Empowering the Next Generation of Women in Audio

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The Importance of Mentorships

I had the fantastic opportunity to shadow Chez Stock who is the Tour Manager and Front of House sound engineer for singer-songwriter Amanda Palmer. SoundGirls had promoted this opportunity, and I applied to shadow Chez when she came through Toronto on tour. I wanted to share my experience of my day with her to shed some light on the value of these opportunities.

Load-In

Chez invited me to the 2 pm load-in time, so I found my way down to the Queen Elizabeth Theatre. I arrived with my thirst for knowledge, trusty multi-tool and overwhelming garlic breath (should not have had that hummus for lunch…). I quickly found Chez and introduced myself, hoping my breath didn’t offend her. Chez introduced me to other members of the crew (touring and local) before she had to run off to handle something merch-related. This was my first glimpse at just how much work it is being a Tour Manager (TM) and Front of House (FOH) at the same time.

Stage Management and Sound Check

When Chez and I re-connected, she showed me how she mics the grand piano, outlining the mics she uses and why and the importance of placement in achieving the best sound. This tour had a fairly simple setup of a grand piano, vocal mics, and a ukulele mic/DI.

When Amanda arrived, the crew had to make some minor adjustments to the positioning of the piano. Chez then had a chance to go up to FOH and take a listen to the PA. She played some of her reference tracks and showed me how she tunes the system. Chez was able to get what she needed through a quick sound check as Amanda had to leave for a pre-show event. Not before heading back to her Tour Management duties, Chez had to deal with a rattle in one of the keys in the piano. With 2 hours to go before showtime, Chez arranged for the piano tuner to come back and fix the issue. Handling these sometimes intense, last-minute problems is just another one of her many amazing skills!

Tour Management

After the soundcheck was complete, the crew took a dinner break. Except for Chez – she still had incoming merch to deal with among other things before doors opened in 2 hours. During this time, I was able to observe the lighting designer, Lauren as she also worked through the break putting the final touches on her lighting setup. As I watched Lauren, I caught glimpses of Chez running around like a superhuman, dealing with all the pre-show loose ends.

Showtime

I was fortunate enough to be able to stay through the whole show and sit behind Chez at the mix console. Watching her perform an artful blend of technical skill and musical ability was an incredible testament to her dedication to her craft. During the show, she had to be FOH and TM – mixing and dealing with issues that came to her. Again, she calls on her multitasking versatility when Amanda asks about the heating on stage as it was quite cold. Without interruption to the performance or her duties as an engineer, she succeeds in contacting the venue staff to get the heat going onstage. Chez’s ability to keep the show sounding great while dealing with these hiccups all without the audience being aware of them was remarkable.

Load Out

After the show ended, I was tasked with dismounting the mics from the piano and packing them away. After that, I tried to help out the crew as much as possible as Chez continued her Tour Manager duties. At the end of a long day, an exhausted Chez took the time to answer more questions I had and offer advice. We then said our goodbyes, and she continued to pack up before heading to the hotel where she would hope to get a couple of hours of rest before moving on to the next city.

Having the opportunity for some hands-on experience makes a huge difference. It’s one thing to read about the technology and techniques involved but having hands-on learning really solidifies the knowledge in a way that classroom learning can’t. Shadowing opportunities like this are so worthwhile, and I thank Chez for offering her time and knowledge to those of us looking to learn.

What can you do to get the most out of an experience like this?

Be quiet and observe. These professionals have a lot to deal with already so give them their space and don’t disrupt them. You are a shadow, so be in the background and learn from observation as much as you can.

Ask questions at appropriate times. Again, try not to derail their workflow. Write down your questions somewhere and ask them when your mentor has the time or when they offer to answer questions.

Offer assistance and always ask before doing. Don’t start touching gear or moving cables. You don’t know what is needed and you will get yelled at. Rather than jumping in, ask if/how you can help your mentor.

Stay in touch. Your mentor may be willing to offer advice and information post-mentorship. If you’ve been able to make a good connection with them, ask if they would be willing to stay in touch.


 

Creating a Podcast

I started listening to podcasts properly at the beginning of 2018 in my final year at the University of Exeter, to inform and/or entertain myself when walking to campus. I listened to some business podcasts such as ‘Ctrl Alt Delete,’ by author Emma Gannon and ‘The Diary Of A CEO’ by Steven Bartlett. I also enjoyed ‘Keeping it Candid,’ by Sophie Milner and Millie Cotton, who discuss the behind-the-scenes of the blogging and influencer industry. In terms of comedy podcasts, I was inspired by Jamie Laing and Francis Boulle’s ‘Private Parts’ where they read their diaries, and of course, the world-famous ‘My Dad Wrote A Porno,’ fabulously executed by Alice Levine, Jamie Morton, and James Cooper.

