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Affordable Starter Plug-ins

Post Grad Resources:

This time around for post-grad resources, I looked into plug-ins must have’s for those starting out on their own. Ones that are quality and include an affordable price or offer free downloads. As always, this article is opinion-based. I am sharing information that I have gathered in hopes that it can help other young professionals.

Waves Silver Bundle

The Waves Silver bundle is an excellent package of plug-ins to have. It includes 16 different plug-ins, several different compressors, limiters, equalizers, reverbs, and delays. Waves Silver also includes two different analyzers, which I think everyone needs to have in their toolbox. It offers several different transparent and character plug-ins which offer users the option of transparency or to add coloration to tracks. It is repeatedly said to provide a solid foundation of plug-ins for the purchaser.

Waves state the bundle is geared for music production, mixing, and mastering in personal to professional studios. It comes with all of the basic plug-ins you may need to take a mix from start to finish. I personally have used over half of the plug-ins in this bundle and find all of them to be incredibly easy and simple to use. They do not evade scrutiny though. Compared to other similar plug-ins, the Waves plug-ins appear outdated and may be clunky to use due to its dated appearance. GUI can be a big deal to some users and several of the plug-ins on this list have a really pleasing interface to work with. But at just 89 dollars, it is a lot of bang for your buck.

Waves CLA – 76 Compressor / Limiter

Another Waves plug-in to add to your arsenal is the CLA – 76 compressor/limiter. This combo brings character and coloration modeled after amplifiers from the 60s. Like the plug-ins talked about before, it has a similar GUI and user functionality. The price of this plug-in is unbeatable; 30 dollars. It can also be found in many of the different Waves bundles, but unfortunately not the Silver bundle.

Several of the positive features are its explosive attack, built-in distortion modeling, and sounding amazing on drums. Some argue that the coloration is lackluster, but the price just cannot be beaten. Another bonus to add is that Waves plug-ins can be added to most consoles and used for live sound. Just an added bonus if you chose to do so.

Izotope Elements Suite

This bundle is a steal of a deal with over a three hundred dollar savings. Izotope Elements markets itself as everything you need to repair, mix, and master. It bundles four different Izotope packs for the price of 199 dollars.

The first pack is Ozone Elements which includes an equalizer, imager, and maximizer. This plug-in is an excellent tool to master with. Its appearance is really nice and it combines the EQ, imager, and maximizer into one plug-in. This is a great feature that keeps your work process flowing and stops from slowing you down. This plug-in alone is one of my favorites.

The next thing included in the suite is Neutron Elements. Neutron is meant to assist in the mixing process. The plug-in comes with a 12 – band equalizer, transient shaper, an exciter, and compressor. Again, all features are combined into one plug-in; one place. At first, I had never heard of a ‘transient shaper’. What it is meant to be used for is cleaning up transients, adding punch or attack, and bringing more clarity and presence to the mix.

RX Elements represents many of the repair features of this bundle. It includes a de-hum, de-click, de-clip, voice specific de-noise, and a spectrogram view of the audio files. The spectrogram allows you to see your recording in a graph form where it is representing frequencies and their intensity against time. This allows you to target very specific frequencies that you may need to focus on.

And last on this list is Nectar Elements. Nectar Elements is also used to repair audio files. It helps clean up sibilance and overall tone, as well as set reverb and compression. The plug-in incorporates adjustable sliders to set levels of the many different features. It has a slightly different view that users may not be accustomed to.

FabFilter Essentials Bundle

The FabFilter Essentials bundle is on the more expensive end of this list. This essentials pack includes the Pro-R reverb plug-in, Pro-Q 3 EQ plug-in, and the Pro-C 2 compressor plug-in at 399 dollars. I have referred to these plug-ins repeatedly when researching for this article. They are described as being incredibly powerful, beautiful to look at, and also easy to use.

The reverbs in the Pro-R are convincing and intuitive. The selections are realistic and add a natural-sounding coloration to recordings. It offers reverbs ranging from small rooms to huge spaces. The Pro-C 2 is a transparent compressor that comes with all of the modern features to make up for its lack of coloration. Some might find this plug-in a bit more advanced compared to others on this list. But FabFilter offers tons of user resources and helpful videos on its website if you ever need the support. The Pro-Q 3 is one of my favorite EQs to use. I find that it meets all of my needs when it comes to mixing. It offers a wide range of filter types to really fine-tune your mix and the interface is one of the best on this list. I find this really important when I am focusing on frequencies and adjusting filters for any given amount of time.

