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What’s Your Rate?

 

Questions about pay rates show up often on the social media and trade forums for our industry.  Many times, the response is something along the lines of knowing your worth, past experiences, what the job is, and balancing the rate to the market. All are valid benchmarks that can lend a hand to helping determine a standard rate but also makes it hard to assign a specific number due to a lack of clarity.  Another component for rates in our industry are classifications such as A1, A2, Breakout Tech and more.

Determining the rate can be frustrating and confusing.  Most of those searching hope to find a specific number shared by those with substantial experience in the pricing game. The reality is that many won’t share that detail because they don’t want to lose their edge in the market or get undercut and lose work. I understand the competitive nature of the industry, but the lack of sharing can leave those new to the field or to the area at a disadvantage to getting the pay they deserve. Those that underestimate their value bring the market down for all of us as well.  I wish there was the perfect formula for rates in our industry, but that is not the case. The geographic market varies, and I don’t have the knowledge from a comprehensive perspective to add value to that component, but I can offer my perspective on some other qualifiers that you might take into consideration as you determine your rate.

Start by analyzing what is being asked for.  For example, will your responsibilities require you to provide leadership, communications, task management of others, or client relations?  These are soft skills that come via education and demonstrated leadership. If so, take into consideration your skill set with these components as part of your value.  Consider accessing your level of expertise with these components on a rating scale (i.e., 1-5). Gathering feedback from mentors, colleagues, and your employers can help you make these determinations.  Being able to lead a team, provide clear communication, delegate tasks, problem solve, maintain a level head, and setting an example of how to relate to the client are all skills that have value and should be part of the formula in rate setting.

What’s your experience?

Your experience comes into evaluation in several ways.  Somethings to consider include the size of the event and the equipment required.  Evaluate the experience you have in comparison to these event details.

Event needs aren’t always determined by audience size, but there is a growing intensity that comes with larger venues.  Consider developing a scale by event size. For example, set a value to events that range between 1- 500, 500- 5000, 5000 – 10,000 and so forth.  Think of it this way, if you can run an arena-sized PA without batting an eye your rate should be significant.

Classifications

Rates also fluctuate between job classifications. These classifications often describe the expectations of the work. An A1 is the leader, usually FOH person, and determines many aspects of the audio for the event. Whereas an A2 is their support throughout the show with stage patch, changeovers, and more. Depending on the size of the event, positions can break down into more detailed groupings such as breakout tech, Mon tech, RF tech, system tech, etc. Assess the classification that best associates to the role you will serve and determine a value for that.

Updating your rates

Overtime with gained experience your price should go up. Some people do a yearly increase, others every couple of years. This depends on how quickly you are learning and gaining skills as well as the different kinds of events you’ve worked on. This also comes with time; seniority leads to higher rates than someone who has just started in the field. Everyone should stay up to date on new technology.

Leverage your experiences overtime to justify your rates. If this is your first time out your rates will be lower than the rates of a seasoned professional. This is simply due to limited experiences, just like getting a job at a big box store. A new hire will start at a low rate and as they prove themselves and gain experience the store will give raises over time. This is no different for us.

Analyze the market

Each market can have a different rate as well as different breakdowns of positions and needs.

Attempt to assess what the resource market is in the area you live and for the event scale in question.  Often in large markets, the workforce is flooded with freelancers creating a highly competitive bidding market.  If there are 100 events in one day and 300 qualified A1’s to choose from you may find to land the job you need to lower your rate. This could be due to others being willing to work for less than not work at all. The supply for technicians is high while the demand for technicians is low.

In reverse of that, if you’re in a market that is growing faster than the rate of established technicians your prices could be higher because you are a rarity and organizations find more value in you for their show. The supply is low while the demand is high, of course, you will need to make sure your skillset is on par.  Your established skillset can drive higher rates too, but that usually comes with time to prove yourself or by developing an established career with excellent references.