Podcasting is a very oversaturated market at the moment, providing copious amounts of content. The amount of listening you could do is endless, similar to YouTube videos. I found that podcasts offer inspiration, ideas and help to make business and life decisions. Perhaps the power of audio can be even more influential than video? You feel connected to a person through headphones, carrying out active listening such as nodding your head or verbally agreeing, to someone that is not even there. It is more productive than mindlessly watching TV whilst scrolling on your phone, as you are listening to a story.

As a member of student radio with an interest in all thing’s media, I knew I wanted to start a podcast for myself, to learn new skills and to document some of my own life. But, what on earth could I do a podcast about? What will make it different from my radio show? I was hugely inspired by the ‘My Dad Wrote A Porno’ podcast, as my own Dad has a literary creative streak. He writes comedic poetry. I thought I was the only one with a slightly odd, yet creative father, but it turns out there is a whole community of us. In his spare time, since at least 1996, my Dad has written poems, both hilarious and emotional about life, news events, and special occasions. Luckily my dad is not writing graphic novels, just poems. So, there I had it, ‘My Dad Wrote A Poem.’ (I did bump into Alice Levine at Edinburgh Festival last summer and told her I had ripped off their brand/title!)

I am always an advocate of creating something that will leave a more positive effect on people’s lives. I truly believe audio podcasting brings people closer than TV, film or YouTube ever has. It is an exciting time to be involved with a new wave of creative entrepreneurs that are using a simple medium to build global connections around the world. My Dad’s poetry covers a vast range of subjects from politics, to the weather, to house-moving drama. I believe that comedy brings people together. People can relate if they have a slightly odd family. Full of typos and grammatical errors, further comedic value is added to the poems. The quick and easy listening style leaves people wanting more. This content is personal to me because I am reading out loud the creative work of my Dad. I am reminded of family and life situations. For example, my brother losing his phone in the Alps and my Mum breaking her ACL. A few example titles include:

Seasons to be cheerful

The Homecoming

Pollution and Inclusion

Scandinavia

I created the short ident using my voice and the musician Dodie’s instrumental intro to her song ‘In The Middle.’ It is short, sharp and catches the attention of an audience. Everyone is looking for relatability and humour in a world full of negative news. My Dad sees the funny side and irony in everything, from Brexit to Trump. The poetic content also includes sentimental poems and readings from funerals. The poems capture emotional thoughts and make them palatable, sincere and easier to digest, to remember the good times. The editing I do is simple; I only edit out long pauses or background noise. I want the content to sound authentic and like a real conversation. I recorded multiple in a row and have since had to take a break as it is difficult to continue now I am no longer at university with all the audio equipment. I definitely wish to pick it up again at some point, as my Dad certainly hasn’t stopped writing poems!

WHERE ELSE TO FIND ME:

Zines are a Riot

Originating from the word magazine, and the concept of a fanzine (fan magazine), zines are the do-it-yourself version of their mass-produced counterpart.  Most zines have a small editorial team (sometimes only consisting of one person) and rely on office photocopiers (if they are lucky). Hand-penned sketches and counter-culture commentary fill their few pages.  Advertising and distribution depend heavily on word-of-mouth, a downside on the one hand, but a powerful marketing tool for a generation that thrives on discovering the next viral hit. This small-scale approach gives zines the power to cover any topic, no matter how personal or controversial, and are therefore closely tied to alternative and fringe cultural movements.

The modern origins of zines stem from the Science Fiction fanzines of the 1930s and ’40s. A few decades later zines would branch out as creators found other shared interests in comics, horror, and rock music.  As rock zines like Crawdaddy! (created by Paul Williams in 1966) matured and became professional, the underground punk scene took to zines aided by the increasing access to photocopiers.  Punk zines and subculture then became the breeding grounds for LGBTQ and Riot Grrrl zines. Zines are still kicking today, finding their way to readers via local bookstores, Etsy, and on blogs and websites.

My exploration of zines is only just beginning, but I found a text that helped introduce me to the overall history and philosophy of zines with an emphasis on women/non-binary folk and music.  DIY: The Rise of Lo-fi Culture by Amy Spencer provides an anthology as well as a timeline of the various zine movements.  With each zine mentioned there is a description of how the progression of technology-aided manufacturing and distribution, and why the creator needed to publish.  In addition to focusing on the creators, Spencer highlights the communities that because of their hunger for representation nurtured zines. Blogs, pirate radio stations, and DIY labels are all tied into the thesis by way of shared ethos.  While I would not use it as my sole manual, this book acts as a guide to start your zine.

