being on stage with them. She was just five years old! She would also sit in the living room with her ear up to her dad’s stereo listening to old Willie Nelson and Waylon Jennings records until she could pick out every instrument and sound. Her aunt and uncles would go to concerts all the time and bring her back heaps of concert swag. Beckie remembers the feeling of wearing a new REO Speedwagon shirt, and jamming out to Tina Turner on her Walkman, all the while dreaming of being backstage with them.

When Beckie turned 18, she started working at a radio station doing on-air concert announcements and interviews with artists at festivals. This experience showed her another side to the business, and all she could think of was that she couldn’t wait to run sound. Beckie attended every concert event she could between the ages of 18-25. After several years of this, Beckie returned to school with the aim of getting a degree in live sound engineering. Beckie attended Full Sail University graduating in 2001 with a degree in Show Production. After graduation, she interned as a tech in a Mega Church in Orlando, and six months later they asked her if she would be interested in becoming their Technical Director. Beckie took that role on full-time and continued to freelance around Orlando. Eventually, Beckie moved beachside to Florida to run FOH for another church.

Since starting B4MediaProduction, she has worked all over the United States as a Monitor Engineer, FOH Engineer, Stage Manager, and Production Manager. She is in a position now where she is called weekly asking if she can fill in for others on their tours, as well as for festival work and corporate gigs. B4MediaProduction have a mix of systems available from small QSC K systems and JBL Eon systems for the corporate gigs and a D.A.S. Aero 8 line array for middle-of-the-road stuff. The business is continuously building its inventory and has its sights set on either L-Acoustics or a d&b rig for the next purchase. Beckie says these are her favorite PA’s to mix on.

When touring, she loves the fact that she gets to play with many different pieces of gear. She has many favorites depending on the gig and budget. For a console it would have to be Midas Pro series, Microphones: Shure ULXD series for vocals with Neumann KMS105 capsules or SM68, saying her new favorite all-around application mic is Heil Pr 30, & PR 31BW. d&b, L-Acoustics, or Meyer rigs are the favorites for cabs. Beckie still has an old-school Lexicon PCM90 verb and says she loves it so much – it will be with her till she dies!

Beckie is known for her experience and her ability to step into many roles. She has been in the live sound arena for the past 16 years and has an impressive resume that showcases her versatility within the industry. In addition to providing systems and working as both FOH and Monitor Engineer, Beckie works as a production and stage manager. Her list of clients is extensive; from Amy Grant, Nicole Nordeman, Ellie Holcomb, The City of Orlando Parks and Recreation, Blue Mountain Brandon Heath Tour, and numerous local events and festivals.

Her advice if you are looking at becoming a FOH or Monitor Engineer is that it helps to know your microphones, DI’s, and mic techniques. If becoming a Production Manager is your thing, then communication skills go a long, long way in this job. Learning proper ways to communicate with different personalities and learning to actively listen and ask questions is essential.

beckie-3She loves seeing new places and meeting new people, but she says “my favorite thing is about 1 minute before the show when the house lights are going dark and you can feel the anticipation in the air from the crowd and then when the first sound hits and everyone goes nuts. “Nothing in the world like that feeling”!  Her least favorite things are cold showers at festivals and people with bad attitudes saying “Everyone has a bad day now and again, but if this is not in your blood or your passion and it’s just a job to you it will quickly weigh on you and everyone you’re around”.  

When on tour her favorite day off activity is going anywhere there is water (swimming, kayaking, hiking, sitting by a river or ocean, etc.) She likes to visit places she has never been to and have little adventures and try new foods. She also enjoys the occasional peace and quiet once in a place she has never been to before. If a day off is near family one of her favorite things is to visit nieces and nephews.  Or just a day with Netflix, a bag of chips, and an ice-cold beer.

During her career, she has faced her share of obstacles – while just doing her job. She tells me she has run into a few guys (mostly old school ones) that refuse to let her do things based on the fact that she is a woman. Beckie hears the little comments here and there and finds that at times, they have treated her like a clueless child. For example: being on the ramp hearing comments like “hey this is super heavy and you shouldn’t be here”, or, “do you even know how to run sound?” “Is there a manager or someone who knows what they’re doing here?” Over the years Beckie has learned to deal with these issues as they arise with pure grit and determination and when they see that she doesn’t just give up and walk away, they realize that she CAN handle anything just like a guy and accept her into the pack with open arms.