Geographic and demographic economics affect rates too.  The market also includes what clients are willing to pay. Sometimes in smaller markets with a lower cost of living, rates end up being smaller because clients aren’t necessarily ready to pay the big bucks for a show, wherein in other markets clients are willing or have to put more money toward a project for the outcome they want.

There is still no magic formula that gives you an easy to apply rate. Many of the components I have mentioned are common factors in the industry. As you take a job or establish your rates, consider an incremental assessment of your role and experience, event size and equipment requirements, the tech classification that applies, and what the market will bear to help determine your rate. Solidly knowing how you define your value can be used to justify your rate or start the negotiations.

Aspectos básicos sobre una mezcla de sonido en vivo

Para realizar sonorizaciones en vivo, es de suma importancia saber utilizar múltiples equipos relacionados con el sonido, así como tener claro el flujo de trabajo de los aparatos que utilizamos para trabajar. El tener conocimientos teóricos sobre los fundamentos del sonido, acústica, flujos de señal, nos ayudará a entender mucho mejor el proceso de realización de una mezcla para sonido en vivo. También debemos tener claros conceptos como estructura de ganancia, saber cómo funcionan los procesadores de frecuencia, dinámica, tiempo y dedicar mucho tiempo a cuestiones relacionadas con la fase, el diseño y la optimización de sistemas. Y, sin embargo, en ocasiones, nos olvidamos de lo fundamental: La Mezcla.

Introducción a la mezcla.

En grabaciones de estudio, la mezcla es un factor importantísimo (evidente: primero grabamos y luego mezclamos). Pero en las sonorizaciones en vivo, en ocasiones, se pierde un poco la perspectiva: Diseñamos el sistema de sonido, hacemos predicciones, se monta, se optimiza, se instala el monitoreo, se posicionan los micrófonos elegidos cuidadosamente, se hace el show y desmontamos.
Algo tan sencillo de decir como “hacer el show” o “sonorizar el concierto” es, realmente, un proceso de mezcla muy complejo que, como todo, se debe de aprender a desarrollar. Además, hay que aprender a hacer la mezcla rápidamente, pues las pruebas de sonido en vivo tienden a ser rápidas.

En estudio, podemos llegar a tener cierto margen de horario para completar la mezcla (en ocasiones, en el estudio, si no nos encontramos con el día inspirado, podemos cancelar la sesión y seguir mezclando en otro momento). Pero en el vivo no hay segundas oportunidades: hay que sacarlo adelante sí o sí.

Evidentemente, todos los conocimientos que hemos nombrado al principio del blog nos van a ayudar a hacer la mezcla (si no sabemos cómo funcionan nuestras herramientas, no conocemos los principios básicos del sonido y no tenemos el sistema bien ajustado, sería difícil sacar la mezcla adelante). Pero cuando nos ponemos frente la consola y tenemos al talento en el escenario, tenemos que ser capaces de responder a la siguiente pregunta: ¿Cómo debe sonar?, aquí entran en juego múltiples cuestiones.

La primera es que las mezclas son una cuestión subjetiva. Pon a 100 ingenieros de sonido a mezclar al mismo grupo y tendrás 100 mezclas diferentes. Algunas te gustarán más y otras menos, pero seguramente todas serán válidas, al menos para el que la ha realizado.

En un concierto con mucho público es complicado satisfacer el criterio de mezcla de todos los espectadores. Pero deberíamos intentar satisfacer a la gran mayoría. Básicamente, porque si tu mezcla (que para ti es estupenda) no es del agrado de la mayoría, normalmente no durarás mucho en este trabajo…

La otra cuestión, totalmente cierta, es que para mezclar se aprende mezclando. Cada uno debe seguir su propio proceso de aprendizaje, escuchar, corregir, tomar decisiones y equivocarse. Por mucho que leamos cuestiones teóricas que nos puedan ayudar, tenemos que pasar horas y horas mezclando para ir mejorando nuestra técnica.

En este blog, compartimos algunos aspectos importantes a la hora de plantear una mezcla.

Cómo debería sonar?

Para empezar, siempre que podamos, deberíamos tener información sobre lo que vamos a sonorizar. Saber qué tipo de música hacen, y tener cierta cultura musical.