One zine that caught my fancy is Filter Sweep.  This one-off publication follows Jade Payne on tour as Front of House engineer.  Through the zine, she gives you a diary of her triumphs and headaches, complete with pictures and diagrams.   The way she pours her heart out and shares her wisdom makes it a perfect companion to a young engineer. Filter Sweep is zines at their most raw: photographs are replaced by hand-drawn sketches, and each entry is written in frantic scrawl reflecting the bustle of tour life.  And while you have to contact Jade directly to acquire a copy, I cannot emphasize enough how much one can learn from reading it.

A more polished zine is Women in Sound by Madeline Campbell.  I feel Women in Sound is essentially a written companion of SoundGirls.  The majority of its pages are filled with interviews with amazing women and non-binary folk who work in audio and music, but there are sections devoted to past greats and helpful guides.  The interviews focus on the careers of each person and how they got there, as well as their personal philosophies. They feel inclusive and insightful. Each issue is its own powerful seminar.  Maggie Negrete tailored the design, and the work found within is clean and bold. Even with the staple-bound 8 ½” by 5 ½” packaging (a standard sheet of paper folded in half), the stories inside are more fulfilling than most music glossies.

In finding ways to support your siblings in arms do not forget the humble zine.  From birth to now, it has been the voice of those without power. It can be a low-cost and personal way to share your and others’ stories.  Within the convergence of writing, art, and music, zines can be a way to say “I see you,” and “I hear you.” Like the mixtape, all you need to start is a sharpie and an idea.

 

What’s In Your Go Bag?

A guide to building your audio tool stock

Picture this:  You’ve just gotten a call for a contract you can’t turn down, but the gig is tomorrow morning in a city three hours away at a company that is new to you.  What do you bring? What will they already have? Is it worth it to load your car with all of your worldly possessions? To ease the stress of staying prepared while still trying to not turn into that cute little junkyard monster from the Labyrinth (where my 80s babies at), I’ve prepared a list of my favorite tools of the trade.

This is my go-bag.  There are many like it, but this one is mine

Alright, so my go bag isn’t a bag at all, it’s a case.  My case of choice is the Pelican 1510 Case, and I purchased mine for half price on nalpak.com.  Because I am obsessed with Konmari Method organization, I also use a divider that is specifically made for this case.  I also have the mesh zipper lid storage attachment. What can I say? I love boxes, bags, and compartments. I prefer the Pelican to a soft tool bag because I can throw it around, leave it outside, dunk it in a pool, and my things will all stay safe inside this watertight, crushproof, dustproof, lockable case.  It’s also the FAA maximum carry on size and features a retractable extension handle. Plus, you can put rad stickers on it. That’s the mark of a real pro.

If you can’t duck it, you might as well…pony up and buy a real roll of tape.   

That tape is gaff tape, the tape we all know and love.  I regularly work with a few companies that always have a steady supply of gaff tape in all colors and sizes, so it threw me off the first time I took on a job at a company that had no gaff tape to offer!  In a pinch, I have been able to find gaff tape in local camera shops at a ridiculous marked-up price, but generally speaking, the best place to find gaff tape is on the interwebz. I order all of my tape from shop.bmisupply.com, and I’m able to curate my tape box with different colors, widths, and even different kinds of tape.  My standard gaff tape of choice is 2” black. I also always make sure I have a few colors of electrical tape and a roll of white console tape.  All of this can be purchased through the aforementioned vendor.

Testers, testers, one, two, one two…

When starting a new gig, you never know what kind of system you’re going to walk into. You would also be surprised at how often the house crew answers your questions with a shrug of the shoulders, so it’s probably going to be on you to test all that ails you.  I never leave home without my dbx CT3 Cable Tester. This is, hands down, the best cable tester I have ever had. It supports testing of DMX, Speaker Twist, XLR, DIN, RJ45, RJ11, TRS, 1/8”, Phono, and BNC.  I still haven’t told you the best part. This thing splits in half so that you can check connections that are on opposites sides of the building! If that’s not magic, I don’t know what is. I also carry my whirlwind Qbox everywhere I go.  This will satisfy all of your TS/XLR testing needs, but also features a wee little speaker so you can send signal through your line and hear it out of the QBox. This comes in really handy for running monitor lines ahead of receiving speakers or setting up a line out for a video live feed.  I got both of these little lifesavers from fullcompass.com.

Microphones, adapters, and cables, oh my!

