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Things I learned During My First Semester of Teaching

This semester I taught my first class. The topic? Theatrical Sound Design. I learned a lot from teaching this class. Some were surprises and others were more reaffirming than new knowledge. As a way to reflect on some of these observations, I would like to share them with my readers.

How each student is different

This might seem like an obvious fact, but it still came with some surprises. At the beginning of the semester I sent out a survey that included the question “how do you like to learn/learn best?” This took some time when researching the varying learning styles. I wanted to include as many varieties as I could find. What I learned about my students is that most of them do not like to learn through a linguistic approach, such as reading. Whereas I do. Most of us shared a desire for a kinaesthetic approach. This pushed me to incorporate as much hands-on learning as I could. I found that tailoring my teaching style to the class made me feel more confident and challenged me as a teacher.

There were also several facts that became even more cemented in my mind. A student’s reception to being taught and absorbing information is a sliding, varying scale. Some students are not receptive to being taught. Trying to teach someone who does not want to be taught is the equivalent of trying to teach a brick wall. This feels like a disappointment to me and difficult to not take personally. If you are anything like me, finding ways to challenge this intrusive thought is important as an educator as well as an individual. Remind yourself of the students who are open to you and want to learn. This doesn’t even have to be exclusive to your students. It could be a friend or peer you are imparting knowledge to.

Remember, each student is going to be different. They bring their own motivations into the classroom.

Teaching taught me how to break bad habits

I am naturally a very empathetic person and it serves me well as an educator. However, I can often have very high expectations. Not just for myself, but for others I work with. This can sound like a decent characteristic to have. Most people desire quality. However, it is very easy for me to project expectations onto people without discussing them. This is where things can get difficult. Teaching new students has taught me how to challenge this bad habit. Most of my students are first-years or students from outside the department, so expectations need to be flexible. The goal is to strengthen the creative mind with a focus on sound design. I have noticed that this flexibility and understanding has allowed me to enjoy my work more.

Teaching this class has given me the opportunity to enjoy what these students bring to the table while also having healthy expectations for them. This is something I need to practice and strengthen for myself when working with peers and colleagues. So not only has this been good for the relationship I have with myself but also when working with others. Any creative mind can think like a sound designer…As I mentioned before, my class is not exclusively for audio students. I have several students from the school of music, Lighting, and Scenic designers, and a whole row of Stage Management students. Every single one of them is capable of being a sound designer and hopefully, this class has proven that to them. Yes, there is a lot of learning beyond this statement that comes with being a sound designer, but
at its core has a sense of creativity and willingness to question possibilities. This idea wasn’t a big surprise to me, but more of a surprise to some of the students. I remind students that stretching the creative process and considering how other design elements work with yours can only strengthen you and your design. And for many individuals that have already been reflected in their work.

How often my students surprise me

And this leads me to how often I am impressed by these hard-working individuals. Reading design statements from Lighting students that consider every emotive shift and how sound can enhance that. Stage Managers detail each sound cue in their cue sheet. Listening to students answer questions and apply their understanding to discussions with their peers. These are moments I appreciate and carry throughout my busy week. They still come as a little surprise and hope that doesn’t go away.

How difficult it is to teach the mechanics and physics of sound

Teaching others felt like an opportunity to relearn and strengthen preexisting knowledge. This is especially true for topics I struggled with during my first year as a sound student. It can be really challenging to teach a topic that you don’t enjoy or don’t feel confident in. However, I looked at this as an opportunity for me. Any videos, articles, and demonstrations I found for lectures were also learning material for myself. I think a lot of people will agree that the physics behind sound is not their first choice when picking a topic to be excited about. What I learned from teaching it myself was that I had a far more successful lecture if it had hands-on elements. This wasn’t a lecture I could rely on to read from slides and have them take notes. What this meant was there was a lot of drawing on whiteboards, recap/what do we know quizzes, and lots of what-if experiments that I demonstrate within a DAW. This included hearing/sine sweep tests, summation, and cancellation of sine waves, the doppler effect, as well as how the Haas effect works. I found that having a recap at the start of each class period really helped me know what I needed to resolidify in my teaching. I also did a brief quiz at the end of each lecture. It wasn’t worth more than 10 points and had a max of five questions. I used these quizzes as a way to evaluate what I am teaching well and what needs to be gone back over. This felt like a great use of quizzes because it wouldn’t ruin the student’s grades if they didn’t do well. It was easy points for them and a great way for me to check my teaching as an educator.

Always wait a slightly uncomfortable amount of time until a student speaks with thoughts/observations/or questions. Someone will always break the silence and it often leads to a bigger group discussion or someone has the same question. I learned this trick from several professors during my undergrad. It was something I told my students on the first day of class. I consider this engagement with lectures and discussions to be crucial for the learning process. And oftentimes it will lead to a larger group discussion with like and differing opinions. It is a way of sharing information that goes beyond me lecturing the information to students in front of me. Most first-year students have a very busy schedule. So this was also an opportunity for them to get to know their peers. Our department is small and knowing like-minded people to work and learn with can be pivotal for some students. I think that is why a momentary uncomfortable silence for students can actually be really helpful for their overall learning experience. Maybe slightly cruel and
uncomfortable, but worth it.

As we move into the last few weeks of this semester, my students know to expect awkward pauses and will speak their thoughts more openly. This characteristic was taught to me early on in my education and it’s gratifying to see it being instilled in others. I can see its positive effects on students who regularly engage and ask questions. Teaching this class was the highlight of my semester and will be bittersweet to finish out the class in December. It reaffirmed my love for teaching and being a big nerd about audio and sound design. I don’t think this will be the last audio class that I teach, but it was an excellent first experience.

To my students, thank you for such a lovely and laugh-filled semester

An Introspection on Theatrical Sound Design

Where to begin? An empty screen, a blank page, and a freshly printed script. Still warm from the printer. I love designing for theatre. It allows me to experience hundreds of different renditions of the same script. The same story, but from a different perspective. Theatre is the original never-ending story.

Thus, when I design for theatre, I begin by asking myself several fundamental questions. I approach it in its most basic form, a story.

What are some of the thoughts and emotions I feel during the first read-through?

I am currently sound designing and composing for a play titled The Revolutionist. I remember being awestruck, fueled with energy, and rereading passages several times. There were parts that I clung to and others where the action was so quick that it came spilling off the pages. This is what the script felt like for me at this point in my life.

If someone was to map this out they might call it a tension plot. Or a visual representation of the story arc. It might look like a rough line plot with descriptions. It might be a list of points with titles and corresponding symbols with emotive words. It could very well be a single paragraph talking about the story arc’s path. Understanding how the play feels and flows is important as a storyteller, regardless of how you explain the emotions.

Following this, you might begin to form questions or deeper contemplations.

What questions are asked and answered in the play and what is left unanswered? What might this mean for the overall storytelling?

As the collaboration process unfolds, some of these themes and questions will be brought up by the director and other designers. I think by asking questions, wondering why and how, and taking the time to look at the script as a team ultimately leads to a clearer and more cohesive form of storytelling. When you ask questions about the script, you are asking about the story, the author, the period of time it was written, and so many other factors. You are taking a step into that story. I find this perspective is vital when creating the musical world for live theatre.

Keep a dedicated journal or notebook. A sound designer’s grimoire.