The biggest plus to this pack is that it allows users to obtain good-sounding tracks in a short amount of time. The price may be on the steeper end, but the value of the product and the quality it will add to your work is well worth it to many.

Celemony Melodyne 5 Essentials

Melodyne 5 Essentials is currently just 99 dollars and is essential to anyone editing vocals, pitch, and timing. Celemony is repeatedly praised as being award-winning technology and is a reliable tool to have in the sound and music industry. There can be a bit of a learning curve with this software. The interface can appear foreign and confusing to those who are new to it. Editing pitch and time takes a patient ear and tracks can easily be taken beyond the point of sounding realistic. Thus, the creation of autotune.

Like I mentioned above, Melodyne is used for things like pitch correction, time adjustments, it can apply automatic adjustments as well as manual, and it can also analyze and transpose audio files into a musical format. This can be helpful for those who have a musical background. Melodyne 5 Essentials is supported on both Mac and Windows and can be used on most DAW’s without issue. It is also easily upgradable if you ever chose to get a fuller version of Melodyne. Therefore, the Essentials version is a great way to get your feet wet when it comes to this kind of editing.

ValhallaDSP

Last on this list is ValhallaDSP. I am always looking to add to my reverb collection and I have found ValhallaDSP is a great company to help feed my addiction. They offer several affordable reverbs, delays, and other modulating filters and effects. Currently, they are offering three free downloads; a large reverb, an echo type effect, and a spacey flanging modulator.

These plug-ins have been praised for their storytelling capabilities by designers looking to be more experimental. They are described as being eccentric and over the top. They are not intended to be used to create a realistic or authentic sound, though it may be achieved if worked at. They are also easy to use and look at. Many of the parameter descriptions show up when hovering over a given parameter. It is made to help the user achieve what they want without having them work too hard. Along with the price point, it is a really great, simplistic line of plug-ins.

That concludes the list of plug-ins I have chosen to look into for this article. I personally think they are all great additions to those who are just starting out on their audio journey or individuals who have graduated and find themselves without resources. I am sure there are many, MANY other great options out there and I welcome feedback and conversation on the subject. Furthering the sharing of information and resources to those in need and want to learn is one of my agendas and I think it is also one of SoundGirls.

Special thanks to Allen Harrison, Ryan Nicklas, David Peterson, Tyler Quinn, and Drew Stockero for helping me research this article. You are appreciated.

 

The Affordable Digital Audio Workstation

By popular request, I am researching and collaborating with several of my peers to come up with a list of resources that can be useful post-graduation. Many of us were spoiled with the unlimited amount of software and gear that we had in undergrad. I certainly was! Now, six months after graduating from my undergrad program and three months away from starting my master’s program, I find this to be a great opportunity to explore my affordable options.

I would like to keep a few things in mind though. One, you do not need to break the bank. Affordability is something that was kept in mind when developing this list. Two, you should try to use what you are comfortable with. For example, I used Logic Pro during my undergrad. So I bought that and use it as my main workstation. This isn’t to discourage trying and learning new things though.

Ableton

I had to reach out to some friends who are ardent users of Ableton because I myself am not familiar with this DAW. Being downloadable for Mac and Windows, it is able to reach a wider customer audience. Ableton Live is free to try for 90 days and the intro version is only 99 dollars.

I was told by many of my peers that one of its best qualities is how fast it is when being used for producing. It is easy to use when searching for samples and organizing sounds. I mentioned before that Ableton has over two hundred different packs that include plugins, sounds, and software instruments. Several of them have a free download. Although, with only sixteen audio/midi tracks available, the awesome sounds and software instruments that Live Intro offers might not be able to utilize all the features to its fullest. The Standard version of Ableton Live has a steep price of 449 dollars.

Intro also includes many of the features that are included in the Standard and Suite versions. It doesn’t include some more advanced features such as extracting harmony parts, melody, and or drum parts from audio samples and converting them to midi. It also doesn’t support importing and exporting video files, which some DAW’s on this list can do. But again, at only 99 dollars and the lengthy list of features on its website, it does seem well worth it.

It is also being utilized as live playback for indie artists and rappers as well as in techno and house music. A space has been opened up for artists and musicians like this with live music becoming so much more digital with playback and triggering sounds that cannot be done during a live show. Artists like Tyler the Creator are even using Ableton Live, but that does not mean it is something out of the reach of the smaller indie bands. A friend of mine back home uses this same software for his band, Earl Grey. So producers, musicians, songwriters of all sorts can benefit the most from what Ableton Live has to offer. Whether you use it for live shows or solely production, this DAW has a lot to offer those who utilize it.