Beckie shares some good advice about gaining respect from your peers saying “I tend to show what I can do and not run my mouth about it. I have run into the occasional jerk that is just old school in the way they think, and there is nothing I can do to change that. I have found more often than not that even the guys who don’t think I can do it to start with, watch and see and notice that I can and then they too come around. Even the guy who asked me “Is there a manager or someone who knows what they’re doing here?” came back to me after the show and apologized profusely for thinking I wasn’t aware of what I was doing and said “I am sorry for not giving you the chance you deserve, you work harder than most guys I have worked with and you really know your stuff”

Being professional and friendly goes a long way. Beckie says that as a female in this industry it can be hard to break into work but by keeping your head in the game, networking and making contacts, and generally being a nice person that you will never lack for work. Being pleasant and communicating properly without being a jerk, or having her defenses up, helps toward being treated as an equal member of the team. There are always exceptions to this rule, but by following her own advice, Beckie is still working and making it in this industry saying your character will take you much further than your mouth.

The majority of the people Beckie has dealt with are at first a little hesitant about a female in charge of their event, but they quickly realize Beckie knows her stuff and does the job with excellence. She then becomes their go-to person for events and has a steadily growing list of returning clients.  

beckie-4Beckie has great advice for other women and young women wishing to enter the field. She says “Stick to your guns, remind yourself that there are others like you who have been doing this a long time and that you too can accomplish anything you set your mind to. Be responsible, if you mess up – you mess up, no one is perfect all the time. Stay humble, not one of us knows it all, and it’s ok to ask someone. Stay close to some seasoned professionals and ask lots of questions and take their advice. Above all never think you have arrived. You’ll always have something to learn. Our business is growing and advancing all the time with new gear and new ways to do things – continue to learn!”

Up until July this year, Beckie also taught part-time at Full Sail University. She remembers having a class of 12 students (both guys and girls) and asked them if they were hoping to tour and be on the road. Beckie says she was excited when 8 of the class raised their hands and 6 of those were women. She left Full Sail on a friendly note and has a great relationship with them which means she can reach out to the teachers to help fill in some intern needs. Beckie hires some of the students for events she does locally so that they can gain more exposure. Beckie is currently training a young woman, taking her on a job to Ohio. Beckie says “We are making a difference in the industry and I am grateful for those who have paved the way in our industry. We SoundGirls ROCK!”

beckie-2Her long-term goals are to continue growing her production company and staff to give the next generation more opportunities to tour and do gigs. She would like to develop successful, affordable training camps/sessions for church production technicians to teach them the proper way to do things. One day Beckie will purchase a beach home, find a hot single sugar daddy and (gasp) retire with a beachside bar/live music venue and bartend in her old age.

Last words from Beckie are that she loves SoundGirls.Org and the opportunity it’s providing for young women to feel accepted and encouraged in this business as well as intern and learn. When Beckie started out, she was not aware of other women working in the industry. She knew there must be other women somewhere, but she never saw any or worked with any.  The first woman she ever met was in the ’80s, and she was the drummer’s girlfriend who happened to tech with the band. When Beckie attended Full Sail, she was the only girl in the class.
Beckie is passionate about encouraging others and helping to be part of a growing community that strives to educate and help each other become better at what we do and says she will see you on the road!

2019 Update from Beckie:

“I am currently out on the road as the FOH engineer for the Indigo Girls, I have been incredibly blessed to be able to tour with such an accomplished team of people and to be welcomed into their camp. They are absolutely amazing and so talented. I love that after all these years they are still so down to earth, but professionals. It’s a great team of people and I am honored to work alongside of them all. I am running a Digico SD10 and Waves server (both new toys for me) so it has been challenging and rewarding at the same time.