De nada nos va a servir que un grupo nos diga que hace jazz si no hemos escuchado jazz. Así que, el primer paso es escuchar música de todo tipo, o por lo menos tener un concepto mental de cómo suenan diferentes estilos musicales, pudiera parecer una tontería, pero es algo fundamental.

Imagina hacer sonar un bombo con mucho click (reforzando la alta frecuencia) para un grupo de jazz, seguramente no funcionaría, por otro lado, ese bombo en una banda de metal podría encajar muy bien.

Si te encuentras en la posición en donde no conoces el genero de música que te pidieron mezclar, investiga su discografía y estilo, es una obligación prepararse lo mas que podamos, porque de lo contrario, ¿cómo vamos a poder proponer la mezcla?

Algo fundamental es escuchar la fuente que vamos a sonorizar. Acércate al escenario y escucha. El principio más importante de realizar una mezcla es capturar el sonido que ejecutan los músicos en el escenario y transmitirlo a los oyentes sin producir grandes cambios en la fuente sonora; A menos que nos lo pida el músico.

Planos y frecuencias.

De acuerdo, ya sabemos qué tipo de música hace la banda que sonorizamos, e incluso hemos escuchado los instrumentos desde el escenario. ¿Qué hacemos ahora?

Quizás puede ser un buen momento de plantearse los planos de la mezcla. Si tenemos, por ejemplo, una banda de rock con batería, bajo, guitarra y voz ¿en qué plano vamos a poner cada uno de esos elementos?

Es evidente que no podemos posicionar todo en el mismo plano sonoro. La mezcla trata, entre otras cosas, de eso: Algún elemento tiene que estar más alto y otros más bajos y en frecuencias pasa lo mismo: hay que repartir. Tenemos, en el mejor de los casos, de 20 Hz a 20Khz para distribuir nuestras señales. Si pretendo que todas compartan el mismo rango de frecuencias, se producirá nuestro querido fenómeno de enmascaramiento.

Debemos mezclar tomando diversas decisiones en nivel, así como contemplando la dinámica de las canciones, que normalmente los músicos son los encargados de matizar para generar desde la fuente estos cambios de nivel.

El siguiente paso es balancear, y ecualizar escuchando el conjunto.

La distribución de frecuencias realizando un mapa mental, donde hay que visualizar los distintos elementos sonoros, con esto se distribuyen dentro del espectro frecuencial. La experiencia te ira ayudando a delimitar dónde puede estar cada elemento con mayor rapidez y agilidad, por otro lado hay que revisar con detalle los elementos que pueden chocar con más facilidad entre sí por compartir rangos frecuenciales parecidos.

Por ejemplo, un bombo y un bajo. Sus frecuencias fundamentales comparten el rango de frecuencias bajas, por lo que se buscará conseguir que hagan un complemento entre ellos sin llegar a confundirse.

Para el balance, además de niveles, se utiliza también ecualización, dinámica y reverberación. La combinación de todos estos procesos es lo que nos permitirá crear mejores planos sonoros.

Para mayor detalle sobre los planos en la mezcla, uno de los libros que pueden consultar es

“The Art of Mixing”, de David Gibson, principalmente, por los gráficos en los que explica la distribución de los elementos sonoros en función del tipo de música.

LOS EFECTOS

Finalmente, comenzamos a preparar la mezcla con los procesadores de efectos que me permiten, en cierta manera, rematar ese proceso artístico, dándole el toque final.

Como punto de partida en cuestiones básicas, podemos colocar una reverb corta y una larga para crear planos, también se recomienda utilizar un efecto reverb plate y un delay para darle ese pequeño toque de magia, normalmente sutil y poco evidente, que sin embargo lleva la mezcla a un nivel superior.

Evidentemente, los efectos cambian en función del tipo de música y del espacio acústico donde nos encontremos o incluso en función de la canción, pues no todo sirve para todo. Antes de las pruebas de sonido, es recomendable probar los efectos con una voz o con una grabación que tengas en la computadora (virtual soundcheck), esto nos va a permitir elegir de forma más precisa el tipo de efecto que necesitamos de acuerdo del espacio donde nos encontremos, así podemos ajustar parámetros como el tiempo de caída o el predelay.