Logic Pro

I might be a bit more biased towards Logic Pro. It is the DAW that I regularly use. It can only be operated on MacOS, so windows users are out for this DAW.

The three universities that I have attended have all used Logic Pro, and for that I am most comfortable using this DAW. It comes with a decent amount of plugins. It is fairly straightforward, and because it is used by many, finding a youtube tutorial is relatively easy for me when I am in a pinch.

What I like most about Logic, is that it allows me to have a creative and consistent workflow. It is, in my opinion, one of the better DAW’s for design work. It comes with one of the most extensive and largest amount of plugins and sounds collections. Though, they will take up more space on your computer. It also offers some of the best mixer options, with a limit of 1000 stereo channel strips and the same for instrument and auxiliary tracks.

Logic Pro wouldn’t be my first choice when recording music though. It just isn’t as savvy as other DAW’s when it comes to editing and comping takes. Visually, it appears to be geared towards the creative and design workflow. When recording I find it a bit clunkier compared to Protools, especially when multi-tracking. I have also run into some issues with overloading and Logic crashing. It takes up a lot of space on my computer and having several hard drives and SSD’s at first is a necessity no matter what DAW you chose to use.

This is a great workstation for beginners and easily accessible to most since it comes with the purchase of any MacBook. It can be used for simpler projects or utilized for the more advanced. It is a DAW that can grow with you and still be able to meet your needs.

PreSonus Studio One

 I reached out to the SoundGirls Facebook community in search of people who had used Studio One. Cierra Zimmerman was kind enough to share her opinions with me about this DAW. She has been using it for about five years.

Here is another Windows-friendly DAW to the many Windows users out there. Studio One is available for Windows and Mac. It requires a hefty amount of hard drive space for download but includes many great features. It allows for unlimited audio and instrument tracks, advanced automation features, and almost 40 different Native effects. I myself LOVE Native Instruments and their products.

Like other DAW’s that have been covered, Studio One also comes with an assortment of plugins, sample packs, and loops. I heard many positive opinions about these workstations’ affordability. There are several different options too. Prime being their free, but the limited option, Artist being a midrange option, and Professional being just under 300 dollars. When researching this product, Studio One Professional was on sale. It is a much cheaper option compared to Protools Ultimate’s monthly subscription of 80 dollars a month.

The con’s being there might be a slight learning curve for beginners and those new to Presonus. There were some comments about organization and workflow functionality being sloppy and cluttering. So if you are willing to work through and learn a slightly different software, this could be an option for you.

Many users said they use it for recording and producing and prefer it to Protools, mostly due to the price difference. So if you want similar options that Protools Standard and Ultimate offer, but can’t do the price, Studio One could be an option for you. It also has potential for those who do more creative and design work. With the good amount of stock virtual instruments, sounds, and plugins, it sounds like a great workhorse DAW for those who are looking to do it all.

Protools First

Without a doubt, Avid’s Protools is an extremely powerful software and it is favored by many. I find it easy for all things recording and mixing. Editing takes is a breeze. And what makes Protools First an excellent option for those on a budget, is the fact that it is a free download. You do need to set up an Avid account, but besides that the download is straightforward. Though at first glance Protools First might appear barebones, it does come with a good amount of plugin’s and track availability to start with. It comes with 23 Avid plugins, 16 available midi, instruments, and auxiliary tracks. It has a great organizational setup that allows for an uncomplicated workflow.

However, some beginners might find it a bit challenging compared to other DAW’s. In my experience; and from other people’s accounts; Protools will crash more often than other DAW’s. It takes up a lot of space and processing. The system requirements are somewhat strict compared to other workstations. It requires a minimum of 15 GB of disk space for installation. Whereas Logic requires a minimum of 6 GB. With Protools First, editing capabilities are limited. When comparing the different versions on the Avid website, Protools First is labeled as does not support video tracks and does not include advanced audio editing. It also has limited automation capabilities and does not support surround mixing. Some of these limitations are lifted with the Protools Standard version, which is only 30 dollars a month. Avid employs monthly subscriptions for its Protools software, which might also be something to consider when committing to this DAW.

I would like to emphasize the word limited in these product descriptions. Limited does not mean it does not include. And for someone on a budget, limited could be doable. It is important to examine your basic needs and what you can get by with for the time being. Protools is excellent software and is often considered the industry standard.

REAPER

Reaper has gained interest in the past few years. I have heard it talked about by many sound designers involved in the video game industry. It is another software that is compatible with Mac and Windows. Reaper has a free 60-day evaluation download and a 60 dollar personal license download after that 60 days. In my opinion, this DAW is the most bang for your buck.