Ok, it’s not up to you to provide all of the gear for a space unless that’s what you’ve been hired to do, but, again, you never know what little odds and ends they might be missing.  I learned the hard way that it’s a good idea to keep a little stash of adapters with me; XLR M-M and F-F, TRS, NL4, BNC, and RCA barrels, and BNC-RCA. I also keep and spare XLR and TRS cable, a DI Box, and a SM58….just in case.  Trust me on this; I have been the hero many times for having one of these available.

I hate labels, except when I need them.

The only things I love more than compartments are printed labels.  I love how uniform they look, and I love how easy it is to read them in low light situations.  I’ve been carrying around the Brother P-Touch I picked up from Office Depot 8 years ago, and it’s never led me astray.  #Protip on applying printed labels to anything: Always use a piece of electrical tape under the label. When you’re ready to change out that label, you’ll need a lot of time and patience to peel that thing off tiny piece by tiny piece unless there’s a hearty strip of electrical tape underneath holding it all together.  You know what else you can label? Your pelican.

Tools!  

This is where I sometimes go overboard.  I have packed and repacked my go bag so many times because I guess I think I’m solely responsible for building a mansion when I get called for a load-in.  Surprisingly enough, I’ve never been asked to do so! When I’m able to think logically about packing tools, I pack a cordless drill/driver (mine is a Milwaukee M12), a pack of various bits, a precision screwdriver set, an Allen set, a crescent wrench, a headlamp, and a soldering iron with all necessary accessories.  Also, never leave home without your multitool. Mine is the Leatherman Wave, and I love it with all my heart. I don’t know where it came from; I got mine from Santa several years ago.

Safety First

Again, I tend to go overboard because what if I end up on the Titanic and I’m the only one that has any medical experience from all of my viewed episodes of Grey’s Anatomy, and I don’t have a suture kit or a defibrillator with me?!!!  Y’all are learning so much about me today. So obviously none of those things are going to happen at your gig, so really, just make sure you have what you need to stay safe. A small first aid kit, your earplugs, sunblock, and some work gloves should do it.  Maybe a mobile CT Scanner. But that’s it.

All of the other things

Don’t forget the things that make your job go smoothly.  Do you need in-ears on this gig? What about headphones? Flash drives are always useful.  A snack? An emergency twenty-dollar bill? I like to be a problem solver, so if I have something I think will be useful to another department in a pinch, I might pack that too.  My go bag has a few shackles rolling around in there, a safety cable, a small mixed box of screws, various apple adapters, and an IEC.

At the end of the day, your go-bag inventory is entirely up to you, but this is what works well for me.  I got to the point where I had some things in my car, some things in my closet, some things I would leave at various sites I would frequently work, and that just was not doing it for me.  Having everything in one super stickered-up, the rad little case is definitely my aesthetic. Give it a try; you won’t regret it.

 

Excellence in Assistance

Learning how to be a great assistant is one of the best ways to put yourself on the path to mastery in commercial music production. As important as it is to know the technical and creative aspects of your craft, it’s equally important to understand how social and interpersonal dynamics function in the studio environment. Knowing how to operate equipment might get you in the room, but knowing how to deal with a multitude of needs, problems, and personalities will keep you there. No one cares whether or not you’ve got a degree in engineering if you don’t know basic, real-world studio etiquette.

Every studio and every recording session comes with its own culture. Make it a point to understand the culture of every session you’re involved. Being able to read the room is an invaluable skill. It imparts competency, attention to detail, pride in your work, and investment in your team.

Some sessions will be clear and to the point. There will likely be a professional team in place. Your job here is to help things run smoothly and make sure that everyone has what they need. In situations like this, you’ll defer directly to the lead engineer and probably won’t interact too much with the clients. This is the kind of session where you want to be “invisible”—wear basic clothing, try not to speak unless spoken to (with exception to polite greetings and the like), keep a low profile. Stay out of the way, but be hyper-present and ready to jump in when you’re needed to change out a mic or take a food order.  If you become aware of a technical issue that no one else seems to notice, find an expedient but non-disruptive way to make the issue known to your lead engineer. Be prepared to take action on a moment’s notice.

Whether you’re working in a large, commercial facility or a small project studio, hospitality should be a top priority. Keep coffee hot and fresh. Have a kettle ready to fire up when a singer needs tea. Make sure artists’ riders have been satisfied to the best of your ability. Keep beverages, pens, paper, and other basic items plentifully stocked. Personally, I try to bring extra items with me just in case. Candy, aux cables, guitar accessories, adapters, phone chargers, tampons, and other such items can be a great door opener. For example, I had the chance to get friendly with super producer Don Was during a session because I was the only one in the building who had dental floss. The better you can anticipate and facilitate the needs of others, the more of an asset you will be in any production.