Conclusiones

Me gusta pensar que en la mayoría de las veces nuestro trabajo de mezcla en las sonorizaciones en vivo es tan sencillo (y a la vez, tan complicado) como capturar las señales del escenario de la forma más fiel a la original y transmitirlas al público con un poco (muy poco) de elaboración.

Los mejores resultados se obtienen primero pensando qué queremos hacer y después actuando y aplicando los procesos necesarios para llegar a nuestro objetivo. Puede parece obvio. Si logramos tener una imagen del sonido que queremos obtener en nuestra mente, siempre será mucho más fácil llegar a buen resultado.

 

Basic Aspects of a Live Sound Mix

To work in live sound, it is essential to know how to use various types of equipment, as well as the workflow of the devices we use to work. Having theoretical knowledge on the basics of sound, acoustics, and signal flow will help us to understand much better the process of mixing for live sound. We must also have clear concepts such as gain structure, frequencies, dynamics, and time processors work and dedicate a lot of time to issues related to the phase, design, and optimization of systems. And yet, sometimes, we forget the one fundamental: The Mix.

Introduction to the mix.

In-studio recordings, mixing is a significant factor (obviously: first we record and then we mix). But in the live sound, sometimes the perspective is lost a bit: We design the sound system, we make predictions, it is assembled, it is optimized, the monitoring is installed, the chosen microphones are positioned carefully, the show is done, and we dismantle. Something as simple to say as “doing the show” is, really, a very complex mixing process that, like everything else, one must learn to develop. Also, you have to learn to mix quickly, because live sound tests tend to be quick.

In the studio, we have time to complete the mix (sometimes, in the studio, if we do not find the inspiration, we can cancel the session and continue mixing at another time). But in the live audio, there are no second chances: you have to take it forward.

Obviously, all the knowledge we have listed at the beginning of the blog will help us mix (if we do not know how our tools work, we do not know the basic principles of sound, and we do not have the system well adjusted, it will be difficult to get a good mix). But when we put ourselves in front of the console and we have the talent on stage, we have to be able to answer the following question: How should it sound? Here, multiple issues come into play.

The first is that sound is subjective. Put 100 sound engineers to mix the same group, and you will have 100 different mixes. Some you will like more and others less, but surely all will be valid, at least for the one who has made it.

In a concert with a large audience, it is difficult to satisfy the criteria of mixing for all the spectators. But we should try to satisfy the vast majority. If your mix (which is excellent for you) is not liked by most, you will not last long in this job.

You learn to mix, by mixing. Everyone must follow their own learning process, listen, correct, make decisions and make mistakes. As much as we read about sound practices and theories, we have to spend hours and hours mixing to improve our technique.

In this blog, we share some important aspects when considering a mix.

How should it sound?

To begin with, whenever we can, we should have information about what we will be mixing. Knowing what kind of music and the musical culture is essential. So, the first step is to listen to music of all types or at least have a mental concept of how different musical styles sound, it may seem silly, but it is fundamental.

Imagine mixing a kick drum with a lot of clicks (reinforcing the high frequency) for a jazz band, it probably would not work, on the other hand, that would work well for a metal band.

If you find yourself in a position where you do not know the genre of music that you were asked to mix, investigate their discography and style, it is an obligation to prepare as much as we can, otherwise, how can we get a proper mix?

Something fundamental is to listen to the source. Get close to the stage and listen. The essential principle of mixing is to capture the sound played by the musicians on the stage and transmit it to the listeners without significant changes in the sound source; Unless the musician asks for it.

Plans and frequencies

Okay, we already know what type of music the band plays, and we’ve even listened to the instruments from the stage. What do we do now? Perhaps it is a good time to consider the plans for the mix. If we have, for example, a rock band with drums, bass, guitar, and voice, in what plane are we going to put each one of those elements?