It’s system requirements are fairly relaxed. On its website, they boast about it being a portable DAW that can be kept on a hard drive in your pocket. I have also read accounts of those who were able to download Reaper with only 4 GB of disk space available, though I might not recommend that.

It does not come with all the bells and whistles that Logic Pro or Studio One comes with,  but again, it is a great option for things like recording, mixing, and editing. There are lots of free downloadable plugins that you can find. It can be used when working on film or video projects. It is remarkably light on processing power and the program launches almost instantly.

I have also used it for much more advanced purposes. I previously worked on a virtual reality video game where all the sounds needed to transition well into the virtual environment. I used the Ambisonics Tool Kit and it has a free download for Reaper users. It was a simple enough process of integrating it into Reaper, but there are some tutorials on Youtube that you can find if needed. Reaper does have the option for customizing your workstation, including plugin toolbars. When I used it, I experienced some headache when searching through the many different plugins. So if you are looking at Reaper to be your home DAW, I would highly recommend looking into this feature.

One of its taglines is that you can do anything with this DAW. Reaper is incredibly flexible and customizable. Lot’s of users involved in video games have developed their own codes and programs that can be used in conjunction with Reaper to allow for an even more efficient workflow. This workstation is unique because of that and for users who have a coding background, you might want to check out Reaper.

When on a budget, I think it is most important to access what you absolutely need your workstation to do and what you can live without. There are some really great options available to designers and engineers and these are some of the options that I have found and had the opportunity to talk to others about. I am sure there are other DAW’s out there that could be used. I hope that this was helpful to readers and special thanks to all of those who I got to talk with about their favorite workstations. Your thoughts and opinions were important.

Special thanks to Zakk Burke, Chase Cloutier, Mark Heinonen, David Peterson, Charles Southward, Drew Stockero, Cierra Zimmerman

 

 

Beginner Speaker Design 

A mix is only as good as the speakers that it is played on. That is a phrase that I have heard many times. The current global situation regarding COVID-19 has many individuals turning to crafts and DIY trends to keep from going insane. Depending upon what kind of tools and materials you have access to, this could be a helpful guide or just something enjoyable to read to pass the time.

When I built my speakers last year, I vastly underestimated the amount of woodworking experience I would need to construct the unique shape of my cabinets. It is incredibly important to be safe when working with power tools and to avoid working alone. Let someone know what you are doing and where you will be. Please, stay safe.

That being said, there are many things to know before construction. Designing speakers is a whole other beast. Before I started to design, I needed to answer questions like, what is their purpose, what kind of room they would be in, and what I would like them to look like. This allowed me to form a basis to work off of and led me to more technical specifications.

This is before I even decided between a sealed or ported/reflex enclosure. For those who may not know the difference, ported speakers have a port that provides a boost in the lower frequencies while sealed speakers do not have a port. Sealed enclosures have a better transient response and are preferred as reference speakers. You might prefer one over the other, depending upon what you plan to use your speakers for. It is also a good idea to do some testing and gathering of data about your own listening preferences to help infer your decision-making process. Good information to have maybe your preference on SPL range, a frequency response that you might need for the work you do, or even how much weight you can carry since you will be the one transporting them.

I performed simple SPL tests throughout my day while working. I noticed that I liked things quieter in the morning with a peak of around 90dB by late afternoon. As for size and weight, I lived on the top floor of an elevator-less building. I did not want to haul huge, floor-standing speakers up any steps. So I settled for some smaller desk monitors in the 25-45lb range. This brings us to my favorite part, frequency response.

This part of my technical preproduction did influence a large part of my design. I was firm about my goals regarding frequency and transient response. I designed these to be reference speakers. This means I wanted the sound that came out of the speakers to be as accurate as possible to the original source, without any coloration. I wanted a maximum frequency range for the size that they were with a tight transient response for detail work and mixing. What more could one ask for?

Well, bass. I would later come to realize you will always want more low frequency.

There was another goal that I was set on and that was cabinet shape. I wasn’t satisfied with the conventional rectangular enclosure shape. While doing research, I came across a paper by H.F. Olson titled Direct Radiator Loudspeaker Enclosures. This was what cemented my decision to construct a unique cabinet shape.

Olson called it a rectangular truncated pyramid or parallelepiped combination. My professor at the time called them the Superman badge shape. They looked a little bit like coffins to me. All of this being said, this is where I made things extremely difficult for myself.