I am about to step into a full season of corporate gigs with my company, B4Media Production. We will be all over from Dallas to Manhattan to Naples and Orlando, FL. in September. I am advancing these shows and building them now while out on the road with IG. So it has been a fun summer so far, and busy season is about to start. I am looking forward to what the road holds when busy season in Florida is over and I am currently looking for the next tour I can join when that time comes. I love to tour and be out there, but also love to train and build our business at home, so being able to do both this year successfully has been a super huge deal and very rewarding. I am still training church tech teams and doing SoundGirls expos and meet-ups when I am home. All things I love to do! I even got some beach time with the nieces and nephews this summer, and I am currently sitting by the pool with an ice-cold beverage while writing this, so all in all, life ain’t bad.”

aaeaaqaaaaaaaadkaaaajgvjzwrlyzewlwuxnzytndfloc04yjlmlwq0zge1m2u2ymqwyg

Profile by: Toni Venditti

Toni Venditti is the director of G.V. Productions that provides PA and Lighting equipment and is based in Sydney, Australia. She also is a senior industry writer for the CX Network and a contributor to SoundGirls.Org. Toni has worked in audio and lighting for over 25 years.

Hello, My Name is Samantha, and I’m Addicted to Work.

addicted-to-work-v2I’m not sure if this is a topic that gets discussed too much, but that doesn’t make it any less important. This is about burning yourself out, stretching yourself too thin, and burning the candle at both ends. If other women in this field are anything like me, you really put forth a lot of effort. I mean a lot of effort. Likely more so than your colleagues to compensate for the fact that “you’re just a woman”. I take great pride in my work ethic, it defines me. I love what I do, so it’s easy for me to accidentally overdo it. I think that some of us should take a deep breath, and ponder if we’re on a path to getting burned out completely.

This has been on my mind for the last week or so, and I can’t let go of it. So here I am, writing it down to see if I can figure it out and possibly help some along the way. Let me paint you a picture of what my typical week looks like:

On Mondays I work for 9 hours, on Tuesdays and Wednesdays I work for 14 hours. On Thursdays I work about 9 and a half hours. That’s 46 hours in 4 days. On Fridays and Saturdays, I have misc. gigs with my band that can range anywhere from 3 hours in the afternoon to a 14 hour blazing double-gig, and sometimes actually having one or both days off. And on Sundays I work church services and freelance consultations for houses of worship. So I’ll be a little shy on the average, but let’s say that’s 15 hours. So now we’re up to 61 hours. On top of that, I have several interns, I’m developing curriculum for graduate students on event technology, and I write here for SoundGirls every month, and I’ve got another writing project in the works. So I’ve got to be somewhere in the neighborhood of 60-70 hours a week. Every week.
Just writing all of this out, honestly, gives me palpitations.

So, in short, I’m busy.
I’m really busy.
Not to mention planning a wedding, and whatever resemblance of a social life I’ve got. Oh, and I’m trying to go back to school in January.

Tired yet?

When I’m in an interview, I often get asked what my greatest weakness is. I hate answering that question, I don’t understand the point of it, and I have to answer it like a jerk. My greatest weakness is that I work too much. From the employer’s point of view, that isn’t really a problem. But for me, it is. I have been known to work when I really should not. Last year I got very sick for an entire month. I almost popped my ear drum because I refused to go to the doctor. I didn’t miss a single day of work, though.
The good news is I’m young. I can get away with working this much because my body and mind can keep up. But for how long?

I recently accepted another job. A colleague needed some help, and it included some fun projects that I’m really looking forward to working on. And in the wake of my formal acceptance of the position, I began feeling something I hadn’t felt in a long time: stretched. At some point, something will have to give. I know that I need to force some time for more relaxation in, we all should.

I think that we are such a work-centric society, that relaxation and family time doesn’t mean much. In fact, I’m sure a lot of people would be impressed that I can juggle so much. But should we have to juggle so much? Why must we work so much harder than our colleagues? Draw a line in the sand, and promise yourself that you won’t work past it. Schedule in relaxation. It’s so important for our mental health, which gets ignored a lot. I’m tired while writing this. Today is my one day off for a while. Don’t work yourself to death if you don’t need to. Enjoy every single day. Our field can be really really fun and it’s easy to let things slip away from us. When you’re just starting out, you’re taught to take every gig and work your tail off to climb the ladder. Don’t get burned out. Don’t become addicted to work. I’m lucky enough to love every single day of work, but I have to start shaving off some of it or I may end up hating it.