Of course, there will be sessions that test the limits of your patience and professionalism. The producer may be inexperienced or unable to communicate effectively. They may get angry or throw you under the bus when they make a mistake or are not able to properly manage a session. They may have an ego issue and feel the need to assert dominance to feel like they’re in control. This may be a genuine personality trait, or it may be what they think they need to do to impress or intimidate their clients (yes, this is an actual production tactic and you’d be surprised at how often it works). They may be dealing with a difficult artist and funneling that frustration your way because they have to remain in service of their client. Perhaps the artists themselves are inexperienced, egotistical, or unprofessional, and the whole room is suffering for it. There may be substance abuse or behavior that isn’t necessarily conducive to productivity. It’s your job to be prepared to navigate these challenges with patience, composure, and effectiveness. Stay solutions-minded and try to keep your feelings and judgments in check. If things escalate to the point of being abusive or dangerous, extract yourself from the situation and speak to a supervisor.

Some sessions will be relaxed, and you’ll become friendly with the artists and/or producer. In my experience, most artists prefer the kind of environment where they feel a sense of ease and camaraderie with the crew. The level of friendliness will depend on your ability to read the room and to adjust your personal levels accordingly.

Making a record can be an intensely bonding process. If you’re being invited to be a part of the bonding, you should participate! You just might forge relationships that will last throughout—or even advance your career!  However, don’t lose sight of how important it is to stay professional while you’re on session. Studio etiquette should always be your default setting when you’re on the clock, and the artists/producers should be handled with a clear sense of priority and deference.

Additionally, understand that your friendly relationship with clients might not extend past the sessions themselves. Sometimes the spirited nature of relaxed, friendly sessions is just what the artist needs to get through their process. Don’t take it personally if a producer asks for your card but never calls, or if an artist talks about wanting to hear what you’ve worked on but doesn’t offer a clear opportunity for you to present it, or if you don’t get a follow back on Instagram, or whatever.  Keep a sense of confidence and equanimity around you and stay centered on what’s most important—providing excellent service and doing what it takes to make a production successful.

 

El SONIDO MÁS QUE MI PROFESIÓN, MI EXPERIENCIA DE VIDA

Cuando comencé mi carrera no sabía con certeza en que área especializarme, los primeros años tuve la oportunidad de dedicarme al sonido en vivo y un poco al estudio de grabación, fue entonces cuando un día se me presentó la oportunidad de coordinar el departamento de sonido para la filmación de un cortometraje de ficción, y  es ahí donde descubrí que definitivamente para esto es para lo que estoy hecha. Sentí una conexión total con el sonido desde ese día que ha logrado transformarme por completo.

Ser sonidista es para mí algo más que solo una profesión, es toda una experiencia de vida que me ha llevado a enfrentar situaciones dentro de lo profesional que me impulsan a superarme, mueve todas mis emociones, me entusiasma, me intriga, me reta a ser mejor cada día, me ha llevado a conocer lugares insospechados e inaccesibles a los que solo hubiese podido llegar gracias a la filmación de cine documental.

El sonido para cine documental me ha regalado grandes retos, nunca sé exactamente a qué condiciones climáticas, espaciales, etc. me voy a enfrentar y es eso precisamente lo que me hace tener que estar muy bien preparada (no solo en la parte técnica) para poder capturar el mejor sonido posible.

Romper las barreras del miedo profesional y escuchar cada día con atención cada lugar al que voy, saber cómo suena mi casa, un espacio abierto o cerrado, etc., me ayuda a tomar mejores decisiones en los momentos de la filmación. El sonido no es algo aislado de nuestra experiencia diaria, a cada momento tenemos experiencias audiovisuales que nos conectan con el mundo exterior, todo el tiempo somos capaces de reconocer personas o lugares con solo escuchar unas cuantas notas y es nuestra tarea como sonidistas  poder capturarlo lo más claro, limpio y tranparente que se pueda para recrear esas experiencias de forma realista.

El sonido en un proyecto audiovisual es tan importante como la imagen, ya que  a través de el podemos comunicar una serie de mensajes que no sería posible transmitir de otra manera y es nuestra responsabilidad como sonidistas luchar por que esto se dignifique. ¿Cómo? Dando importancia a cada sonido que capturemos en locación, hacerlo siempre con la conciencia de cómo podemos beneficiar o perjudicar a las cadenas subsecuentes, distinguiendo desde la fuente si es un sonido que nos ayuda o no y siempre luchar por tener las mejores condiciones para grabar.