I am proud to say that I may be an intermediate woodworker now, but before I built these cabinets I was absolutely a beginner. Special tools were needed to create the shape of these speakers and I was constantly working with small angles and precision. The somewhat curved or angled front of the enclosure is what gives the speaker a wide stereo image and smooth off-axis response. Having a smooth off-axis response allows for easy listening in many different positions in front of the speaker, not just center. I do a lot of work with spatial and immersive audio and it was crucial that I had a wide stereo image. It also minimized beaming effects that many typical rectangular cabinets have.

 

Photo Credit Christopher Plummer

I am not going to forget to mention how I chose what drivers to use. I looked over many frequency response charts, paired woofers and tweeters to see which would be the best potential matches, modeled woofers, all in preparation for the final decision. This part of the design process is difficult because you can’t get a clear understanding of what the driver is going to sound like until it is in the enclosure. It was also tough, because of the cost. Drivers can be really expensive and for the average undergrad, this was not a fun decision.

The name of my speakers are the Kitten Koffins. For anyone who doesn’t know me, I am a proud, crazy cat lady. Their coffin-like shape combined with my personal touch suited them well. They are sealed reference speakers with an F3 of about 70 Hz. This refers to the point at which the signal from the loudspeaker drops 3 dB its normal SPL output. The speakers have a flat frequency response with a few places being +2/-2 dB. There is a slight 2 dB bump from 80 to 200 Hz which I am keeping until I can build a sub for the system. The low end was something I had to compromise on, but I had a plan to later add on to my set up so that it wouldn’t be such a big issue.

There is a two-inch-thick binder full of research, papers, and notes on the Kitten Koffins. I am attempting to put several month’s worth of work and information into a short article in hopes that it sheds some light on the subject for amateur speaker designers. It is a fascinating subject that can feel daunting. I promise you though, if done right the outcome is a sweet one.

If you would like to know more about Kitten Koffins, please feel free to email me at sjcalver@mtu.edu. I would be more than happy to share juicier details. Some of the reference materials I used when designing were books such as Loudspeakers for Music Recording and Reproduction by Philip Newell and Keith Holland, Introduction to Loudspeaker Design by John L. Murphy, and Sound Reproduction Loudspeakers and Rooms by Floyd E. Toole. The H.F. Olson article is titled Direct Radiator Loudspeaker Enclosures and is also referenced in the Philip Newell book. And lastly, special thanks to my professor and advisor Christopher Plummer for all the help during the design and tuning of these speakers. He is a wealth of information.

 

Podcasts – Making Waves

Spring is almost here! With the Earth gradually awakening, I can feel my own mind coming out of its hibernation. I find myself reading more articles, keeping up with current events, and listening to new podcasts.

Speaking of podcasts, the podcast industry has been receiving attention for some time now. I recently had the pleasure of talking with Fela Davis about podcast audio and what it means for the audio industry. Fela has nearly twenty years of experience in the audio engineering industry. Her list of credentials is very impressive. She also produces and hosts a podcast called The Art of Music Tech Podcast with her business partner Denis Orynbekov.

I became aware of the increasing interest in podcast audio after attending the 2019 Audio Engineering Society’s national convention in New York City. I had listened to a few lectures where Fela and a panel of other professionals talked about their experiences. I had many questions and fortunately, Fela was able to answer all of them.

In the past few years, producing a podcast has become increasingly more affordable. Fela mentioned that most students have the bare minimum needed to put together a podcast. Some kind of DAW to record onto, an interface, and a microphone. Even with the accessibility, how does someone make this kind of work profitable? Fela explained that not only does she work on her own podcast, but many others too. Through 23dB Productions audio services, Fela is able to work with clients who need audio and video services. We both agreed, most people have something they want to say and there will at least be one person willing to listen to it. These can be large-scale companies or organizations or smaller groups or single individuals.

Being mobile and having your own equipment is important, but with the surge of companies, organizations, and individuals looking to use this form of media, being open to its opportunities is key. As a woman in the audio industry, what really intrigued me was, it’s kind of brand new. Fela and I both laughed, but it’s true. This is a part of the industry where women and minorities have the opportunity to flourish. There are no jerks named bob hiring their best friend over you. The pressure to prove yourself is significantly lessened.

In the beginning, most individuals will be playing the role of producer, host, engineer, and editor. Drew Stockero, a student at Michigan Technological University, does just that with his podcast If It Matters Podcast. Stockero said the podcast is about, “ordinary people having ordinary conversations about the things they find extraordinary.” He takes the time to curate each episode and interviewee, he is the producer and hosts every episode, all while recording, mixing, and mastering. After chatting for a bit about his workflow, he did admit that fulfilling every role for the podcast is a lot of work. Typically, indie podcasts are much smaller and only run by one or two people. But, as Fela stated, the option to use remote engineers is there once you start gaining clients or attention.

