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Lost in Translation

Should we be mixing with lo-fi portable devices in mind?

Some say “a great mix is a great mix”, and they’re not wrong. However the question remains a constant source of discussion, amusement and point of frustration between friends and internet strangers alike – should we be mixing with lo-fi portable devices in mind?

It seems a 21st Century problem that isn’t going away anytime soon; we have our portable devices on hand with a connected convenience between us that means we can listen to our peers’ newest song or latest mix in seconds. Is it any wonder that we surreptitiously count the “real” ceremonial listening sessions as drastically less frequent events compared with our habits of multitasking and listening on the go?

Considering most listeners and consumers listen to music on portable devices and speakers the majority of the time, should it at least be considered as a factor when mixing? Perhaps the better question is can we maneuver this current technological phase by using our phones as a reference point for how the mix translates on small mono speakers, helping us to reach that holy grail of a great mix in all forms.

Our phones are limited in their frequency range, with most having a distinct lack of highs and lows. We lose most of what’s going on below approximately 500 Hz and above 6 kHz in translation. To use our phones as our small mono reference speaker means balancing in ways that enhance the absent lows and highs with our busy mids, but that does not then overpower on better speakers.

One of the most universally agreed methods, to begin with, is the appropriate use of harmonic distortion, utilising the full range of naturally occurring harmonics, notably of the kick drum and bass which are often the first casualties of the mix. On the flip side of this, keeping the upper end in check from overcrowding of high frequencies from other instruments sitting in that upper range provides a much clearer and more even spread.

While mixing in mono is preferential to some, checking mono compatibility is a must. Phasing issues between left and right can mean even more loss of sound in a mix, so getting width and balance in mono is good practice. Checking compatibility audibly by doing an A/B of mono versus stereo via the DAW output is one relatively painless way, and there are several visual tools available on the market that can analyse the signal for us, helping to spot anything our ears may miss.

Without diving down the rabbit hole that is ‘compression,’ it is worth remembering the brief philosophy of “less is more,” which is possibly truer here than for any other technique or effect! Running the mix through a high pass filter from the low midrange is also regarded as a useful check for clarity in the mix, and can only help when taking into account the issues of translation. While these points are by no means extensive, they can go some way to helping our mixes sound better, and easily alleviate some of the loss encountered on most lo-fi devices.

While there have always been lo-fi speakers in days gone by, it does seem to have become more of an everyday consideration with modern solutions available – mastering software such as iZotope Ozone now incorporate a phone speaker pre-set on their output referencing features. Though the convenience of listening on our devices hasn’t run its course just yet, it doesn’t have to be a source of struggle and deliberation in the mixing and mastering process

 

Hello, I’m Susan. Educator. Microbudget Film Producer. Ginger.

As with most of us working in entertainment, I’ve had (and still have) many different jobs in my career. At this moment, I teach video & audio production at the university level, and I freelance at the Orlando Repertory Theatre as a sound technician for events. In the past, I have worked in film, television, theatre, corporate events, theme parks, and science centers. The plan for this blog is to share my experiences and research with a broad audience as we advance through 2019 with new technology, media, and ideas.

“As with anything in life, you get out what you put in.”

Many of my jobs in theatre included working with YA kids doing theatre, showing them how to run sound cues and basic mic settings. I helped run workshops in college for fellow film students to help get better audio. My teaching career officially began five years ago when I was fed up with the freelance struggle. The university where I work is year-round, which brings its own set of challenges for both the faculty and students. As an accelerated program, we teach one class each month and then rinse & repeat.

I’ve lived in central Florida for over a decade, so I’ve already heard it all about students who graduate from the program. Personally, I genuinely believe in my program and the content we teach. As with anything in life, you get out what you put into your experiences. Where you went to school doesn’t matter, what counts is what you were able to absorb and put into practice. A couple of times a year I will have a student question my background, how could I possibly know audio production/recording without having attended this school? My patience is tested, and I remind myself that many people do not research a damn thing before making a decision. There are many, many places that teach audio and most of us learn things on the job anyway.