So, what do I do?
Well, it may mean giving and taking from some places. I always have my list of most important things in my life. My significant other is at the top, followed closely by my work at the school, and my work at the church, then freelancing. That may mean working faster when possible so that I may get work finished and move on to the next project. It may also mean turning down some projects to keep my availability open. If my S.O. needs something, that absolutely comes first. You have to be able to say “no.” I have a system of support so that when something does happen, I’ve got all my projects covered. I wouldn’t be able to do all this by myself. It actually took a good amount of time to get this system set up, and I’m still building it. There are so many moving parts to each event and every project that you simply just cannot put it all on yourself. I don’t like missing work, but if I need to I know I’ve got 2 or 3 very reliable, trustworthy people to take my place. Your replacements are a part of your reputation. It’s your name on the line, not theirs. My very specific line in the sand is any event on a Sunday. I try my absolute hardest to not do anything on Sunday, as does my S.O., so that we may spend this time together. Sometimes things pop up, and on occasion I will do them, but only after I’ve spoken with my better half. Know that relationships with other people are important. Family means different things to different people, just make sure that you nurture those relationships. They’ll help you up when you’re down.

Be careful. Your life outside of work is just as important as the work itself.

Editors Note: Check out April Tucker’s Blog on avoiding Burn Out. Part Time Mixer – Part Time What?  SoundGirls remember to take care of yourself.

 

img_4983Samantha Potter: Samantha is an IT Media Supervisor and Audio Engineer for the largest Methodist Church in the US and a Production Manager for Funk Syndicate located in Kansas City. Working closely with IT, Producers, Coordinators, and Musicians, Samantha oversees audio and other media technology while mentoring and training women in STEM fields. Additionally, Samantha is the Chapter Head of the SoundGirls KC Chapter.

About Samantha: A lover of coffee and R&B music, Samantha is a classically trained musician with a particular interest in technology. While getting her professional career started in studio work, the calling of Live Sound and Event Production was too great to ignore. She can be found with a mug of coffee, a pair of converse, and listening to Jazmine Sullivan during load-in.

Erin Barra – Educator, Songwriter, Producer, Music Technology Consultant

erinErin Barra has a wide-ranging skill set educator, songwriter, producer, multi-instrumentalist, and music technology consultant. Erin specializes in music technology integration; she works with artists/bands looking to integrate laptops and digital technologies into their writing, production and stage setups. She has developed, taught and executed several music technology curriculums at the open source Coursera, and ROLI, K-12 Beats By Girlz, and collegiate levels Berklee College of Music, Berklee Online.

Erin is an Associate Professor in the Songwriting Department at Boston’s Berklee College of Music and is one of the leading product specialists for Berlin-based music software company, Ableton.  She has worked with an array of artists, from Grammy-winning artists engineers and producers; John Oates, George Massenburg, Kathy Mattea, Elliot Scheiner to those at the front lines of the independent movement Res, Miles Robertson, Ari Raskin.

SoundGirls caught up with Erin for an interview.

What is your specialty in music production?

I specialize in helping people reach their goals, whether it’s through collaboration, education or consultation. I communicate with people really well and have the creative and technical skill set to make most things in the music and technology realms happen.

Are you independent or do you work for a company?

Berklee College of Music is my home base, but I have my own consulting company MAMMA BARRA LLC that I freelance under, and work for private clients and for different brands such as Ableton, ROLI and Beats By Girlz

How long have you worked there?

This is the beginning of my 3rd year at Berklee, and I’ve been working for myself for about ten years

What is your current position?

Associate Professor

Give us a little background on what led you to work in music production?

I was pursuing a career as a singer/songwriter and felt completely out of control of my own content so one day I decided I was going to figure out how to produce myself.

How long have you been working in music production?

I’ve been producing for about ten years

How did you get your start?

In my bedroom studio haha.  No, but seriously, it was the work that I did at home on my own time that led to most of the opportunities I’ve had. I don’t think there’s any one thing that was a beginning for me; it’s just been this one very long and nonlinear journey.

How did you get interested in music production?

My father is an audiophile and places speakers for a living, so I was always interested in how things sounded.

What is your educational or training background?

I was classically trained as a pianist from ages 4-18, got a piano performance and songwriting degree from Berklee right out of high school and then learned all the music tech stuff the hard-knock way by teaching myself and asking a lot of questions.

What are your long-term goals?

Hold on to my sanity – I used to worry more about my career, but now that things in that arena seem to be less of a concern, it’s really more about maintaining my happiness in the midst of all the work. My other main goal is to have children, which affects both my work and happiness. It should be a huge adventure.

What are your current projects?

I always have about five irons in the fire at any given time, but right now I’m focusing the majority of my efforts on developing new curriculum for Berklee and building the Beats By Girlz initiative.