I would suggest collecting all of these feelings, thoughts, and questions and writing them in a dedicated notebook. I have used the google drive method of typing notes and keeping my work mostly electronic until I had the pleasure of seeing a costume designer’s personal production notebook. It was cluttered in an artistic and beautiful way. It had swatches of fabric and sketches with descriptions. There were pages filled with words that illustrated her design. What I found on those pages was what I saw in her costumes. It was magical and I knew I wanted that for my artistic process.

I don’t think I could dedicate a grimoire for each design I do, but I do think it is beneficial for large designs and projects I am passionate about. As artists, our ideas flow fast and accumulate. We want to keep them close when we need to remember some tiny forgotten idea. My current one does not contain fabric swatches, but it does have a lot of character analysis, questions, poetry, and snippets of descriptive phrases. I create mood boards to go with the sounds and music I associate with characters and locations. By compiling these thoughts and feelings on paper in one place, I have easy and convenient access to all of it. Plus, you have the opportunity to get a fancy notebook if you choose. I am sure I have sold you on this.

What do these worlds/spaces look like? Sound like? Feel like? What are some keywords, sounds, and images you might associate with the vibe?

Each designer is going to be unique in their artistic approach. Whatever helps you convey what you have in mind is going to be the right approach for you. What something looks like can tell you so much about how it sounds. How big is the space? Are we inside or out? What creatures inhabit it? What kind of weather are they experiencing? Are we experiencing a non-diegetic moment filled with underscore and magical sounds?

Consider the tension plot. Where are we at in terms of emotions that you felt when you first read the script? Maybe you have added and developed these thoughts since then. What do those emotions infer to you? If you were excited and hanging onto every line when you first read it, then an otherworldly underscored moment might be necessary to tell that story and emotion.

What leads the story? The characters? History? An unseen fate? How does that flow? Is it a slow burn or is it staggering? How does this contribute to the story?

You might answer these questions differently compared to others on the production team. You are going to share similar opinions as well. This examination is going to help you further flush out the story’s arc. In Chekhov’s The Cherry Orchard, shifts in socioeconomics and the unknown fate of the orchard are what drives the plot of the story. In Eric Overmyer’s On the Verge, the story is forcefully pushed along by the three female lead characters.

The answer to these questions hints at how a designer might approach perspective and how their design can emphasize that. Audience members might find it easier to relate to characters unless they have been directly affected by the conflict in the story.  It is also going to help the production team guide the audience through the experience of the story. The actors on stage need our help to do that successfully. When all of these inner workings come together, the theatrical experience is truly magical.

How does the audience interact with the action on stage? Are we in the world or are we spectators? How does sound move around us or in front of us? Is it intrusive or is it invited? What does that mean in regards to how we tell the story?

Finally, we are in the physical theater space. The production team brings the pieces of the world into the playing realm. The play is becoming realized.

These questions will be answered as you have discussions as a team and with your director. The actor playing space will be decided early on. Some parts of the play might protrude out into the audience and some may remain separated. How the action and world move around the theater space is important because the sound might need to emphasize that. Or it might need to represent it solely. It could also contradict in an adverse effect.

This sound support might manifest itself in where you place speakers, effects like reverb and delay, panning and spatialization of sound cues, and the list goes on forever. I mixed a South Pacific where an invisible airplane taxied on stage, took off down the runway, got into the flight, circled around the perimeter of the audience, and flew away. For the most part, that show was separated by the viewer’s veil. The audience members were spectators. However, in that scene, the world of the Pacific crossed that divide and created magic.

Those are the instances that have audience members smiling when they leave the theater. They are special and so much fun for designers. It is a moment to flex your artistic muscles and shine in the spotlight. These scenes are made special because they are precise. The time was taken to consider when the audience becomes part of the world. They are special because they help us tell the story and in turn, we are better storytellers.

 

Healthy Practices for the Audio Professional – The Physical Body

Recently, I have developed a desire for more information regarding better ways to take care of myself, specifically the professional me. I want more techniques and concepts tailored to my profession, regardless of what hat I am wearing that day. I also knew that I needed the how and why these techniques and concepts are being suggested to me. That way I could customize a routine to suit my ever-changing needs. I needed to find something that dove below the surface and I wanted to share my findings with others in the audio industry.

I began this process by sending out a survey to colleagues, peers, and friends. The survey asked what the individual does for work and what kind of concerns they have or struggles they face daily doing said work. The information I received ranged from anxieties for their body, to mental health issues, and personal challenges. I chose to first look into the physical concerns that surveyors had.  I collected practices, techniques, and backed research that could provide information to those who are looking to take better care of their body in the audio industry.

Posture

Posture is one of my problem areas and I was not surprised to hear reports of body pain in my survey. Responses like ‘Generally poor posture from prolonged periods at desk. Occasionally required to lift things beyond what I believe is safely within my strength capability,’ echoed similar situations that I have experienced. I broke posture down even further to take a look at specific bad habits and suggested practices that can aid in better posture and less aches and long-lasting pain.

A lot of our work as audio people is conducted sitting at a desk or standing for long periods of time. Prolonged sitting contributes to a flattening in the natural lumbar curve, muscle fatigue, and deconditioning of the lower back muscles (Jung). Not only is this going to cause immediate discomfort, but also long term health issues. Issues with posture and back pain are often considered to be challenges  faced when you are much older, however none of the survey respondents exceeded the age of thirty-five. There is also the factor that audio engineers and technicians heavily use and rely on their bodies. Excessive, heavy use is going to take a toll on the body, regardless of age. Once we cannot use it anymore, we can no longer do our job.

Similar to our ears needing breaks, our backs need them too. Ear and back fatigue go hand in hand in this industry. Prolonged sitting requires us to break up these stretches of time with movement. Getting up for a walk and stretch will also give your ears a break. I say stretching as a general term because any movement is welcome for this situation. Sitting puts a lot of stress on the discs in our back. Movement will help relieve some of that pressure and allow you to come back to the workstation feeling refreshed.

Rounded shoulders are another posture problem that is exhibited in my surrounding colleagues. This bad habit is personal to me as well and causes a great deal of pain. Similar to how sitting posture can affect and change the muscles in the lower back, this can also occur in the shoulders and neck. This can result in a reduced range of motion, muscle weakness when performing the easiest of tasks, and the individual being more prone to serious injury (Malmström). This poor posture puts the body out of alignment. Misalignment adds stress to the body and mind, decreases range of motion, pain and stiffness in the neck and shoulders, and limits the overall support that our spine can provide us.

I have learned several beneficial techniquest to free this region of my back. The Feldenkrais Method and exercises are some of the most helpful for me. Not only does this method help the body-mind connection, but the exercises can aid in easier movement, increased utilization of the nervous system, reduce muscle tension, and even aid in breathing. There is also Progressive Muscle Relaxation. This method is similar in it also supports a mind-body connection. However it functions a little differently. This relaxation technique incorporates tensing and relaxing muscle groups. It has been found to aid in relaxation and anxiety, help differentiate between tenseness and relaxation, and pinpoint problem areas. Oftentimes, people don’t recognize that they are holding tension, which is where PMR can help.

The last issue on the topic of posture is called Tech Neck or Computer Neck. It is something exhibited in every person who owns a phone. Most of us are also familiar with the term ergonomics. Someone who suffers severely from posture issues might consider setting up their workspace with ergonomics in mind. A good place to begin is with your computer screens and monitors. These should be an arms distance away with the top of the screen at eye level. This will keep you from looking downward at your work and deter you from slouching.

Lastly, like I said before, stagnation leads to stiffness and lack of movement leads to weak muscles and pain. Gentle rotation and stretching of the neck and head is going to relax these muscles. Don’t become a vulture at your desk.