Una de mis más recientes experiencias fue la grabación para un documental sobre el Centro Penitenciario Santa Martha en la CDMX. Aquí tuvimos que trabajar con un equipo básico de sonido ya que no se puede ingresar con demasiado, asi que debe escogerse el equipo idóneo para lograr un buen registro; tuve la oportunidad de grabar varios testimonios los cuáles me han llevado a reflexionar muchas cosas, a romper tabúes y darme cuenta que a través del sonido puedo también hacer labor social y beneficiar a personas que es muy difícil tengan oportunidades. Fue una experiencia muy grata que me hizo crecer a nivel personal y profesional y confirma mi amor por lo que hago.

Así que yo te digo que si el sonido te apasiona, te compenetres con él, no te rindas, estúdialo, conócelo y sobre todo escucha y disfruta tener experiencias más allá de lo visible que te harán darte cuenta cuan valioso y único es este hermoso fenómeno físico.

El sonido nos acompaña día con día, así que ya no puedes sentirlo como algo aislado de tu experiencia de vida o como algo en lo que solo debes ocuparte únicamente cuando estas grabando, el sonido está contigo todo el tiempo, te conecta con personas y con situaciones sorprendentes y es a través del cine que yo (al menos) puedo desarrollarme y crecer no solo profesionalmente si no como ser humano y te invitó a que tú también hagas del sonido tú experiencia de vida, descúbrete a través de él, compenétrate para que puedas así dar un mejor resultado, porque no se puede transmitir un mensaje que no se conoce o no se comprende.

Recuerda. El sonido va más allá de la palabra, el sonido todo el tiempo te transmite un mensaje y somos nosotros los sonidistas quienes debemos saber como interpretarlo o plasmarlo.

Y como bien decía el Ing., Joselito Rodríguez en su libro la Imagen del sonido.

“Expresarse sin palabras, entrega su mensaje, cumple su función, aun cuando su significado escape a la conciencia… ¿Qué trascendencia adquiere entonces la palabra dicha…?

Así que aún queda mucho por transmitir.

I love sound.  Nina Guadarrama


Irina Guadarrama Olhovich

Sonidista y diseñadora sonora de diversas películas, documentales y cortometrajes
como “Todo por Amor” Kristof Rascinsky, “Penal Santa Martha” , “La Réplica” entre
otros. Trabaja como especialista de producto para la marca Tascam México, dando talleres de formación sobre sonido directo y realizando la grabación de diversos proyectos asignados por la marca. Conferencista en diversos festivales de cine como Shorts México y Oaxaca Film Fest. Integrante de soundgirls México.

Read SoundGirls en México’s Blog

 

The Importance of Saying Yes

It is so important to stay open to new opportunities while building a career in audio. Saying yes will often lead to one of two realizations: this opportunity is right for me; I want to continue to do more of this work! Or, this is wrong for me; I now know what to avoid. Both are valuable lessons for shaping an ideal career. Working in music is a lifelong journey – undoubtedly it will be full of unexpected and unpredictable twists and turns, so finding joy in both outcomes has to become an important practice.

Landing a dream job does not happen overnight, and if it did, my guess is that it probably would not be that rewarding. One of the best pieces of advice I ever received after I graduated college was that during your early career it is often more important to learn about what you do not want to be doing rather than worrying about doing precisely what you want. As someone who recently transitioned into full-time freelance, I am always trying to strike a balance between doing what I am passionate and excited about, and doing what makes practical sense, which sometimes means taking on gigs that are less than ideal.

I have accepted a lot of gigs that have turned out to be not quite right for me. It can be an unfortunate part of the process of figuring things out but is also highly valuable. I can say with certainty that the reason I am now doing what I am doing is due to a series of saying yes to opportunities that have come my way. This has allowed me to narrow my scope and better understand the type of work I do not want to do, behaviors I will not accept, and how to be most efficient when dealing with new clients and projects.

Occasionally I will get asked to help out running FOH on a show or festival around town, and even though live sound is not a career path I want to explore, I always say yes. It would be really easy to peg myself as only a studio engineer and say no, but something positive always comes out of it. For one, I get to listen to music and likely see some friends. It is also a really easy and genuine way to meet people and talk about what I enjoy doing in the audio realm. From picking up a few gigs like this around town, I have been able to join bands and start recording projects, just because I was present and doing my job.