It is evident that we can not position everything on the same sound plane. The mixture deals, among other things, with that: Some elements have to be higher and others lower and in frequencies. We have, in the best of cases, from 20 Hz to 20 kHz to distribute our signals. If I pretend that they all share the same frequency range, the masking phenomenon will occur.

We must mix by making different volume decisions, as well as contemplating the dynamics of the songs, which musicians are usually in charge of nuances to generate these level changes from the source.

The next step is to balance and equalize by listening to the whole.

The distribution of frequencies is like making a mental map, where you have to visualize the different sound elements, with this they are distributed within the frequency spectrum. The experience will help you to delimit where each element can be with higher speed and agility, on the other hand, you have to review in detail the elements that can more easily collide with each other by sharing similar frequency ranges.

For example, a bass drum and bass.  Both share fundamental frequencies share the range of low frequencies, so we will try to get them to complement each other without getting confused.

For the balance, in addition to levels, equalization, dynamics, and reverberation are also used. The combination of all these processes is what will allow us to create better sound planes.

For more detail about the plans in the mix, one of the books you can consult is
“The Art of Mixing“, by David Gibson, mainly for the graphics in which he explains the distribution of the sound elements according to the type of music.



The Effects

Finally, we began to prepare the mix with the effects processors are the final touch. As a starting point in basic questions, we can place a short and a long reverb to create planes; it is also recommended to use a reverb plate effect and a delay to give that little touch of magic, usually subtle and not very obvious, that nevertheless takes the mix to a higher level.

The effects change depending on the type of music and the acoustic space where we are or even depending on the song because not everything works for everything. Before the soundcheck, it is advisable to test the effects with a voice or with a recording that we have on the computer (virtual soundcheck), this will allow us to choose more precisely the type of effect we need according to the space where we meet, so we can adjust parameters such as the time of fall or the pre-delay.

Conclusions

I like to think that in most of the time our work of mixing in the live sound is as simple (and at the same time, as complicated) as capturing the signals of the stage in the most faithful way to the original and transmitting them to the public with a little bit of amplification.

The best results are obtained first by thinking about what we want to do and then acting and applying the necessary processes to reach our goal. It may seem obvious. If we manage to have an image of the sound we want to obtain in our mind, it will always be much easier to get a good mix.

Lost in Translation

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

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

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

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

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

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

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

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

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

 

Silence as Sound

The Power of Silence in Music Creation

In a world occupied by sound, it can often be challenging to find a moment of silence in everyday life. In the realm of sound design, however, silence can be a very powerful tool.

The use of silence in film isn’t a new technique, but it is indeed one that makes a bold statement. For example, films like Saving Private Ryan and 2001: A Space Odyssey make great use of silence as a compositional tool. More recently Star Wars: The Last Jedi used the technique to emphasize a colossal explosion of a dreadnaught ship.

So why is silence so powerful?

Well, I believe it comes from the premise that silence is supposed to be uncomfortable. The phrase ‘awkward silence’ for example is used frequently to describe situations when the conversation runs out, or you’ve just run out of phone battery and need to look up at other people in a crowded train – to name a few examples. We are almost programmed to believe that silence is something to feel uncomfortable about.

In the context of cinema, silence makes the audience hyper-aware of their surroundings. Especially if the entire film up until that point was beautifully orchestrated and every second was underscored by lush sound design and Foley work. To hear silence is almost unnatural.

To quote Mary Shelley “nothing is more painful to the human mind as a great and sudden change,” and silence is almost always used as a dramatic modification to the score. If done correctly, the use of silence can be an excellent way of eliciting an emotional response from an audience. Whether that be to shock, anger or to create a break in the sonic narrative, silence can be a straightforward yet powerful tool to add to any sound designers’ project.

If you’re interested in film scoring or just even want to jazz up the track that you’re working on, perhaps find inspiration in silence. I have tried it a few times when I have been struggling with ideas. On one particular occasion, I added a bit of silence to a track that was getting too repetitive, and I think it worked. The sudden silence definitely makes you re-engage with what you were listening to in the first place.