Diet

Diet was also a unanimous issue sounded throughout the survey responses. One surveyor reports, ‘I generally don’t build the padding into my schedule for real meals, I very often find myself going to the King, the Clown, and the Colonel. Definitely starts to show itself after a weeklong gig of eating the greasiest food available.’ What I have seen from reports, diet comes with two issues. One being the above; not having access to the best food when on the job. Not only are these eating habits going to contribute to weight gain, but also increase rates of hypertension, high cholesterol, and diabetes (Bray). These are life long effects that can generally be avoided.

The second issue being the lack of understanding of nutritional value and how to use that to your advantage. If you feel like you are not eating enough, take a look at what you are putting into your body. What foods are high in good calories and what contain empty calories. Some high calorie food options are;

I like to incorporate high calorie foods into my snacks since my work is so fast paced. This helps me curate a rotation of snacks and meals that I can rely on for fulfillment. Things high in added sugars and fast food are where you are going to see a lot of empty calories.

Why are they deemed good calories though? True nourishment is going to help you with things like lack of energy, fatigue, headaches, dizziness, and muscle weakness. Those are also going to be some of the first signs that what you are eating is simply not cutting it for the demanding jobs we work. Good calories are not the only thing you are going to want to look out for.

Incorporating snacks that are high in antioxidants, antihypertensive, and contain natural beta blockers are going to also help your diet out. These properties have been found to support the cardiac system, help with migraines and anxiety, as well as blood pressure. Some of these options are;

Understanding the characteristics of foods and what they can offer you before you consume them can help you utilize food to your advantage and find a healthier way of eating when on the busy clock.

However, a lot of employees are given a per diem for their food. This can be exciting when you are in an area with lots of good food options, but can be devastating when you are not. Or you have a special diet like me. Fast food can easily become a constant. It can also be challenging when packing meals is not as accessible or financially feasible. For week-long gigs, packing food is no longer practical and if you are spending your own money outside of the per diem, trips to the grocery store add up quickly. I might suggest using your per diem for groceries and meal prepping if your employer is willing to give it to you in advance. For longer stretches of work where meal prepping is not an option, consider healthy and portable snacks that follow the information above. Try to develop conscious eating habits that incorporate gained understanding from this article and its research, and remember that it is better to eat fast food than not eat at all.

Natural and Artificial Light

Lack of natural light and elements are a constant complaint from those who work in dark environments like theatres. In my research, one respondent simply states, ‘Very long periods of sitting in one spot with very little sunlight.’ People are a lot like plants. We tend to flourish with the addition of a little sunlight. In a study titled ‘Why We Need More Nature at Work,’ researchers report with more exposure to natural sunlight and elements there is a decrease in stress related diseases, anxiety, depression, and even blood pressure.​​ This clearly shows a correlation between natural elements and an increase in mental health and stability. Who doesn’t want more of that?

Interestingly enough, researchers have also found little difference between the results of actual natural elements versus simulated elements. This includes things like visual representations of the outdoors and nature soundscapes.  So if you live in an urban jungle, consider giving this a try. Especially when so many of us don’t have easy access to things like window views and strolls through a park. Some other suggestions to prioritize light in your work life are;

On the other hand, too much sunlight can also be an issue. With the summer season approaching, engineers and technicians are stocking up on sunscreen. One respondent reports an understaffed +12 plus hour day, on top of a long day prior, where they nearly passed out from heat exhaustion. He was a danger to himself and others. We as individuals are accountable for ourselves and our preparedness, but companies should also be accountable for supplying their employees with what is needed for long days in the sun. Especially when overexposure can have life-threatening consequences.

As someone who has been a lifeguard and has worked many shows in the heat, it is always surprising to find out how little consideration sun protection is given. Or how little people know. Therefore, these are the suggestions made by health professionals in regards to protection from the sun and heat;

This section can offer insight to how employers can accommodate their employees during the hottest time of the year. It also outlines what employees might want to expect when arriving on the job site.

Relaxation & Slee

This is the subject that I personally feel gets surface level generalization. So let’s talk about methods of relaxation. As a sound designer and composer, I have a fascination with sound therapy. Delta and beta waves, binaural beats, soundscapes and music, naturescapes, and even white noise and certain frequencies have been found to be beneficial in the aid of relaxation (Salamon). Guided meditations are also a strong option in any mindfulness practice. Those 10 minutes of walking, stretching, or being outside could include some of these to further your relaxation experience.

I am a big believer in relaxation being something that starts at the beginning of the day rather than an emergency tactic at the end. That is why it is so important to factor relaxation into your day and routine. We don’t want to end our day overwhelmed and overstimulated if we can avoid it. I am an avid journaler and have different journals for different areas of my life. My work-life journal is great for keeping a log of the things you experience and realizations about yourself. This is helpful for reflection on the past and goals and needs setting when looking forward. Keep track of what works and what doesn’t.

My personal list of relaxation techniques are;

To many people, sleep is relaxation. I would challenge others to see them as separate. There is a quote from the book Stillness is the Key, ‘If we treat sleep like a luxury, it is the first to go when we get busy. How many of us have sacrificed sleep for our work time, and time again? My closest friends know who I am dedicating this section to. So let’s talk about sleep and what healthy sleep should look like.

There is a big difference between sleep and napping. When the ratio between the two is more time napping than sleeping, the quality of your sleep suffers. Anything beyond a 20 minute nap reflects a need for more sleep and having poorer sleep quality. In a study published in Sleep Science Review, better sleep leads to an improvement in mental health with factors like depression, anxiety, suicidal idealations, rummination, and burnout, along with stress-related disorders like generalized stress and PTSD (Alexander). All of these conditions exist within this industry and to some of us, they are really important issues.

However, turning to sleeping medication can be a dangerous option to take in order to gain some of that precious shut eye. In a recent article surrounding sleep, anxiety, and the coronavirus, prolonged cold and sleep medication use was found to actually cause more damage than be helpful (Kai). Things like a relaxation routine, PMR, and a healthy diet are going to help a person fall asleep easier. Some other options for better sleep are;

Conclusion

When researching these topics, I found a lot of parallels to other concerns brought up in my survey. These concerns fell into a more ‘mental/mind category’ that I would like to explore next. Furthering my research, expounding upon established conversations, and providing a wider range of helpful practices for the niche work that I do is something that needs more presence. What helps the body helps the mind and vice versa. Taking these concepts and techniques into consideration could lead to better performance of your job and skills. From a long term point of view, it will also lay the foundation of being healthier well into your later years.

Thank you to everyone who contributed their concerns and experiences to my survey and helped with the long process of research. If you are interested in a more in-depth look at the work cited part of this article, please reach out! What is included is a brief representation to the more extensive list. Stay tuned for future articles on this subject!