Radio was brought up in both of my interviews. Stockero mentioned podcasts being an extension of talk radio. Growing up, my father would listen to a lot of NPR on long family road trips. With the shift from cable television to streaming services, it is no surprise we are seeing a move from radio to podcasts. It was also mentioned that podcasting is making more money than radio broadcasts. It is undeniable that there has been a boom in revenue for the podcast industry, but all of this did surprise me. I was starting to have more questions than I started with, and definitely more interest.

I received many great words of wisdom when I asked for advice regarding this topic and its industry. You will want to immerse yourself in the business, or your local chamber of commerce. Networking is always important, but also being someone that has a positive personality and is easy to communicate with is just as important. From an artistic standpoint, being passionate about the topics you are addressing through your podcast is essential. It helps keep the information fresh, the motivation constant, and ultimately something others will want to listen to.

This form of entertainment intrigues me. It is a service where, we as engineers, can have a voice or help others have a voice and be heard. I do agree, I think it is a place that women can flourish in the industry. Not only is there a supply of work where women and minorities can be at the top, but we can also have a voice. Having the ability to not only strengthen myself, but the ones around me is an opportunity that I value. More of these conversations, podcasts, and articles need to exist for our current community and the future community. It is conversations and the spread of information such as this, that makes me feel awake and ready to take on the industry.

I hope you all have a wonderful spring and do not forget to check out the wonderful people that I got to chat with for this article. Fela Davis can be found on LinkedIn and her website felaaudio.com. The Art of Music Tech Podcast is available on Apple Podcasts, Spotify, Google, IHeart Radio, and Youtube. Drew Stockero’s podcast If It Matters is also available on Apple Podcasts, Google, iHeart Radio, listennotes, and player.fm.

The Power of Podcasting Roadie Free Radio, and panelists Fela Davis (The Art Of Music Tech Podcast), Lij Shaw (Recording Studio Rockstars), Chris Graham (The Six Figure Home Studio Podcast) and Matt Boudreau (Working Class Audio).

Women in Audio Podcasts

New Decade – New Year

The New Year and a new decade have begun! Thoughts of reinvention and feelings of excitement fill the air. This time of the year can often feel overwhelming. For me, I am in between apartments, jobs, and I just finished up my bachelor’s and am headed into a master’s program. Life has been a roller coaster.

It is no secret that the audio and music industry can be challenging, but as a young woman, I have definitely been feeling the pressure to find work and be successful. Something I am sure we all feel. There has also been a lot of talk amongst my friends and peers about depression and seasonal depression. It seems to flourish in the cold, dark months. I myself have been struggling with it. I wanted to do something proactive to combat these negative thoughts and emotions and to welcome in the New Year in a positive way. So I looked to my community for support and ideas.

Now, one thing you may not know about me is that I am the founder of the Michigan Technological University SoundGirls chapter. It is something I am incredibly proud of and sad to have moved away from. It’s okay though, I left it in good hands.

A few weeks ago, I emailed some of the members of this organization and asked them to fill out a short set of interview questions. Many of these young women I consider my family, if not friends. One response in particular not only brought me joy, but hope for a brighter future for all of us in this amazing, yet challenging industry.

Izzy Waldie is a first-year Audio Production major and the newly elected secretary of the Michigan Tech SoundGirls chapter. She is not only incredibly creative but also very good at STEM classes. Something I have to admit, I am not good at. Because she is still in her first year, I asked Izzy a few ice breaker questions.

Sarah: “So Izzy, what are you excited for or looking forward to in your time here at Michigan Tech in the visual performing arts department?”

Izzy: “I’m just really looking forward to doing more projects with people, and making stuff I’m really proud of.”

When asked about the university chapter specifically, she responded with;

Izzy: “Next semester I really want to do some creative projects with SoundGirls. We will be finishing up our movie project which will be really cool, but I want to do more projects. I was thinking of maybe just us recording a song. Nothing fancy, it could be just for fun, and we could do it with all the musicians in the organization. Now that I’m on the management board I really want to help head up some of these projects.”

When I was in my first year at Michigan Tech, I was one of two female students out of the two audio programs. Now, those numbers have been multiplied by at least five. The fact that there is an organization where students can go, create things together, learn and refine their skills, all while being supportive of each other, makes my heart melt. It reminds me that life isn’t always a challenge. Their excitement makes me excited.