When I worked at Welcome to 1979 all of the opportunities that arose for me came from me being open to new challenges and saying yes to things. When I was hired as an intern, I was asked to work in the office part-time, which was not something I was interested in pursuing long-term. I was clear that I wanted to be an engineer, but I said yes because I wanted to learn something new, diversify my skill set, and become a valuable member of the team. Later on, I became an assistant, and after about a year of doing that I was asked to learn how to do vinyl mastering, and then, be the studio manager. I said yes to every opportunity because I was trusting in the process of figuring out my path. I was also trusting in the fact that my bosses probably saw something in me that I did not see in myself at the time. Through this process, I grew tremendously as an individual, gained critical technical skills, and walked away with a better understanding of what I wanted to pursue.

I would love to get to the point where I can be extremely selective about which gigs to take on and only work with my favorite artists. I hope I am on my way to that point, but I think it’s a long process of saying yes and staying open to opportunities, even ones I don’t feel ready for. My imposter syndrome can be extreme, but I have found that trusting in the timing of life helps me value myself and understand my worth. Either way, I know I will learn something in the process regardless of the outcome. The fun part is not knowing where one “yes” might lead!

 

Keeping Organized Digitally

Digital Clutter

How often do you go through your handbag, backpack, work bag, etc. and clear out the trash? Receipts, smushed snacks, melted lipstick tube, random hardware and batteries, 800 sharpies (but I never have one handy somehow? These are some things I pulled out of my bag last week. Imagine the car or trunk situation…So. Much. Trash.

How often do you clear out your downloads folder, desktop, or trash on your computer? If you do this more than once every couple of years, cheers to you! For the rest of us animals living in digital filth, we need to get our lives sorted. Digital clutter is just as troublesome as the water bottles next to your bed or in your car. They once served their purpose, but now they are taking up valuable space. Maybe it’s one of those nice Nalgene ones, and you want to wash it and keep it to use again. It’s not going to do any good for you buried under the other bottles that you haven’t touched in weeks/months/years.

Storage & File Management

Digital workflow is everyone’s unique language for how they keep their files organized. I use an assortment of applications to suit my coworker’s personal tastes. Some prefer Google Docs, Dropbox, iCloud, Evernote. This makes personal digital asset management difficult because I have to keep items in different places to suit those people. Right?

I keep it simple and consistent. I use iCloud for nearly all of my personal and professional files. If my computer or phone were to get stolen, I could remotely wipe it and still have all of my files in the exact way I like them. I separate my files into very specific categories and file structures (see photo). If I need to share a file with someone, I can either email it to them or share a link (Dropbox). I don’t have backups of anything, really. They are stored in the cloud, and I access them remotely from that server. This means all of my files across my phone and computer are the same! This is possible without using Apple products, Google Drive works the same way (For the most part). Google Drive is incredibly slow, and I don’t like the way it stores video files. I’m not a fan of Dropbox, although I know many people prefer it. Exclusively I use Dropbox at work to share video files with people.

 

Templates

I do the same thing every month at work. Grading student projects, video processing, lectures, schedule, etc. I make folder structure templates, call sheets, rubrics, multitrack recording session templates, tech riders, inventory, invoices, etc. Bonus points for any apps that link directly between my laptop and my phone. I have a desk, but our campus is spread out so often I am walking or driving between buildings and I don’t always want to haul my office with me, so the phone apps are integral for me. iCloud and Evernote both make it easy to keep and load templates.

This might take a little more time if you are starting from scratch, however many of these applications have awesome looking templates built in that you can quickly adapt to your preferences. You can also take any document you already have created and save it as a template in most of Apple’s built-in software (keynote, pages, numbers, etc.).  Evernote allows for custom templates, but that’s going to be in the upgraded account.

Evernote is especially awesome. The free account gives you access on two devices. It functions as a word processor, PDF storage, document scanning, web clipper, voice or FaceTime memos, and a ton of other neat things. It’s also easy to collaborate with other people, I was introduced to it when we used it organized our rundowns, ideas, topic lists, links, etc .for our podcast.

Physical Media

Physical media, such as hard drives, flash drives, CDs, etc. are all still completely valid forms of storage. My files are stored in the cloud, and honestly, at this point, I trust it more than I trust myself not to break or lose a drive. I process video using a laptop at work, so I need hard drives to process and store those files. I upload the compressed version to Youtube or Dropbox. That’s my workflow, and obviously, you will have your own process. Files on a hard drive won’t be as up to date as working files you use daily or weekly. Drives also fail, so unless you’re spending money on RAID storage, you can lose all of your backups anyway (also assuming you are responsibly backing up daily). SSDs have a limited number of write cycles. There are tons of points in both columns of cloud vs. hard drive, but daily workflow wise I am going to use the cloud as much as possible to protect myself from myself.