Work Referenced

Posture

Jung K-S, Jung J-H, In T-S, Cho H-Y. Effects of Prolonged Sitting with Slumped Posture on Trunk Muscular Fatigue in Adolescents with and without Chronic Lower Back Pain. Medicina. 2021; 57(1):3. https://doi.org/10.3390/medicina57010003

Krantz, Jodie. “Freeing the Neck and Shoulders: Feldenkrais Exercises to Relieve Shoulder and Neck Pain,” Youtube, uploaded 20 Aug. 2014. https://www.youtube.com/watch?v=JWkUkmbQ94k

Malmström, EM., Olsson, J., Baldetorp, J. et al. A slouched body posture decreases arm mobility and changes muscle recruitment in the neck and shoulder region. Eur J Appl Physiol 115, 2491–2503 (2015). https://doi.org/10.1007/s00421-015-3257-y

Rennwellness. “Dangers of Rounded Shoulders and How to Fix Them,” Ravenswood Chiropractic and Wellness Center, 19 Jun. 2019. https://www.rennwellness.com/physical-therapy/dangers-rounded-shoulders.html

“The Best Ways to Fix Forward Head Posture,” Benevida Health and Wellness Center, 27 Nov. 2019. https://www.benevidawellness.com/how-to-fix-forward-head-posture/

Diet

Bray, G. A. “Good Calories, Bad Calories by Gary Taubes; New York: AA Knopf,” Obesity Reviews, 14 Feb. 2008. https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.557.8672&rep=rep1&type=pdf

Bremner JD, Moazzami K, Wittbrodt MT, Nye JA, Lima BB, Gillespie CF, Rapaport MH, Pearce BD, Shah AJ, Vaccarino V. Diet, Stress and Mental Health. Nutrients. 2020; 12(8):2428. https://doi.org/10.3390/nu12082428

Huizen, Jennifer. “10 Natural Beta Blockers,” Medical News Today, 27 Apr. 2021. https://www.medicalnewstoday.com/articles/natural-beta-blockers

Huth, P. J., Fulgoni, V. L., Keast, D. R., Park, K., & Auestad, N. (2013). Major food sources of calories, added sugars, and saturated fat and their contribution to essential nutrient intakes in the U.S. diet: data from the National Health and Nutrition Examination Survey (2003-2006). Nutrition journal, 12, 116. https://doi.org/10.1186/1475-2891-12-116

Liu, A. G., Ford, N. A., Hu, F. B., Zelman, K. M., Mozaffarian, D., & Kris-Etherton, P. M. (2017). A healthy approach to dietary fats: understanding the science and taking action to reduce consumer confusion. Nutrition journal, 16(1), 53. https://doi.org/10.1186/s12937-017-0271-4

Owen, L., & Corfe, B. (2017). The role of diet and nutrition on mental health and wellbeing. Proceedings of the Nutrition Society, 76(4), 425-426. doi:10.1017/S0029665117001057

Natural and Artificial Lights

An Mihyang, Stephen M. Colarelli, Kimberly O’Brien, Melanie E. Boyajian. “Why We Need More Nature at Work: Effects of Natural Elements and Sunlight on Employee Mental Health and Work Attitudes,” Plos One. 23 May. 2016. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0155614&mod=article_inline

Chulv, Vicentei, María Jesús Agost, Francisco Felip, JaumeGual. “Natural elements in the designer’s work environment influence the creativity of their results,” Journal of Building Engineering, Vol. 28, March 2020. https://www.sciencedirect.com/science/article/abs/pii/S2352710219313105?casa_token=dxidzq55lMgAAAAA:lvC1mLW-TctzFdQjxFe_negtOREn2JTRB1-tx7kZox_r8QJSYclE4EXKNp9RTtP7dh2Gb6WaqUw

Sleep and Relaxation

Alexander J. Scott, Thomas L. Webb, Marrissa Martyn-St James, Georgina Rowse, Scott Weich. “Improving sleep quality leads to better mental health: A meta-analysis of randomized controlled trials,” Sleep Medicine Reviews, Vol. 60, 2021, (https://www.sciencedirect.com/science/article/pii/S1087079221001416)

Holiday, Ryan. “Stillness is the Key,” Portfolio Penguin. 2019.

Kai Liu, Ying Chen, Duozhi Wu, Ruzheng Lin, Zaisheng Wang, Liqing Pan, “Effects of progressive muscle relaxation on anxiety and sleep quality in patients with COVID-19,” Complementary Therapies in Clinical Practice, Vol. 39, 2020, (https://www.sciencedirect.com/science/article/pii/S1744388120302784)

Maurice Ohayon, Emerson M. Wickwire, Max Hirshkowitz, Steven M. Albert, Alon Avidan, Frank J. Daly, Yves Dauvilliers, Raffaele Ferri, Constance Fung, David Gozal, Nancy Hazen, Andrew Krystal, Kenneth Lichstein, Monica Mallampalli, Giuseppe Plazzi, Robert Rawding, Frank A. Scheer, Virend Somers, Michael V. Vitiello, “National Sleep Foundation’s sleep quality recommendations: first report,” Sleep Health, Vol. 3, Issue 1, 2017, Pages 6-19, (https://www.sciencedirect.com/science/article/pii/S2352721816301309)

Salamon, Elliott, Minsun Kim, John Beaulieu, and George B. Stefano. “Sound Therapy Induced Relaxation: Down Regulating Stress Processes and Pathologies,” BioSonic Enterprises. 2002. https://lbdtools.com/resources/Reference_PDFs/SoundTherapyInducedRelaxation.pdf

 

Designing with Meyer Constellation

Using an array of ambient sensing microphones, digital signal processing, and world-class speakers, Constellation modifies the reverberant characteristics of a venue and redistributes sound throughout the space – ensuring a natural acoustic experience. I am very fortunate to have had the experience to design with this system. The Krannert Center for the Performing Arts recently had one of these systems installed into their Colwell Playhouse Theatre. In this article, I will go over how I designed this system for the 2021 November Dance show, how I utilized the 100+ speakers, and how I shaped the environment of each dance piece.

I began the design process by grouping my outputs into zones where they could fulfill a certain purpose. In Cuestation; Meyer’s software interface for their D-Mitri systems; these groups are called buses. I utilized a total of ten buses and over 80 speakers out of the original 127. Paper working and making sure things were clear for my engineer was a new challenge. This system is large and I found color coding and adding legends with further notes really helped represent the system I needed, but also the system that would become the world for the show, audience, and art that dancers were bringing into the space.

These zones allowed me to create a truly immersive experience with the sound. I was consistently using the House Left and Right sides, Rears, and Ceiling buses. However, what I loved the most was the Sub bus. Rather than using the onstage subs with the arrays, I opted to use the installed flown subs. What I have experienced in previous designs is that I prefer the encompassing blanket of sound that subs give when they are flown from a distance. I really didn’t want to localize them to the stage. I did, however, use the Center and Front Fills buses to draw more attention to the stage and dancers. I found that I preferred this balance of sound and the image that is created as an audience member.

I also found that the color-coding, legends, and graphics really helped keep track of this system. It felt daunting at first, but this breakdown allowed me to easily manage all of my outputs. The dance productions here don’t get a ton of time for the tech process, so this setup really helped me adjust levels quickly and not get bogged. I hadn’t worked with this software for a show before and it comes with a learning curve. I needed to stay productive throughout the entire rehearsal process.

Playback also works differently in Meyer’s Cuestation. Playback is often triggered and played back in Wildtracks. Wildtracks uses decks – virtual decks that is. It felt reminiscent of my Dad’s tape deck when growing up. Even though the tech process for this production added several more decks and cues to my original paperwork, I will show you the initial documents and how I set up my playback.

Originally each dance piece had its own deck. You can also see that each dance had a varying amount of Cuestation Inputs. These are the Wildtrack inputs that I then assigned to my buses of speaker zones. For Anna and Jakki’s pieces, I received stereo files. Though this was less than ideal, I stilled sent the music to the buses and crafted a great sound for the piece. Subsequently, I was the designer for Harbored Weight, so I had more opportunities to work with stems and individual tracks to send and pan around the room.