Sarah: “Recently you said you don’t know what you are doing and I wanted to talk to you a little bit more about that. It is my opinion that you don’t need to know exactly what you are doing and it is more important to know what you don’t want to do. By exploring different areas and avenues, you are figuring out what you are doing or at least what you want to do. What are some things that you are exploring, interested in, or new things you might want to try out?”

Izzy: “I’ve definitely realized that what you already know isn’t as important as how willing you are to learn. I still don’t know what I’m doing, no one ever knows 100% what they’re doing, but I definitely have learned a lot this semester. I’ve seen this the most working at the Rozsa (The Rosza Performing Arts Center), I had basically no experience at first, but now I’m working the sound and lighting boards pretty confidently. One thing I really want to get more into is recording. I’ve helped out with some other people’s projects and would like to work more creatively with it.”

Izzy made the observation that most students might overlook. What you already know isn’t as important as how willing you are to learn. Not only was she a student in the organization I was president of, but I was also a teaching assistant for one of her classes. This statement is a testament to how she is as a student and how she approaches learning situations. It is an excellent characteristic to have for the industry that she is headed into.

I was feeling revitalized by the end of our conversation. I had received new hope, excitement, and appreciation from talking with Izzy. To finish out the conversation I asked her something a little more personal.

Sarah: “Tell me something good that happened this semester in our department that you will remember for a while, that makes you smile?”

Izzy: “This semester was awesome. Never did I think I’d be so involved as a first-semester student. One of the best parts for me was working on the haunted mine. (A project that the visual performing arts department collaborates with the Quincy Mine owner on every Halloween). We were down there for a really long time but the idea was really cool and so were the people. I also really liked working in the different groups on the audio movie project. I made a lot of friends while working on this project and our Dr. Seuss The Lorax audio movie ended up being pretty fun to make. I remember one time, at like midnight a bunch of us were in Walker Film Studio working on one of the audio movies while passing around a 2-liter of Dr. Pepper.

Izzy’s responses were wholesome and honest. To me, she has a perspective that exceeds her age. It was a nice reminder when faced with the daunting challenges of moving to a new area, finding work, and starting anew. It was a reminder of why I chose this career field. I chose it for the exciting new projects, learning new things, and working late into the night with people you hardly know, but will soon feel like family to you.

Though our conversation had ended, I was feeling myself again and that was because of the connections and relationships I had made through our little SoundGirls chapter. At the core of SoundGirls, you will find this kind of understanding from its members. We are here to listen to one another, remind each other of why we are here and doing what we love, and create an environment that welcomes all who are seeking opportunities and support. I wish you all a prosperous and happy New Year.

 

Impulse Response Testing and Field Recording 

The Mine 

One of the things that piqued my interest with sound design was all of the magical tools and abilities sound designers have at their disposal. As a young sound designer, I am still surprised and excited by all of this.

I go to school in the Upper Peninsula of Michigan, at Michigan Technological University. The area is called the Keweenaw Peninsula and is at the very top of the Upper Peninsula. The northern woods and waterfalls are both beautiful and great for field recording, but one part of the Keweenaw that goes relatively unexplored by sound enthusiasts, are the mines. Mining was a large part of the economy during the 19th and early 20th century and was still at large into the 1970s and ’80s. Abandoned mines dot the Keweenaw peninsula, but one mine, in particular, has been reopened and repurposed.

The Adventure Mining Company of Greenland Michigan seemed to appreciate my enthusiasm for their mine. Through a connection formed by one of my professors, and the owner of the mine, I was able to go and see the mine for myself. Early last fall, I drove down to take a small tour of the mine and to see what sights, and more importantly, sounds could be found within. It was a fun-filled day, but I was eager to come back with recording equipment.

Before coming back, I established some goals for this recording session. The most important goal was to record impulse responses of the many different chambers of the mine. I knew this would take the majority of my time, but I also wanted to do some field recording inside and outside of the mine.

My second trip to The Adventure Mine was a bit wetter. Fortunately, I had been careful to not bring moisture-sensitive equipment as working in these kinds of environments can be both damp and rough. The company was also kind enough to lend me an old metal wagon that I stored most of my recording equipment into pull around the many chambers. The gear that I brought with me was a laptop running Logic, an RME Babyface Pro interface, and an Earthworks condenser microphone. I also included a Zoom H5 with a mid-side capsule for any ambient recording that I might have time for. To generate the impulses, I used balloons and a pin to pop them. I decided upon this method because the mine was so far from any power source, which meant I could not generate a sine sweep from a speaker for my impulses. I used the entire pack of 25 balloons, and the whole recording process took nearly five hours, but it was well worth the physical and mental exhaustion.