SoundGirls EXPO 2018

My colleagues are a mix of FS and traditional college grads from all over the country. However, I am one of two women in our faculty of over 30 teachers. Both of us have backgrounds in theatre, and we are both named Susan. The female perspective is severely lacking in the department, so I do my best to represent and volunteer for as much as possible. At graduation, I am the only woman standing up on stage, and I make a point to be there. The university does attract some women, but most months are predominately male. There’s nothing wrong with this; it’s just an observation.

SoundGirls has allowed me to participate in more community events, the best one this year was with Girls Rock, an organization in St. Petersburg, FL that promotes teaching music to young girls. The Orlando SoundGirls went down to represent female involvement on the tech side, as many young people do not even know this career exists.

My hope for the future of women is more representation in general, not just in this industry but in life in general. We are your mothers and sisters, teachers, doctors, engineers, wives, and fellow humans. I joined SoundGirls to support women in my community and to be a mentor to those who need one. Here’s to the new year, SoundGirls.

 

 

Spotify and SoundGirls Team Up – EQL Directory

“In order to make change, everyone has to agree there’s a problem to solve in the first case,” says Anna Ingler, co-founder of the Upfront Producer Network, which represents 100-plus female and gender-nonconforming producers in Sweden.

It’s estimated that less than 5 percent of all audio professionals are women. Many people in the music industry are—and have been—working to solve this issue by providing educational, networking, and community resources to increase diversity in these fields. And yet, the excuse still exists: “We want to hire a woman, but we couldn’t find one.”

Introducing the EQL Directory, powered by SoundGirls and made possible by Spotify. The EQL Directory is a global database of professionals that seeks to amplify the careers and achievements of women working behind the scenes in music and audio. Any person around the world can add their name and claim their space. And, any person looking to hire a more inclusive creative team can find professionals in their area.

“[We] face the myth that there are not very many women or non-conforming people working in audio, and because of this people don’t even bother to look. The EQL Directory proves that this is not true,” says Karrie Keyes, co-founder of SoundGirls and Pearl Jam’s long-time sound engineer.

“This is a great tool to create more opportunities for women,” says TRAKGIRL, a successful producer who has worked with everyone from Jhene Aiko to Belly to Omarion. “We have to continue the work and create more inclusion and diversity in male-dominated spaces; we have a lot of work to do, but this is an awesome start.”

The EQL Directory was made possible through a partnership between Spotify and SoundGirls, a nonprofit founded by Karrie Keyes and Michelle Sabolchick Pettinato dedicated to expanding opportunities for girls and women in music.

“SoundGirls already had this global directory of women in audio and production, and we were excited to support their organization and initiative by helping them make it more beautiful, more useful, and more visible within the industry,” says Kerry Steib, Spotify’s Director of Social Impact.

The EQL Directory is one of many initiatives Spotify has developed to support equity in the audio industry. In August, we created three full-time residencies in our Secret Genius and Spotify studios to support hands-on career development for female studio engineers, The Equalizer Project’s success has continued with networking dinners and a recent Producer Camp in Sweden, and The SoundUp Bootcamp, an accelerator program for aspiring podcasters in underserved communities has been launched in the U.S., UK, and Australia.

“The goal is for the EQL Directory to become a go-to resource for audio professionals and to remove the excuse that you couldn’t find a woman for a particular job,” says Steib. “We know that increasing equity for women in these fields is a complex problem to solve. We have to work with great partners across the industry and come together to create solutions.”

To guide our commitment to increasing equity in these fields, Spotify and Secret Genius have assembled a team of some of the most talented and in-demand professionals to create a new EQL Advisory Board. TRAKGIRL, along with Lauren D’elia, Jin Jin, Kesha Lee, and Ali Tamposi will help shape the future of these programs.

The EQL Directory is also made possible through collaborations with organizations who provide resources to women in the field, whether that’s educational programs or networking opportunities. Visitors to the EQL Directory can find resources from initiatives and organizations like the Audio Engineering Society, Beatz By Girlz, female:pressure, Gender Amplified, Girls Make Beats, Instituto Criar, Secret Genius, shesaid.so, SoundGirls in Mexico, The Equalizer Project, The 7% Series, Upfront Producers Network, and the Women’s Audio Mission.

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