This is the kind of world I like to think and live in as a designer. There was a fourth dance that used only live music. This one was titled Love and only had a Cellist mic’ed on stage. Harbored Weight also had a live pianist accompanying the dancers. With Cuestation, I was able to take the mic’ed signal from these instruments and also send them to my buses. I could do this for onstage monitoring for the dancers or artistically in the house. What I discovered though, was that I could achieve a beautiful presence in the house with the other half of this design – which involves Constellation.

I sculpted a unique constellation setting for each dance piece. This information would be saved within each Cuestation cue – thus being recalled for the top of each dance by the stage manager. Most of the choreographers really wanted a large-sounding reverb. One, in particular, asked for something as close to cave-like as possible. I love these kinds of design requests.

Not only was I able to start with a base setting like ‘large hall’, but I was also able to effect parameters like early reflections, which really helped create a huge immersive sounding space. I was up against a learning curve though. I realized that with the constellation cue, audience members would be applauding at the end of the dance and their claps would be accentuated and echoed around the theatre. I found this to be cool sounding, but obnoxious. This resulted in me having to program more cues and use more Wildtracks decks to turn off Constellation for the end of each dance.

Then there are the designated microphones that capture the sound that makes Constellation processing what it is. For Donald Byrd’s piece Love, I was able to put this already beautiful cello sound through the processing system and hug the audience with its sound and warmth. This really helped for a few reasons. The dance was set to several Benjamin Britten pieces and it was just the cellist and dancers on stage. One cellist can sound small in a large theatre and the choreographer really wanted a big full sound. I mic’d the cello with a DPA 4099, but also used the ambient microphones to capture the instrument and send the signal through the constellation processing and unique patch that I had created. I designed a really warm and enveloping sound that was still localized to the stage and gave the illusion of a full orchestra.

My design for the 2021 November Dance did not incorporate Meyer’s Spacemap side of Constellation. I was able to do everything artistically that I wanted and that the choreographers needed without using Spacemap. I do look forward to using it in future designs though. If this article intrigues you, I would highly recommend looking into Spacemap as well as Spacemap GO.

I love that I can find ways to be a designer and be artistic outside of the typical realm of what it means to be a sound designer. I challenge the idea that crafting a sound system that shapes the sound we play through it isn’t artistic. I think this article shows that this way of thinking is in fact art. Dance often defaults to left-right mains with onstage monitors and side fills, but contemporary dance is pushing against that envelope. Sound designers and other artistic minds need to be there to receive those pushbacks and birth a new way of making art. Much like how Meyer continues to develop innovative tools that help us be better artists and better storytellers.

    Photo credit goes to Natalie Foil. All other images within this article are from my personal paperwork for the 2021 November Dance production. 

 

An Open Letter to Mental Health

Recently I have shifted my mental well-being to the forefront of my brain, whereas my work and education have always been my main focus. I knew that if I did not make this adjustment, my mental health would infringe on my professional life and the goals that I have set for myself.

The current discussion about mental well-being is a growing one, however, when it is combined with work, things fall short. There is an overwhelming amount of toxic work culture within our industry. With my switch to focusing on bettering myself and my mental state, I have questioned if this affects my worth as a designer. Does this make me a less valuable team member if I am not putting 110 percent into everything that I do?

I will answer this question for you – no it does not, and I know that it does not make me less valuable as a professional. Neither does it make me less capable. In fact, I think it makes me a better designer. There is an advantage to being self-aware and in tune with feelings and our experiences because those abilities lend themselves to sound design, music composition, and other creative and artistic endeavors.

Some days I feel as if I do not have any creative energy in me. Or that I no longer enjoy the things I once loved. A void has opened up and swallowed everything that makes me who I am. However, I have to remember that this does not equate to the real me. I may experience these feelings, but the creative and intelligent being I am still exists. My ability to do excellent work as a designer, engineer or teacher still exists.

Fear resides in me that if I cannot separate my working life from everything else, then I am on a one-way train to failure. My professional life must remain anxiety-free and the depression stifled. What we forget to remember is what that initial fear represents; a crack in the facade that we create. This kind of perfectionism is so fragile and dangerous for industry and work where things are changing and adapting every minute.

One of the best abilities I have trained myself in is how to be flexible. How to be adaptable and calm under pressure. It certainly was not easy, but I recognized it would be one of the most serving things I could do for myself. I work with directors, choreographers, artists, producers, and they all have an idea of what they want. Then, there is the actual production team which can vary in size and mind. They all have an idea of what they want. To think things won’t change and adapt is easily the most naive idea you could have. Some people may have an easy time being flexible under pressure, however, as someone with complex anxiety it is something I have had to work hard on.

If you are to remember anything from this article, please take away this statement. You are not your work. You are a valid and beautiful person no matter what work or the amount of work you do. You may feel like you have to do more, but ultimately you have an obligation to yourself and your health. That always takes priority.

I can recognize that this time that we spend on ourselves is what makes us worth so much. The idea that it makes us worthless is a misconception. There is also a lack of understanding of how long that process will take because it varies for each person. Our industry is not at all patient. It took Van Gogh a year to paint his famous Starry Night and that is an excellent example of what can happen when you are patient. You cannot get back the time you spent burning yourself out at your craft and I certainly don’t like thinking back on the person I was then. Hopefully, someday our industry will adopt a more patient outlook, but until then we have to be patient with and for ourselves.

As we come to a close in 2021, with everything going on and all of the uncertainties, I am thankful that I am working on this and that it can be one of the more stable things in my life. I think of it as my foundation and I know it will make me a better individual. We all have goals and dreams and taking care of our mental wellbeing can only help us achieve that for ourselves. I hope you all have a wonderful end of 2021 – you will see me in writing next year.

Special thanks to Quinn Schuster and Tyler Quinn for contributing to this writing.

 

Changing Work Culture and Setting Boundaries

 

“I had also sacrificed my own sense of self in service of this dream, and when I finally got there, I felt like there wasn’t a “me” left to enjoy it.  Worse, I know that by pushing myself in that way to “earn my place” I was contributing to a culture that would demand that from the next person coming up.” – Anna Ehl

 

I wanted to start this article with a direct quote from one of my professors. My hope is that this presents a new or renewed perspective on this important topic.

As a student and working professional, I have learned the importance of setting boundaries with my work. Like many of you, I love what I do and I enjoy working in the audio industry. However, there are some parts of it that we might want to avoid.

Start by analyzing yourself and your limits

This can be something as simple as your availability or even how much work you can physically perform before you need a day off. This industry can be incredibly physically demanding. During the summer I am working a lot. Nobody is doing my laundry for me, even though I really wish someone would.  I know I will need at least one day off after the busy weekend. This can be very demanding for someone who is not used to the labors of live sound and festival gigging. Some people may need two or three days off due to their personal schedules, and that is totally fine.

It is also important to have open conversations about your work environment with other employees. The professor I mentioned before suggested this to me. By talking about things like pay rates, how many hours you are working, and contracts, helps create a kind of team solidarity. This can help you in negotiating better working conditions for not only you but the whole team. You cannot be punished for having these thoughts and conversations.

“I think the answer to changing this culture is to cultivate a sense of teamwork and collaboration instead of competition. Ours is an industry that demands we build our networks, and when we look at our fellow technicians and engineers as part of our team and important building blocks in our network, we can start to build a sense of mutual obligation, trust, and collaboration that will facilitate a better working environment for all. Competition serves the folks who seek to overwork employees to bolster their own profits at the expense of our personal lives. By changing the culture from competition to collaboration, we open ourselves and our teams up to building a life with better balance.”