If silence is a bit too absurd to add to a track though, you could always try the less is more approach. By stripping away some of the unnecessary tracks in your session, you could be left with a sound that differs just enough so that it offers something new to the listener.

Overall I think adding silence to a project is often overlooked. It’s a great creative tool to use and is also extremely simple to incorporate into any project. Even if you don’t always like the outcome of adding in silence, the main benefit is that it makes you re-engage with what you’re listening to and often adds a different texture and layer to your project.

 

 

Going Freelance

Hello everyone and welcome to 2019! As a new contributor to the SoundGirls blog for 2019, allow me to briefly introduce myself.

I am a foley recordist/sound editor based in Toronto and have been working in the audio post industry for just over three years now. In late 2017, I left my salaried position at a studio to pursue a freelance career. 2018 was my first complete year as a full-time freelancer. As a recent newcomer to the freelance world, I would like to share what I’ve learned and what has helped me so far. Here are some tips I hope you find helpful if you are thinking about, or are in the process of going freelance.

FINANCES

This is going to be the most significant subject because it is the most important – in my opinion – if you are considering going freelance. Some of us don’t like thinking about the money part. It can be stressful, but it is one of the most important things you need to do to set yourself up for success and peace of mind. Freelancing can be unsteady. You may be swamped with work for a month and then not have a single job the next. This uncertainty requires advanced planning, financially. The first thing you should ask yourself is: “How long can I survive without work on the current savings I have?” It was recommended to me to have six months of expenses saved.
At the time I went freelance, I maybe had four. This is really up to you and what you’re comfortable with. For me, the timing was more imperative, and I felt the decision to leap into a fantastic opportunity outweighed my concerns of not having enough savings. What did help ease my peace of mind in those uncertain first few months was keeping a budget. Whether you use a simple spreadsheet (as I did) or go for software like the highly recommended YNAB, a financial tracker at the very least will help you see where your money needs to go vs. where it is going. One important thing you need to include in your budget: setting aside money for taxes.

TAXES

The word generally comes with a winced or exhausted expression from a freelancer. Being your own boss requires you to do the not-as-fun stuff that your employers would have done in the past. This means keeping track of and filing your taxes. Now since I am in Canada, my advice may not specifically relate to your region, but I will try to be broad.

Two pieces of advice here: 1. Keep all of your receipts for EVERYTHING and keep them organized. You will be doing yourself a huge favour if you can keep up the habit throughout the year. Buy one of those small accordion file folders and organize your receipts by category. Things like ‘work equipment,’ ‘travel fees’ are good business expense categories to file in. You should also keep a record of your invoices. (I have a digital record to save on printing.) You may also consider digitally tracking your receipts/invoices with software like Quickbooks or Wave (Free). Organizing this paperwork will make things easier to tally at tax time, and heaven forbid, keep things in order if you are ever audited. * knocks on wood *

HIRE AN ACCOUNTANT

believed I could file my taxes all on my own and I probably could have with relative success but having an experienced accountant or tax preparer handle this for you is well worth the money. (Plus you can write off their bill as a business expense.) An accountant who specializes in your industry will be extremely helpful as they will know all the ins and outs of what expenses you can write off. They will also be your best bet to save more of your money from going to taxes. I mentioned earlier that you should budget for taxes. Your accountant can help you to determine what percentage of your income you should be putting aside based on your estimated income. You should also set aside any sales tax earned (HST/GST/PST in Canada). Once again, your accountant will again be a useful resource in knowing how to file your sales tax return as well. Keep the money you set aside separate for organizational purposes and so that you don’t inadvertently spend it.As far as finances go, I’ve only just scratched the surface. I would highly recommend you research resources specifically pertaining to the region you live in – especially in regards to taxes.

Networking

It can be extremely daunting, exhausting, and anxiety-inducing for some, but networking in the audio industry is your best way to gain work and experience. This is a relatively small industry. Everyone typically knows each other – especially locally – so try and use that to your advantage. One connection can help introduce you to another.