Processing the impulses was relatively simple in the end as I simply trimmed the tracks to the balloon pin strike and uploaded the files into Logic’s Space Designer reverb plugin. There are many helpful articles and videos for this process online. Audio Ease’s Altiverb is also capable of processing custom IR samples, and they have some useful information on their website as well.

Since this project, I have been intrigued by acoustics and the unique sound of spaces and rooms.  I live in a fairly isolated part of the world with many unusual spots, some that you can easily access. Some may ask, why bother? Not only is the experience of trekking into a dark mine for your job exciting and unique, but in many ways, that hard work translates into the work you do as a designer. I now have many impressive, and unique reverbs that I can use in my designs.

Safety for yourself and your equipment is imperative though, so keep that in mind. I would also like to share the fruits of my labor and invite all to my website, where you will be able to download two of my impulse responses from this project for free. It has been such a fantastic experience, and I hope to inspire other sound designers and recordists with my work.

 

Winter Carnival at Michigan Tech

Introduction

In the remote upper peninsula of Michigan lies my alma mater Michigan Technological

University (Michigan Tech).  When the weather is at its snowiest is when the year’s biggest event takes place: Winter Carnival. Unofficially the carnival is a month-long event with broomball tournaments and highly ambitious snow statues, but the majority of the events occur within a week in February.  My favorite memories were of the All-Nighter, an outdoor party throughout campus that accompanied the building of the smaller snow statues. Our student Audio Engineering Society chapter would DJ the whole event with a set of snow speakers. Well, the Winter Carnival spirit continues with the current generation of students, and the SoundGirls of Michigan Tech wanted to share their experiences.

Stage Revue:

Michigan Technological University’s SoundGirls student chapter recently took part in the production of this year’s Stage Revue. Stage Revue is a theatre event that takes place during Winter Carnival, a mid-winter break that is a significant part of the Michigan Tech experience. There were four designers that helped design the sound and music of five teams that each put on an original ten-minute play. The sound team was comprised of four students.

Sarah Calvert is the president of the SoundGirls student chapter at Michigan Tech. She is studying Sound Design major and Music Composition minor who is set to graduate in the Fall 2019. She has a passion for design work, especially in theatrical entertainment and video games. What she loved most about working on Stage Revue was the opportunity to foster future opportunities and collaborations for future members of SoundGirls at Michigan Tech. She is looking forward to creating more of these opportunities throughout her final semesters and is enthusiastic about what these opportunities and events mean for passionate students.

Tyler Quinn is a 4th year sound design major and music composition minor. He enjoyed the apparent freedom that the groups were given to write their plays for stage revue. He also appreciated that they ranged from fearlessly madcap to gleefully offensive, making for an entertaining night of theater. His work for Stage Revue ended up being a pretty even mixture of background ambiences that I made with either some of my personal field recordings or various industrial machinery recordings layered on top of each other and some sci-fi effects made with synthesizers.

Marie Zgurich is a first-year Software Engineering student at Michigan Technological university. Her dream job is to create and promote software which can be used for audio production. While she claims she may not have as much experience as some of her peers, helping out with audio for Stage Revue and the chapter of SoundGirls was a fantastic learning experience. She learned that knowing your audience is important, as well as becoming familiar with the unique array of tools used by audio producers. Being able to incorporate the amusement and humor delivered by Stage Revue into the work made the environment much more fun and welcoming!

Moira Van Loon is a first-year Audio Production and Technology major. Stage Revue was the production she has done sound design work for. Her favorite part was watching the performances and getting to hear everyone’s work come together. What Moira likes best about sound design is that it blends both the creative and technical, which is important to her.

photo credit: Michigan Tech AES

Afterward, I asked Sarah Calvert what she thought of the event:

“Well, we did five, ten-minute plays. Each one was different, but they all had to do with STEM courses in some way. Not all of the groups gave us the scripts that they wrote, so what the teams sent us as well as fun because they were fairly relaxed and grateful for whatever we designed for them. They liked everything we made. We learned that it is challenging working with students, as well as people who are not use to directing or giving specifics to designers. I know we all enjoyed the creative opportunity to design sounds for the shows. They were small shows, and I thought it was a great opportunity for younger designers to get their feet wet, which is something that I enjoyed and felt was an important opportunity for our younger members.”

More info on the snow speakers

Snow Bound Sound Rocks MTU

Michigan Tech students craft 20,000 watt snow horn

Co-Written by: Sarah Calvert the president of the SoundGirls student chapter at Michigan Tech. She is studying Sound Design major and Music Composition minor

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