Empowering the Next Generation of Women in Audio

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Jill Meniketti- Artist Manager

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Jill Meniketti has been around the music business for most of her life. She is the Manager of the rock band Y & T, blogger, and author. Her first novel, “Welcome to Groove House” was released in March 2015. Soundgirls.org talked to Jill about how she got started in management.

What is your background in the music business?

I’ve been around the biz most of my life, as my brothers were musicians. Then I married a rock star (together 33 years, married 31). Rest assured, I was never the Spinal Tap girlfriend. Being entrepreneurial-minded, I couldn’t help observe, but I stayed completely out of the band business; that was his thing. So I learned the business by osmosis. In the late ’90s, I had a short stint with my own band, where I did the booking, PR, etc., and I found that I really enjoyed the business side.

After the industry kicked hard rock bands to the curb in favor of grunge in the ’90s, in the new millennium these acts begin to experience a resurgence. In 2002 my husband’s band started touring again. The digital world was catching on, and I noticed that the band had no web presence, and nobody was doing PR. It bothered me to see that side being neglected. So being a DIY kinda girl, I took it upon myself to build them a website, and I started sending out press releases for their shows—just as I’d done with my band. I figured someone needed to launch them into the present day, why not me? To my surprise, they put me (minimally) on the payroll.

How did you get started in management and how long have you been doing it?

I just sort of happened into it. Eleven years ago the band could see that their longtime manager had one foot in retirement, which was good for him, but the guys wanted to play! At that point, I’d been (minimally) on the band’s payroll for two years running their website and doing PR. Gradually I started doing other tasks, including legwork for booking shows since their manager had said he “didn’t want to do anything that resembled work.” One night backstage in Madrid, the band’s original drummer suggested they should fire current management and move me up the ranks. I felt honored to even be considered! My husband wasn’t so sure, though; he knew I could do the job, but he had no interest in being “married to his manager” (he’s only too aware of my workaholism). But he agreed to a trial period of one year. During that year, I kicked their asses, and he’s never regretted the decision.

What does your role as manager encompass?

I wear many hats for Y&T. Aside from being the band’s manager and handling the day-to-day business, negotiating a plethora of contracts, PR, and the like, I also do all of the booking and make all travel arrangements. Plus, I advance all of the shows, and I go on every tour wearing the additional hat of tour manager. I used to also do merchandise, but I wised up last year and finally delegated that one. Booking agents have told me I’m insane for doing it all, and maybe so, but I know what the guys want. In the end, though, there’s nothing like having someone with a vested interest (and I mean personally, not financially) running the show.

What do you find is the most difficult part of the job?

Juggling it all. I’ve always been good with time management, but the sheer magnitude of my workload can be overwhelming. I once had a friend ask what I do all day, and didn’t the promoters do it all for me? Don’t I wish there was such magic! Routing a tour is a challenge, a jigsaw puzzle; it isn’t the breeze that people imagine.

What is the most rewarding part of your job?

When the stars finally align (with plenty of nudging on my part) and a tour routing I’ve worked hard on coalesces, that’s the first reward. Then, on that tour seeing the band doing what they love on stage every night, and seeing the happy fans at every show—that makes the stress and craziness of what I do all worthwhile.

What do you feel are the most important skills or traits for someone considering getting into management?

You must be solution-oriented, have a good head for business, an abundance of perseverance, a positive attitude, and a shit ton of energy.

There are not many women managers, and I can imagine sometimes you meet with opposition from some men in the industry.
Have you ever run into someone who didn’t want to deal with you because you were a woman? Have you ever felt you were being treated differently than your male counterparts? If so, how have you handled it?

Thankfully, I’ve never had anyone refuse to deal with me due to my gender.

Only once did I feel treated wrongly but perhaps more so because I’m also married to the band’s leader—one cocky promoter told me that I was just the guitar player’s wife. Well, this “guitar player’s wife” is first and foremost the band’s manager, who had the power to cut that promoter off at knees and never work with him again. I take my job seriously, and as such, at work I’m the band’s manager; I’m not there as a wife.