I could not have surmised this idea any better and it is certainly going to be a thought in my mind for the length of my career. Something that was also brought up in this conversation was that this same network can also supply you with information about possible employers and clients. You should focus your time and energy on employers who respect you as a human and not just based on your talents and services. A client who respects you on and off the clock will be much easier to work with compared to someone who doesn’t. This kind of information can help you avoid the repercussions faced when working with people who do not value you and your boundaries.

Conflict resolution skills

Can be a form of boundary setting. It isn’t talked about as much but can be excellent for when you are dealing with someone difficult. Personally, I like to use the form ‘I feel Language’ for communication. What this refers to are statements that start with I or directly address your understanding of a situation. For example, I could say, “I feel like there has been a lack of communication as of late, and it is making my job harder to do.” In an ‘I’ statement, you are not pointing the blame at anyone and are taking a neutral stance on the issue. Whereas, “You haven’t been emailing me back and now I am behind on work,” is an ineffective way of communicating for conflict resolution.

If done correctly, both parties can state how they are feeling and how the conflict is causing them to suffer. Both parties can reach validation at the very least. Something to note here is that both parties need to be actively listening to each other. This will not happen every time. Sometimes you will have an unhappy client or unruly stagehand and you will have to accept this. I, however, feel that taking the steps to state how you are feeling and approaching the situation with a form of conflict resolution is better than doing nothing at all. Accepting this kind of situation for what it is and refusing to fret over something that cannot be changed is also an important step in setting boundaries for yourself.

Be honest with yourself

You will need to ask yourself these kinds of questions throughout your life and career because things change. You might want to start a family or a health issue might arise. It is absolutely fine to say no to a job or career opportunity. I have found that if I decline an offer, but supply the offeror with other contacts that may be a better fit, I am met with a better response. This approach tends to leave me on better terms with the offeror and the door open for future employment. If you don’t have someone else you can suggest, you can also state you will send anyone you meet their way. This is a nice gesture and shows you appreciate their time and offer.

There are a few smaller techniques that you can apply to your work life to help balance it with your daily life. Though they seem small in application, they can warrant a great outcome. You should set firm times for when you are unavailable. Personally, I have my devices on DO NOT DISTURB from 10 pm to 8 am. This really helps cut down distractions like notifications and allows more time to unwind. One may argue about the need to be available at all hours in case of an emergency and you are needed. However, phone calls can still go through with DO NOT DISTURB activated and I tend to live by the rule of ‘they will call me if it is important. This mentality is a clear way of setting a boundary between your personal time and your work time.

Some of us may also need to set designated times to answer emails. If you receive a lot of emails from clients or inquiries, this process may take you more time. Finding a good time during the typical 9 to 5 business hours to read and respond to emails is a good practice to have. This doesn’t mean it has to be the same time every day. It just needs to be done each day. I also tend to live by the rule of responding to emails within 24, sometimes 48 hours if the working relationship has been established.

However, there is a caveat to this. It is so easy to have access to work emails 24/7. If this becomes or already is a problem for you, revoking or limiting access to work emails and work-related communication applications may be a must for you. Setting DO NOT DISTURB to your phone is already a clear way of creating this boundary, but you can also not allow your work email on your personal devices. Some working professionals only have access to their work emails on their work devices due to the struggles of ‘checking their work email while being at home.’ It is a problem in almost every line of work. This information may be obvious to some, but my hope is that it helps some of you with your struggles.

So at this point in the article, you have heard me mention several ways to create these boundaries and build healthy habits. The reason why it is important for some professionals to have these lines in the sand varies. However, they do boil down to one overarching motive: This work is not worth sacrificing your health for.  For some people, this is a difficult concept to grasp, but it should be applied to everyone in our industry. Yes, we are passionate about what we do, but if a particular gig or client is pushing you to your limits, you should consider setting boundaries or stepping away from that job. Placing yourself above everything else may seem like a selfish act, but you cannot work the job if you don’t take your limits and health into consideration first. By placing your well-being ahead of everything else, you will have a better understanding of when you should walk away from something or someone.

Women who started in this industry many years before me had to work at least twice as hard as their male counterparts. This toxic mentality has continued into our lifestyles now, yet I think we all want the same thing. We make these sacrifices now so that it is better for future generations of women and minorities in our industry. We want our industry’s culture to change so that technicians and engineers can thrive, yet these toxic traits leak in. By having these conversations and taking action to combat issues, we can stop the continuation of an out-of-date work culture.

I would like to give a very special thank you to Anna Ehl for her thoughts on this subject. Her opinion has always been something that I have valued immensely. I would also like to thank Lindsey Johns, Kayla Lee, Keith Norton, and David Peterson for their thoughts and contributions to this article and conversation.

 

Post Graduate Resources

 

Freelancing for the Young Professional

Hello, summer 2021. Hopefully, most of you who are reading this are preparing for a busy summer. I know I am quickly booking myself as many safe live shows as I can, and I hope you are as well. Over the past few months, I have been collaborating with a friend and colleague to present an article that talks about freelancing in an extensive and informative way. Since summer is right around the corner and many of us will be hunting for work, now feels like the best time to release it.

Networking. Networking. Networking.

How many times have you heard the word networking thrown around? The word means roughly the same thing to everyone, but each person does it differently. For me, I like to listen to people, and if I want to start a working relationship with someone, I ask them what their opinions are. I make it my goal to learn from them or to simply talk about the work that we do. It is a great opportunity to hear from another person’s perspective, but also to prove that you know what you are talking about. People enjoy feeling like they are important and being heard. Typically, this results in a positive association of me in that person’s memory.

This also leads to one of my colleagues’ opinions on the subject. He likes to take a more online approach by keeping up to date with the ever-evolving industry. He frequently uses social media, online groups, and forums, as well as LinkedIn. Knowledge is a valuable tool in this industry, especially if you are looking into jobs centered around higher education or research. Networking like this also opens you up to the opportunity of coming across and engaging with professionals.

On the other hand, networking on the job can be a bigger challenge. Introducing yourself and making a good impression are two things you will want to prioritize. A peer of mine also likes to prioritize listening to artists’ concerns and will take on the ‘problem solver’ role. It is easy to forget that we are in a service industry and being able to listen and solve issues put your band or artist’s mind at ease. It is an excellent way to create a lasting impression of you in their mind.

One of my recent endeavors has also been to simply ask.  In preparation for my summer off of grad school, I started looking for local work. I noticed a local tavern had a full schedule of live music that they were going to have outside, and I asked if they needed any sound support. Fortunately for me, they did, and the conversation went from there. I might suggest as a tip to reach out to venues to see or offer your services rather than searching for a band or a couple of groups to work with.

Multidisciplinary vs. Niche

Something that also needs to be considered is what kind of services you are going to offer. I will cover two approaches that you may want to think about.

The first being multidisciplinary, which can also be associated with flexibility. Myself and many of my peers come from a multidisciplinary background. The education I received in my undergraduate program was well-rounded. As a first and second-year student there, we took several basic stagehand classes covering lighting, sound, production, scenic, and costume work. This results in most individuals being multidisciplinary on some varying level.

Some of the pros of this approach are that it opens you up to most gigs that need help. For example, I can finish up with my sound set up and jump in and help install the lighting rig if needed because I have basic experience with lighting. On most of the IATSE gigs I have worked, the other union members were also well-rounded workers. From personal observation, that appears to be how they live industry works and thrives. It is a fast-paced environment. When you need a hand with something, you typically do not have the time to wait for the right, single person to come and help. Having basic knowledge about several things on top of your more experienced expertise in one area is what makes you more marketable and typically, more desirable.