 

A Snowy Story

As many of you know, I live in Minnesota. Right now, this year at least, we have what seems to be a blizzard every other day. Over 30 inches of snow in February alone and as I write this blog everything is shut down due to 50 mph winds causing the roads to be covered with huge snow drifts. Yes, this is the time of the year I regularly ask myself why I live here and desperately hope for sun and temperatures 30 degrees warmer.  However, as Minnesotans, we also embrace our winter wonderland with events like the winter carnival, or the national pond hockey tournament. This year, I found myself out in the cold and snow setting up for something completely different.

I got to experience an event of a lifetime. Not an event due to its pomp and circumstance or the people on stage, but an event that challenged everyone in many and new ways. One of those ‘We did that’ moments and to top it off this event had all leadership positions steered by women, and it was all for a woman! This post isn’t about the content of the event, or who it was even for. It’s a story of the accomplishment of women leading the way and overcoming the snow and cold obstacles of a Minnesota winter.

I was the production manager for this event, and it happened to make it into the national spotlight. Of course, the spotlight was what happened on stage, but it’s still pretty awesome to do an event that keeps living on after the moment. I also get to look back on it and say – wow, we did that! While also saying wow, why did we do that?

Day one was the location mapping. It was cold, windy, and cloudy, but the overnight snow had stopped, and it was just a matter of commuting through the fresh 6 inches to get to the site to clear the spaces for the staging and tents.  This was a short quick meeting, where we marked out the primary locations and then directed the plow drivers where to clear the snow. The entire setup was based on the backdrop the location provided — a stunning image of the landscape and the city skyline.

Day two offered a whole different outlook. The sun was out! But anyone who lives in the Midwest knows this means even though it looks nice outside, it’s really, really cold.  This day just happened to be -9 degrees with a wind chill making it feel like -34. We layered on the clothes, drove our cars as close to the setup as possible and got to work. This day our goals were to get all the stages up, a couple of truss structures completed, and some heating units ready for the event. Well with the weather and cold temperatures we only completed 2/3rds of what we desired, but it was time to call it a day to make sure everyone stayed safe. No frostbite on my watch!

Day three was the best day we had out of the four when it came to the weather. Although still chilly, it had warmed up a few degrees, and the wind had died down.  We caught up with our schedule for the most part. The power was run, the PA was in place, lights ready to go, and the tents finally had heat! Although we would still have a lot to do the next morning, this day felt really accomplished. No matter what this event was going to happen!

Day four, event day, brought a bit of a surprise — 6 to 8 more inches of snow. From the moment we stepped into the park it was snowing and did not stop until we closed the last truck at the end of the night and let me tell you, road cases don’t roll anywhere in the snow!

The morning started with a bit of a rush as people were showing up extremely early! We were in a park so there was no way to keep the crowd away and we just watched and laughed as people cross country skied through the event area. At least some people were enjoying the fresh snow! With the early crowd came the urgency to get everything remaining done that much faster.  We had over 500 feet of matting to lay, stage decks to make sure weren’t slippery, a PA to finalize, and lighting to focus. So, we got to it, but as the hours passed, we started to notice our stunning backdrop was fading behind low clouds and snow.

We achieved the goals for the day, but not without having to adjust or tactics to keep everything working.  The L2 became a local celebrity with his acquired leaf blower to keep the snow off the stage. The A2 sound checked face first into the stage to help us ensure limited damage to the podium, and the stage tech became the person laying sand down everywhere to minimize the slippery conditions, all while the A1 was doing everything in their power to make sure the PA kept running.

Things were so busy at the time; I didn’t even consider the level of the feat we had accomplished.  As I look back on the event I couldn’t have asked for a better team. Everyone just jumped in when they saw something that needed to be done. The duties became something miles away from technology, but that didn’t matter as we all worked together to ensure the best event we could for our client. It was amazing!

It was time for the big moment, the reason we had all been out there working for four days in the snow, wind, and cold. And even though the event didn’t go off without it hitches. Only one person (me) slipped in the national spotlight; luckily only the front row watched me slide down the stairs!

In the end, the event took place, with the location and weather turning into a major contribution to the event. The speech was delivered and broadcasted to the world with over 3,000 people in the park with us all while it snowed the heaviest it had all day.

Our mission was complete, the crowd began to disperse, we began attempting to wrap the frozen cables, and to get the snow out of the lights and PA. Everyone was happy with the results and we were all ready to go home to get warm.  It was around 8 p.m. when we closed the last truck and bid farewell to our snowy patch of land. The snow had stopped falling and our stunning backdrop was finally visible! The event was a success, the weather didn’t defeat us, however, I hope my next outdoor event happens in the Bahamas!

It was really amazing to accomplish this event. Something I had never done before and all with some wonderful women leading the way!

 

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