A few years ago, I was leaving a venue office, and I overheard the production manager say to the venue manager, “She’s so nice” and the venue manager said, “Yeah, but I wouldn’t want to piss her off.”

You are also a writer, and you’ve just released your first book. As an artist yourself, do you have a manager or do you manage yourself?

I manage myself. I’d love to delegate certain tasks to someone else, but that’s just not going to happen anytime soon. Plus, I know that I have my best interest at heart. 😉

How do you find it different from managing other artists?

As an author, I only have to answer to myself—and I’m pretty tough on myself. 😉

Thankfully, I only manage one artist, and that’s a more-than-full-time job in itself. I’m blessed that my guys are pros so that part of the job is easy. Being an author is a lot of work, but the band always comes first for me. Finding the time to do it all is a delicate balancing act.

What is your favorite thing to do in your free time?

I could certainly use some more of that! I treasure spending time with my husband. We’re both seriously into good wine, and we delight in discovering new wines throughout our travels. At home, after a long day of work, we look both forward to relaxing on the couch with a nice glass (OK, maybe a bottle) of wine and a movie. We enjoy hiking though I’ve been much too cooped up lately to hit the trails; I look forward to getting back out there this year, between touring.

Since you are a writer, who is your favorite author?

Ooh, that’s like asking me my favorite song, or artist, or movie. So many good ones, and it’s ever-changing.

How do you find balance between work and personal life?

That’s the tricky part, especially considering I’m a workaholic. I love to be productive, but sometimes (not often enough) I have to say, that’s enough, and actually close the office door. I’m still working on that one.

Tell us about how Behind the Art came about?

I started my “Behind the Art” blog series of interviews for several reasons, not the least being my own curiosity of the working lives of others and how they landed their positions; I’ve found that their journeys can be quite storied.  I figured that if I was intrigued, surely others would be, as well.  I must be onto something because the fans are loving it; at nearly every show on tour people tell me how much they enjoy the blog, and they ask me to keep it up!  So many people don’t realize the plethora of effort that goes on behind the scenes to bring a show (let alone a tour) to fruition, and all the unsung heroes who are behind the art.  Aside from being interesting reads, if one of my articles happens to empower a reader–to pursue a new career, take a stand, follow a dream, whatever–then that’s a lovely bonus. 🙂

Check out Jill’s Blog- Behind the Art for a behind the scenes look at the music industry.

You can purchase Jill’s book- ‘Welcome to Groove House’  here.   Groove House

 

 

 

 

Girl Power! Conference ~ Women Empowering Women

By: Victoria Boyington

Girl Power Staff

Girl Power Staff

San Francisco, Saturday May 30th, 2015 11377075_448758455292995_6607751830982807755_nThe 2015 Girl Power! Women Working in the Music Industry Conference was the place to be. Located at San Francisco State University downtown campus, founders Kerry & Gian Fiero, adjunct professors at San Francisco State University’s Music/Recording Industry Program presented this year’s theme: Profiting from your Network. (more…)

Darryn de la Soul- Passing it on to the next generation

downloadCreator of Soulsound Agency and the Soulsound.co.uk website and resource centre, Darry de la Soul, has been an engineer and educator. She is passionate about taking the knowledge she and other engineers have gained through experience and passing it on and helping qualified people find work.

Darryn found herself getting into the world of audio for the same reason many have, because of her love of music. While managing a London nightclub for much of her late 20s, she was more interested in the DJ equipment than tallying the nightly bar take. This prompted her to attend a specialist audio engineering college where she studied studio sound (live sound was not available as an option). Darryn recalls the course was “a revelation in fabulousness and wonder, and I had the time of my life whilst studying.”

Darryn considers herself a bit of an all-rounder, not specializing in FOH or Monitors, Studio or Live. Her very first engineering job was as a full-time assistant in the London venue- 93 Feet East. It was unusual in two ways; one- to start out in an assistant position and Two- that the venue had two full-time engineers. Her job was as assistant to engineer Paul Epworth of Adele fame, whom Darryn has called ‘a total genius.’ She credits Paul as helping her manage the crossover from studio to live sound with only a few ‘deeply embarrassing’ mishaps. She landed the job after assisting Paul on a Royksopp gig during which she managed to fix their sampler.