My biggest piece of advice for networking is to try your best to be yourself and be genuine. Those who have been doing this for a while can sense when you are being fake or insincere. No one wants to work with someone with a bad attitude or an ego and those people will have a much tougher time finding work no matter how knowledgeable they are or how qualified they are for the job. Also, being a small industry, your reputation will go far. So just in general, be a good person. Also, never expect anything from someone else and appreciate whatever opportunities or experiences you may be given.

Stay Social

Freelance work can be very lonely, especially as a sound editor where you may spend your days working from home. I like to stay in touch with my other audio friends and make plans to meet up every so often. It’s helpful to have that community of like-minded people to bounce ideas off of. And they usually know some key commands you haven’t heard of yet that will change your life (I’m looking at you, OPT + CMD + V). That community can also be a great way to get more work. If we have work pop up that we are too busy to take, we often recommend or offer it to each other.

 

SoundGirls’ social media groups are a great way to connect to the industry.

 

As much as I dislike social media, it can also be a great way to stay connected to the industry, learn new things and even find work. There are tons of groups online for audio (including SoundGirls’ various social media sites) that you should definitely bookmark and keep in touch with.

I would not have been able to survive the leap to freelance if it weren’t for the amazing support I had in my professional and personal life. I was very fortunate to have great mentors share their own advice with me and I hope this information helps someone else. Freelancing certainly isn’t for everyone and that is OK! In the end, you’ll know what works for you.

If you have any other advice from your own experience or have any questions, please leave a comment or feel free to contact me.

I’m looking forward to sharing more of my experiences and what I’m learning in 2019.

 

Sonic Tourism

Have you ever planned a vacation around your ears?  As in a location with something unique to offer in aural pleasure instead of gastronomic or visual?  If you have not, it is time to become an epicurean for your ears. Many places host ear-pleasing experiences, but some are local secrets.  Here are a variety of options to kickstart your listening adventure.

If you are tight on vacation time, Soundwalking is a simple way to reward your ears. According to Dr. Andra McCartney, Associate Professor of Communication Studies at Concordia University, “Soundwalking is a creative and research practice that involves listening and sometimes recording while moving through a place at a walking pace.”  It is to observe, rather than participate in the surrounding environmental ambience.

Soundwalking can happen anywhere. Urban centers are full of industrial symphonies for people watchers. Cars and machines can lay a rhythmic background for melodies from sirens and conversations.  City parks are a quieter option, full of birds and trees. During certain seasons birds migrate and bring with them a variety of songs. When I visited the Sandhill Crane Festival in Othello, Washington, I was fine with not using binoculars, because I heard the calls of cranes, hawks, harriers, and my favorite redwing and yellowwing blackbirds (metalheads of the bird world).  Next time I will bring an audio recorder in addition to a camera.

More remote parks and wildlife refuges reward listeners with isolation from mechanical sounds. In the Hoh Rainforest on the Olympic Peninsula of Washington state, there exists one square inch of silence. Other old growth forests might be hiding similar pockets of stillness as well.

Hoh Rainforest

Big Trees at Hoh Rainforest

When planning a metropolitan vacation, add a multipurpose experience.  Architecture is not just designed around the eyes, and older buildings are full of creative pockets of reverberation.  Cincinnati’s Union Terminal, a train station turned museum is not alone in its whisper arch, as an arched channel will do.  Whisper arches are perfect for private conversations between two opposite ends of a crowded room. In Europe, there is a garden that you can have a discussion with your echo.  The delay time of the reflecting sounds allows them to respond to your initial spoken message. Complex words can become full discourse as the word’s beginning decays with each successive reflection.

The Mormon Tabernacle in Salt Lake City has gorgeous acoustics purpose-built for the choir and a massive pipe organ. While the modern trend is to create multi-purpose performance halls, venues from the early 20th century (or even earlier) are awe-inspiring locations for the bold and beautiful verb.