What is the Beats By Girlz Initiative?

Beats By Girlz is a curriculum and initiative designed to empower females to engage with music technology and build communities. We provide young women with the guidance, access, tools, and role-support to develop their interest (and ultimately their ability to pursue career opportunities) in music production, composition, engineering, etc. We are working towards gender equity in a field where women are highly underrepresented and strive help other groups mobilize and create similar change in their own communitie

What if any obstacles or barriers have you faced?

I try to view obstacles as opportunities, so I’ve had many many opportunities. Working in the music industry is full of barriers, but I think the biggest one for me was coming up with my definition of ‘success.’

How have you dealt with them?

Work harder than everyone else – keep learning – be open to change

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

Find a good support system and communities to be a part of. It has so much to do with who you surround yourself with.

Must have skills?

Communication skills

Favorite gear?

I’m a laptop musician, so I’m more of a software gal – I’d have to say Ableton

You learn more about Erin thru her website – 

unspecified

Navigating the Build – 100 Days to Show Time.

Being a part of a new building process is quite an adventure. The building will open to the general public in 100 days. It has been approximately 200 days since my last blog about it- check out my first blog on the building process here.

img_3153100 days until the building opens to the public, students wandering through taking a look, dining employees getting to know their new kitchens, and of course, brand new technology running our meeting rooms.
It’s a bit daunting to think about how much is left to be done and how little time is left.

As the project has moved forward, I have continued to learn more and more about how all the pieces of a new building come together. Four years ago I was reading drafts and plans of how things would look and be wired. On the latest walkthrough, it is all starting to come together. Equipment is installed, wired, and starting to work. It’s astounding how long it has taken and yet how quickly all the pieces are coming together.

It is has been eye-opening that even though hundreds of people have read the project books, details are still missed. Budgets get adjusted, and sometimes pieces just don’t come together in time. Many words from my last building update remain valid. In particular, the importance of setting a timeline and sticking with it as well as setting the budget and maintaining it.

The timeline is still as vital today as it was 200 days ago. Just as it is important to schedule start and ends time to an install it is also important to schedule progress checks and walk-throughs frequently; although there is a balance to checking on the work and micro-managing. For instance, in this project’s case, there are so many people and layers that changes need to go through before they can happen sometimes it takes too long to get a change order in and approved before it can no longer be modified. Once the ball is rolling it’s almost impossible to stop without an increased expense.

Checking early and often can combat this, but you also don’t want to get in the way and slow down the timeline. Each step affects the next, so if something needs to be changed get the process started early, so it doesn’t have significant ramifications on the building schedule. There are a few items in this building that if caught earlier could be changed, however, that didn’t occur and for now, it’s too late.

The budget is just as important from start to finish as I wrote the last time around, but as we go, I’m learning just how valuable it is to truly get the budget set for all the needs right away. It’s not worth the stress or the headache of wondering if there will be enough money left afterward to add this or that. Establish the budget from the start to include everything deemed a priority, and then leave room for the price of those items to change. Having the funds set aside from the beginning will help with getting everything done on time and right the first time.

Finally, last time I wrote about balancing persistence and patience, and it remains even truer today. I would also add acceptance and creative problem-solving. Accept the things that cannot be changed, lower your expectations for perfection. The building and technology will not be perfect, recognizing that early on can help you not to get stuck on the small things. Decisions have to be made fast, pick your priorities and stick with them. Focus on significant issues; the little ones won’t matter in the long run.

Get creative. Find different sources to purchase equipment if you can; it might be cheaper or even free. Currently, I am applying for a grant to add the lighting equipment my staff wants and loves. Buy ahead, I am an organized person, so I like to have the right cases and storage capabilities. However, these items could be considered extra when it comes to a budget that is running low. So I purchased ahead and bought cases that are general enough they will be easy to integrate into whatever we end up within the building. Be creative in your problem-solving, look at every possibility, and be prepared to make changes.

Last but not least, don’t forget about your current facility or shows. You may still need to invest in what you have to keep your current shows running. If something is already 15 years old and the project completion is five years away, it’s likely going to fail or have trouble before you are finished with it. If your budget allows, do not plan to move your 15-year-old equipment into the new facilities. You do not want every room and rack to look like the highlight of the daily AV nightmare posts floating around the internet.

 

X