The venue had a capacity of around 200 and had a Funktion One system installed. Darryn quickly became a devoted fan of the purple boxes.

“After I went freelance, I spent a lot of time working in nightclubs and with one particular promoter who did a lot of obscure electronics, and fabulous electronics/classical crossover events. My secret name for these was “Spawn of the Aphex Twin,” and I had enormous amounts of fun making things go with low budgets, in odd spaces, and with spectacularly odd humans.”

Darryn faced many of the same obstacles that we all do starting out like; “earning enough money to pay the rent (even the assistant’s job paid so badly I was paying my utility bills on credit cards), spiraling debt, and once I’d started freelancing, having no-one but my own mistakes to learn from.”

“I think this is the most difficult thing for people starting in this career.  Most entry-level work is solo, so your knowledge base easily stagnates without the influence of more experienced people.  Most other jobs in the world are team-based in one way or another, so there is always someone more advanced to learn from. When you fight your battles completely alone, it’s easy to fall into bad habits that stem from ignorance rather than purpose.”

She has never thought that being a woman in a man’s world has held her back. Darryn has also felt that bands liked having her around because “women tend to be more amenable to being that extra bit helpful beyond the call of duty – when it comes for looking out for people (and their feelings), being a bit motherly and so on.  I also think having a woman on the bus also reduces the amount of porn being watched in the lounge, which probably suits some men very well too:-). “ Darryn doesn’t believe that men and women differ when it comes to technical skills, “when it comes to mixing, I don’t think there’s a lot of difference. Good or bad hearing is not gender-specific.”

Making the transition from Live Sound to TeachingDarryn at PLASA

“In 2009 my old college asked me if I would help set up a Live Sound course and teach maybe three days a week.  A couple of months into the set-up process and it was clear that it would be a full-time position, as someone needed to do it! So I ended up being “mommy” of the course with people like Marcel van Limbeek and Justin Grealy regularly lecturing, and Jon Burton putting in the occasional guest appearance. All three are now mainstays in Soulsound.”

“At first I tried to keep a few gigs going on the weekends, but running a college course is pretty full-on, and I couldn’t keep up the pace of living in the daytime during the week and at night on weekends.  So sadly, I had to wind down the gigs. In the end, though, it was the right decision for me as I feel like I have now found my niche.”

After four years of teaching at Alchemea, Darryn started Soulsound Agency. The idea came as the result of the college course being so successful at creating highly employable, entry-level engineers. Darryn had been using her extensive connections in the industry to find work experience for students and paid work for graduates. During a conversation with one of the graduates she had placed, she learned that the graduate was making more money (through all of the work Darryn had found for him) than she was earning. She realized that all of her time and effort in procuring work for the students was worth something and Soulsound Agency was born.  Darryn continued helping graduates find work and slowly built up enough business to be able to quit her job. “I was never very good at working for other people,” she says.

That was in 2012, and the business has grown so much that in 2014 Soulsound kept about 70 engineers in all or some of their income, a fact that Darryn is very proud of.

Along with finding work for qualified engineers, Soulsound.co.uk has an extensive Resource Centre, which is a lifelong learning resource for sound engineers that Darryn along with Justin, Marcel, and Jon developed.  Soulsound’s goal is to plug the real-life gaps in formal education and support engineers throughout their careers.  Soulsound does this with stand-alone masterclasses, tutorials, interviews, insights, career development and ‘whatever else takes our fancy,’ says Darryn.   The great thing about not being restricted to a course curriculum is that we can delve into subjects not often dealt with in classrooms (like bathroom etiquette on a tour bus).  We can also take advantage of opportunities, like following Jon Burton around with a camera (or four) while he was working in Brixton Academy (London’s most famous venue) with Bombay Bicycle Club.”

“We are very flexible and so are very good at grabbing opportunities when they are in front of us.  We also make an effort to interact personally with our members, and present live seminars whenever we can, particularly at PLASA and other trade shows.”