A second approach is a niche approach. This is a more concentrated or expertise-based method. For example, we talked about union stagehands typically being well-rounded and multidisciplinary. However, a union stagehand might not be the best fit for an audio programmer for video game production. That role should be filled by someone with more concentrated expertise and experience. Services can be even more niche than that. A client may be searching for a recording engineer in a twenty-five-mile radius, but they are specifically looking for a recording engineer who specializes in abstract noise rock.

This can also be perceived as limiting your chances of work and your possible clientele. As one of my close friends likes to put it, “how many eggs versus how many baskets”. This refers to the client to services ratio for you as the business, for the area, and for many other factors. If you have multiple baskets, representing a multidisciplinary approach; you may be able to fill your baskets with more eggs compared to someone with one or maybe two baskets; a niche approach. However, this is entirely dependent on client-related factors like area, service rates, or if the industry is suffering from recent financial hits.

Developing a brand

This section applies to everyone. Most of the time we, as the individual, are the brand or the thing that we are marketing. Everyone is going to have an opinion about your website or your social media accounts. However, what is most important is that it looks good, the information is up to date and easy to navigate, and that it represents you.

A person is always developing and changing, therefore their website’s style is also going to develop and evolve over time. For example, I prefer clean lines and black and white for my website. I like the simplicity and that it allows for my work to be the center of attention. I added a cool and interesting picture of myself or my work on each page for emphasis. The black and white color scheme is nice because it doesn’t clash with any of my pictures. It looks clean and professional and allows for myself and my work to take center stage. Small things like consistent use of single text font and watermarking or other associated symbols are also important. If done well, things will look professional and pleasing but will establish an association with your viewers and audience. We want that association to be positive. Therefore, we put time and consideration into this.

A peer of mine who spends most of his time working in live sound will establish a good impression with an artist or band and then follow them on social media to form a connection between his name and his face. This is also another great way to create a path that leads people to your website and credentials. Business cards are also a great physical object that can lead clientele to your credentials. The same principle applies to these as well. Use the same text font if you can and include any associated symbols or marking to make it personal to you.

Public Image

This leads to consistency and keeping up to date with information, services you can provide, and communication. Personally, I like to keep a log of everything that I have worked on or done. That way I can tailor my credentials and information that I  share with clients. For instance, the resume that I applied with for my MFA was a solid two pages, but you still want to stick with the one-page resume when applying for work like live sound gigs or audio editing for audiobooks or podcasts. Thus, because I keep a log of everything I have ever done, my one-page resume is consolidated to relevant work. This also means that I have multiple resumes and the one I use for live sound work is different compared to the one I may use for a gig doing sound design for a short indie film.

Consistency is also going to influence how professional you and your brand feel to potential clients. If I receive an email inquiring about my services, I am going to respond as soon as possible. On the other hand, I do like to follow the rule of responding within 24 hours once a working relationship has been established. Of course, there are always exceptions and if you respond within 48 hours, but have an open and clear sense of communication with that clientele, that is fine too. Communication is often one of the factors that make people move on and look for services elsewhere, so consistency in that regard is vital for any freelancer.

All of this plays an important role in your public image and how people perceive you. Are you reliable, does your resume or website reflect your capabilities, are you timely when sending emails, etc. Our industry tends to share information and recommendations through word of mouth, thus placing emphasis on a good public image. It is going to be impossible for you to not have some burned bridges, but the more poor interactions that you have, the less likely you are going to be recommended to others. Meaning you will most likely not be called back for more work.

“Don’t do it for the money, but don’t do it for free”

You should always be compensated for the work and services you provide. Unfortunately, that doesn’t always mean a paycheck. The phrase ‘don’t do it for the money, but don’t do it for free’ might sound foreign, but the mindset might allow you to see other possibilities. For example, a gig might not be able to pay you, but they are nonprofit, which allows you to write it off in your taxes. Several other professionals are also going to be there, which will allow you to network and possibly get your foot in the door for a few more jobs. Or even with potential clients. The gig might be broadcasted or have a large audience on social media which may look good on your website and help you develop your brand as a professional.

This mindset also works when a job might not be able to pay you as well as you want. When you begin freelancing, this kind of thought process is really helpful because arguably it is more important that the flow of work is steady rather than a steady paycheck. Things like networking, developing a brand, consistency, and public image influence that flow of work. It is all about what you can gain from that job. Sometimes it will be a paycheck or sometimes it will be other opportunities. Some people will only accept a paycheck, others may be looking for something more plus a smaller paycheck. What is important is that you value your time, and that will always be changing and will be unique to you.

The World is a Write Off

The gas that you need to get to a gig, the meals that you bought yourself for that day, your overnight stay at a hotel after working a show, and various equipment needs you have for your work are all examples of tax write-offs. Many freelancers will keep detailed records of all of this and submit them to their accountants or CPA. You must keep all receipts, various pay stubs and checks, and any other relevant records you may have. Having some kind of organizational system for these kinds of documents is vital. Depending on your flow of work, you may choose to organize by client or job. If that job is long-term or becomes more consistent, it may require a separate form of bookkeeping and organization.

Let’s briefly talk about equipment write-off and itemizing. This refers to the accounting of all of your receipts when purchasing equipment needed for your business or the work that you do. I will give a few examples. One, I just started out freelancing and I would like to get myself a small tool belt and crescent wrench for a gig I have coming up. When I purchase what I need, I will keep the receipt for my records, file it away in whatever organizational method I am keeping, and eventually present that to whoever files my taxes. Another example, I am working on a client’s podcast and would really like to add a denoiser plugin to the vocals. I can purchase the said plugin and keep the receipt for an eventual write-off because I needed it to do my job. This can also include much larger purchases like needing to upgrade your board if you are a freelance mixer for live music. All of this is relevant and should be written off to receive the taxes back. If large businesses can do it, so can you.

For those who do not know, a 1099 is a tax form for non-employed workers like gig workers. This is because they are not salaried and typically get paid per show. These should be submitted to an accountant or CPA when filing your taxes. Who should I expect to receive a 1099 from? Typically, any business should send you one. If I mix live music all summer for a local bar that pays me in checks, I will expect to get a 1099 form from them. If you worked for a business or client and made less than 600 dollars, they do not have to send you the 1099 form. However, it is also common to do a gig and be handed cash at the end of the night. This kind of payment is harder to keep records of.

Hopefully, this article has brought some sense of clarity or answered any unanswered questions that you may have had. Freelancing can be difficult, but also very rewarding. I have found most of my success by referring to my friends and peers who also freelance. At first, it may seem like a lone wolf type of work, but you will find so much more success and satisfaction if you spider web out and use the resources that you have.

Special thanks to Taran Schatz who helped develop this article. Also, special thanks to David Peterson, Drew Stockero, and Keith Norton for their stories and contributions to the article.

More Resources:

Tips for resumes and social media

Industry Directories – Get Yourself Listed

 

The Innovation of Theatre During a Pandemic

2020 was the year that Broadway, and so many other theaters, closed their doors. Consoles remained covered. Houses stayed empty. The lonely ghost light stood center stage. However, the year also came with great innovation, which is something that cannot be ignored by those who remain working in this industry. Though our theatre doors may be shut, many have turned to other ways to safely continue community involvement.