Mormon Tabernacle

 

An ambitious sonic tourist should start with The Sound Book by Trevor Cox to create their travel plans.  Cox chronicles the weird and the unique in the sonic realm. Abandoned cisterns in the UK boast insane sustain times, sand dunes in Death Valley sing and boom, and Australia has a little bird that can copy whatever sound it hears.  Also explored in the book is a silent retreat, where Cox does not speak at the monastery and instead learns to meditate and listen. After reading about his experiences, I started paying attention to other sonic peculiarities in the news.  Detroit has a fascinating little island with a mysterious hum of possible sinister origin, and Siberia has an old mining pit that emits an eerie noise. Otherwise otherworldly intermittent sounds, like ultra-low frequencies, occur in ways similar to UFO sightings and inspired The X-files.

No matter your vacation goals and budget, there is an audio experience for you.  Treat your ears to sounds that vary from peaceful, luxurious, strange, to intriguing.  There are places to participate or spectate in the sonic wonders, and there are places to be introspective.  Enjoy the world with a new perspective and add a new dimension to your memories. Go forth and explore with your ears.

Shadowing Opportunity – Greg Price – Ozzy

Shadowing Opportunity with FOH Engineer Greg Price.

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Greg Price on Ozzy.

Please fill out this application and send a resume to soundgirls@soundgirls.org with Ozzy in the subject line. If you are selected to attend, information will be emailed to you. Please note Load In will be at 7 am, and you are required to bring safety gear (hard hat, closed toed shoes, etc.)

Cities Available

About FOH Engineer Greg Price: As a live-sound engineer, Greg Price has worked with some of the biggest rock bands around. In addition to Ozzy Osbourne and Black Sabbath, Greg has mixed everyone from Kiss, Chicago, Aerosmith, and Van Halen right through to Rage Against The Machine, Limp Bizkit, Velvet Revolver and Foo Fighters. Price also spent a very memorable eight years with Glen Campbell in the 1980s and even earned a few pop stripes a decade ago when he engineered for Hannah Montana (aka Miley Cyrus), Christina Aguilera and the Cheetah Girls. Read More Here

 

Being the Intimidating Woman

It is frequently brought to my attention that people find me intimidating. Intimidating; for my interests, life choices, and career path. Intimidating because I like to live life on my terms. Intimidating because I don’t fit into whatever box they want to put me in and intimating because I don’t fit into the box, they’ve put themselves in.

I often find myself asking those who tell me I’m intimidating, what in your opinion makes me that way? I usually get a passive incoherent answer, because they weren’t ready for me to challenge them to explain. How intimidating, right? The best part is no matter their answer, it does not mean anything to me, because even though that is what they think, for me, it does not define who I am.

I like to think that their feeling of intimidation is my strength, intelligence, experiences, and outlook. I think women in tech are called intimidating because of the way we can look differently at situations, how we react, communicate, and problem solve. It’s different compared to what they are used to.

I’m sure many of you have also been told your intimidating for many of the same reasons and for that I have to say glad you’re here with me! And keep being you! For you are one of the reasons I can be intimidating and a reason those who follow in our footsteps may not automatically be looked at that way in the future.

We cannot let people like this get us down or allow them to affect us negatively. Instead of being upset at that person’s opinion, I think to myself that “I must be doing something right.” Maybe if they are uncomfortable enough, they will wonder why and that might be the trigger to get them to change or to at least think about it. We may never change some people’s outlook, and some may always be intimidated by women in the industry, but for me our perceived intimidation is strength. Strength to be with the women leading the way, taking the path that women before us laid so we could have the opportunities we have as well as the strength to continue creating a larger path for others to follow.

I am reminded every show how infrequent women are on a show site in a technical role, but I also get excited as I encounter more women in tech each day. We are making progress even though it may not feel like it when we face people who seem to work against us. Along with meeting more women in tech, I continually encounter men who are empowering women within the industry as well.  We are making an impact, and things are changing for the better.

As 2019 begins I hope all of us intimidating women can keep paving a path for the future, leading in our industry and creating change for everyone. I look forward to meeting and working with many more intimating women this year and to watch us all grow and excel.

 

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