Darryn is passionate about Soulsound. “I really love what we are doing – which is largely emptying the brains of brilliant engineers onto video, encouraging the pursuit of excellence, and showing people how good they can be!”

What are some of the most important lessons you’ve learned through your career?

One thing I learned early on is that you should do the gigs you don’t feel like doing. The days you really, really don’t feel like getting out of bed – those are the days it’s essential that you do.  Those are the gigs you will either learn something amazing, meet someone who will have an influence on your career or find your next band to tour with.

Every gig you ever do will have an influence on your skills and career.  No gig too small, I say!  Just get out there and do everything that comes your way – don’t be a gig snob… You might not like the genre or the venue or whatever but do it anyway.

What advice would you offer to someone interested in a career in Live Sound?

Do it!  It’s one of the best ways to earn a living imaginable. But be prepared for long hours, dirty hands and probably a bit of a struggle when you start out. It’s not an easy choice, but it is a very rewarding one.

And keep learning.  If you’re fresh out of college, you’re just at the beginning of your journey. You can never know too much about this game. Learn online, from books, from manufacturer-led training, from each other.  Go to as many gigs as you can and watch the engineer – learn from their mistakes, as well as your own.

Meet as many other engineers as you possibly can – being friends with people is a very good way of getting more work, and learning from their experiences.

It’s also worth keeping your eyes open for the many paths that cross with live sound, which may be a better fit for you – consider tour managing, production managing, booking, artist liaison, etc.  There are many career opportunities in the live sector that are not directly mixing.

If you’d like more advice on finding (and keeping) work, download Darryn’s free ebook “Getting a Foot In the Door” and check out Soulsound.co.uk

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Attitude is Everything

HFA Edit

Amanda Davis is an independent sound engineer based in Atlanta, GA. She graduated from Roosevelt University with a BA in Vocal Performance in 2008.  She went on to attend SAE Atlanta, where in 2010 she graduated with an associates degree in Audio Technology. She recently joined the Wondaland team, and is currently the FOH Engineer for Janelle Monae. (more…)

Managing Wireless Audio for TV

I work in a niche of audio that only exists in in the TV business, but involves technology many of you will find familiar. My job is setting up, coordinating and running the wireless equipment and communications for live TV shows. It’s one of those odd jobs that’s highly specific but covers a lot of ground. So I thought in this first entry, I’d give a quick overview of what I do. (more…)

Part 9 – Different Paths to Becoming a Sound Engineer

By: Malle Kaas

I have a lot of experience as a sound technician, but I practically have none as a mixing engineer. However, as I have mentioned in previous blog’s, it is my goal to become a mixing engineer. I would like to share my thoughts about the path I have chosen to follow to becoming a sound engineer. (more…)

Aries Deng – On Being a Producer and DJ

 

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Exploring EDM – Producer – DJ – ARIES DENG

Aries Deng is a U.S.-based DJ & EDM producer. Born in Beijing, China, Aries moved to Atlanta, Georgia to pursue her love for music during her high school years. She started playing classical piano at the age of four but got drawn to Hip-Hop music during her middle school years after receiving a 2Pac CD from a friend. In 2006, Aries Deng produced her first EP, “Because of Love”, which combined her Hip-Hop and classical influences. In 2010, Aries moved to Boston after high school to attend Berklee College of Music and pursue a double major in Electronic Production & Design, and Music Production & Engineering. Shortly after, her musical tastes branched out to other genres. Aries started DJing and scratching using her favorite Technics turntables. She also discovered a Japanese Electronic Duo ‘HIFANA’, and after seeing one of her biggest music influences- ‘DJ Shadow’ performed with his electronic setup, Aries decided to explore the technology side of music. (more…)

The Fender Rhodes

By: Maria Elisa Ayerbe Barona

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THE FENDER RHODES

1. Discussion of the instrument:

The Fender Rhodes electric piano is one of the most important musical inventions of the twentieth century. Harold Rhodes, a musician who worked as a flying instructor stationed in Greensboro, NC during the WWII, was asked to develop a musical therapy for wounded soldiers at the hospital. Rhodes designed a small piano that could be played in bed by the recovering patients. (Adlers) (more…)

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