Streaming, zooming, and filming have now become the norm. I think a lot about older family members cursing at their computers and then I do a broadcasted performance where the streaming equipment outweighs the audio equipment in the setup. Although I feel incredibly inexperienced working audiovisual, this is the road theatre must take to maintain activity and reach their communities. While it may seem frustrating and foreign, streaming ensembles and filming theatre are some of the only ways we can continue to do shows at the moment. My peers and I have had first-hand experience in dealing with familiar and not-so-familiar challenges while working this past year.

At the start of 2021, I took on the role of recording engineer for a musical turned film-musical called Gay Card, written by Jonathan Keebler and orchestrated by Ryan Korell. Because of Covid-19, the director, Jordan Ratliff, had to adapt and form safe plans to see this production to fruition. Fortunately, my job was to record spoken lines and sung musical numbers, since backing tracks were provided. The cast is a mix of seasoned actors/actresses and first-time performers. Many cast members had never recorded in a studio before, which can be challenging for both the engineer and the vocalist.

When recording, I prefer to think I am capturing an experience, or a slice of this moment; perfection is not a real, pre-existing thing that I think a lot of people assume they are going to capture when they walk into a studio. Not only does this put an immense amount of pressure on the person in the booth, but adds unnecessary stress for the engineer. The captured experience is vital for a high-energy musical such as Gay Card. 

I worked alongside the director and sound designer to be certain what we recorded met the needs of the musical. Filming was a hybrid of wide shots for dance numbers and filming through Zoom of more intimate shots. After the filming and editing process has been complete, our production of Gay Card will follow the typical assembly line that a movie or short film might follow. The sound designer will add their sound to the picture-locked film, as well as, mix and master the finished product.

Many of the designers, technicians, and actors on this production come from the theatrical world and have had little to no experience with film production. We were incredibly fortunate to work with a small filming crew who could turn this piece into an actualized creation. It is collaborations and adaptations like this that make me so fond of the industry that I am in, and even though the current pandemic has halted the typical theatre experience, it has not stopped innovators from finding ways to continue their craft.

On the other hand, some productions have been produced entirely remotely with both designers and actors working from home. I was able to talk with my peer, Kayla Sierra-Lee about her experience as the sound designer for a recent production of Sex by Mae West.

Kayla Sierra-Lee on the difference in design technique

In terms of the differences in design techniques, streaming was relatively limiting. All of my sound effects were ran through QLab like normal, but the only speaker focuses I had were a right and left computer speaker. We had a specific person dedicated to running the stream which included most of the audio and effects. After editing our filmed cast, frames were built in Wirecast and filmed sections were put in with the live actors. For running the show itself, all of it was streamed through youtube.

And you also had to work with the music that the composer had already created. How was that?

There was a change in direction from the director, so a lot of the music the composer gave me no longer fit the tone of the play. The pieces we did use were added into my QLab file, as well as, other pieces I had pulled to fit the era of the show. This was a challenge due to all of the copyright laws for streaming, which is something not a lot of theaters have ever had to think about.

Were you the only one not local to the area? Was that a challenge for you?

A majority of us weren’t local and a lot of the filming/streaming took place in people’s homes. Needing a clear connection for streaming was also a high priority for both actors and designers. None of us had access to in-person rehearsals. That made it a challenge because we couldn’t gauge the emotions and reactions that would normally be happening on stage. We didn’t have a set, so it was important for us as designers to bring home the theme and location of 1930’s Montreal. What helped the most was having a director that knew what they wanted and was able to communicate that in our production meetings. Being able to say “this is the tone I want, the mood I want, and the audience reaction I want” was great since a lot of those things are usually pulled from in-person rehearsals.

Did you miss not being able to fully collaborate with your fellow designers?

I really did miss that connection with other designers, but I was able to work with people from all over the country and at all different levels of profession. That doesn’t get to happen very often unless either person travels to the theater, so this was a very unique opportunity for me to have.

Though theater doors have shut, some doors have remained opened for professionals that normally would not have been available to them otherwise. It is this strength and resilience that I find most attractive about our industry. If anything, this article has renewed your hope and inspiration for your work and its application.

This production of Gay Card is anticipated to be finished in late spring 2021. Information and videos of this production of Sex can be found on the Facebook page titled ‘Play Your Part Seattle’. There, you will be able to find many videos of the cast, designers, and director talking about their experience with this production and the process.

A very special thank you to Kayla Sierra-Lee for her contribution to this article. Sierra-Lee can be found at kmsounddesign.com and is a graduate student in the UIUC Sound Design program.

 

The Problem with Being Called Bossy

 

I was recently listening to an episode of The Guilty Feminist podcast titled ‘Being Bossy with Carrie Quinlan.’ It is quite possible you are already rolling your eyes due to the use of that awful B-word. Every woman and young girl has been called bossy at some point in their life, and the connotation that comes with it is not a good one. I love this podcast and this particular episode piqued my interest. Being too emotional was also brought up, which might evoke a second eye roll from some readers.

I want to get straight to the point on why these kinds of terms and phrases are awful and damaging. The word bossy and leader are two very different words. Each elicits different feelings, have separate definitions, and can be seen as opposing. You want to be one and not the other. Although, if we look at these words through a feminist lens, we can see a problem. Though these words are different, they are often applied to people who are synonymous. Men are rarely called bossy, while most female-identifying people can attest to being called it at least once in their lifetime. I don’t want to make any blanket statements. The word bossy is often reserved for women and girls who are exhibiting leadership characteristics.

It is incredibly discouraging, and I have been labeled it so much more with each leadership role I have taken. Six-year-old Sarah was bossy, and sometimes twenty-four-year-old Sarah can be a bit hot-headed. However, when it comes to my work as a designer and engineer, I try my hardest to represent myself in a confident and professional manner. When I am told I am bossy or overbearing, I take it as a blow to my work ethic and how I am managing my role as a leader or project manager. This is simply not the case.

Then there is you are being too emotional phrase. I am going to share a personal story of why this phrase is detrimental. Especially to those who work in an artistic industry and are passionate about what they do.

A few years ago, I was presenting design work I had done for a play that I felt a deep connection to. It had female lead characters that represented power and inspiration. Which are all the things I love in a story. I felt confident about the work I had done, but when it came time to present, I was overly concerned about appearing too emotional and being seen as unprofessional. This was the first time in my educational career where this idea and fear had materialized. I was finally able to show my feelings and connections for my work and the script, but I had not gotten over that fear that momentarily held me back. It is devastating that I perceived my emotions for my work to be unprofessional and therefore felt like I could not be myself and represent the design that I loved.

This is a problem. Being told you are too emotional is a problem. These are words and phrases that have no place in a professional or educational setting. It creates pitfalls for our young professionals who will have to deal with this for the rest of their lives. It is sad, it is discouraging, and it can also be sexist. Women can be leaders, men can be emotionally invested in their work, and vise versa. I implore you to consider this as a participant in the music and audio industry. I beg you to think about those who these phrases affect and how they stifle ambition and creativity. I ask that you leave these words at the door.

This is a brief commentary on my feelings in regard to these issues, but the conversation does not end here. Having these discussions and the ability to talk about concerns and experiences like mine helps our industry become stronger, more inclusive, and more supportive for its members. Organizations like SoundGirls and W.A.M. are wonderful resources when it comes to looking for a sense of support and community where you can have these kinds of conversations. I would also like to extend my email; sjcalver@mtu.edu; if anyone wishes to continue this conversation with me personally. I have a narrative project in development surrounding issues related to female-identifying people and one small portion of that narrative will talk about being bossy and too emotional.

I will say it again in case anyone did not hear it the first time. Women can be leaders, men can be emotionally invested in their work, and vise versa.

 

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