Mixing with a Toddler

Being an Audio Parent is a challenge but also incredibly rewarding. Managing pregnancy in the audio industry is a lot about self-care. Managing an infant and working in the audio industry is about mental and physical exhaustion. But then everything starts getting easier, you catch up on sleep, and you start feeling like yourself again. At the same time, this little personality is starting to emerge – they talk, say words, and have lots of preferences (Including music. It’s fascinating what my son likes and doesn’t.)

The biggest challenge we’ve faced with a young toddler (for my husband and me since we both work in audio) is balancing the things we each want to do – especially gigs or projects that involve our free time – with what everyone else wants to do. Who takes priority and when? How do you balance and keep everyone happy?

The hard stuff

Basic life tasks are more complicated. The analogy I use is taking a cat in public. Can you imagine going out to dinner with a loose cat and try not to disrupt anyone else? How about waiting in a long check-out line with a cat? Or being an airplane? It gives a new appreciation for a working parent who can show up on time, do their job without making mistakes, and can stay level-headed and cordial throughout.

Mom’s guilt gets worse. One of the most difficult things a working parent faces is not being there when your child needs you. It’s gut-wrenching when your child doesn’t want you to leave when you’re trying to get out of the house. Missing out (on activities or milestones) is a huge source of mom guilt. While I love seeing videos – like my son bowling for the first time while I’m at work – I’d rather be taking him myself.

Work guilt gets worse. In the past couple of years, I’ve seen some of my friends (without kids) make huge leaps in their careers. I’m genuinely happy for them but it’s also a reminder that my foot isn’t on the gas pedal. It’s a tough place because you’re totally capable of doing the work. It stinks to turn down a gig you want cause you can’t find a babysitter or you can’t be on call 24-7 (which is what is expected on some gigs). I’m constantly evaluating: Is this opportunity good for everyone (family, client, and me) or just for me? Am I going to come out of this gig feeling positive and fulfilled or just wiped out? Before the question was just, “Is this going to help my career or not?”

A toddler becomes your most demanding client. A toddler is a bit like an artistic genius with poor social skills. Every day they say or do something amazing or new but then they have a tantrum or 5 out of nowhere. You can’t use logic with a toddler who’s melting down because they want to wear clothes in the bath. The level of patience it takes on a daily basis can wear you thin some days. It’s affected my choice of work at times (very similar to morning sickness during pregnancy.)

Working nights is getting more complicated. Working swing shift wasn’t that big of a deal with an infant (it worked pretty nicely, actually). It’s harder when toddler activities tend to be in the morning (things like classes, playdates, preschool, etc).

The good stuff

Moms are more productive at work. Studies show women with children are more productive at work than women without children or men (whether they have kids or not!)

Working can be healthy for your kids, too. A Harvard Business School study shows kids who have an employed mom are just as happy as kids with an at-home mom. Daughters who had a working mom tend to do better in their careers, too.

Having a toddler enables you to connect with a wider variety of people at work. Talking about kids is an easy way to relate and to break the ice with some people who are reserved or private otherwise. I’ve gotten some great parenting advice through work, too.

You zero in on what’s important. When you have a lot of interests (or ambitions) and don’t have a lot of free time, it forces you to prioritize what’s most important. You don’t realize how much time you can lose by having too many interests (I think this is common in audio where we want to learn a lot of different skills, software or gear, types of work, etc). It may help you achieve goals faster to put energy into one or two things at a time.

You feel closer to the community, not further away. When you’re spending time at places like parks, play gyms, and playdates, you connect with more people in “normal” jobs than when you’re fully immersed in the audio industry. It’s a reminder we can relate and support each other in a way others can’t. (LA is a quirky outlier, though. Our preschool asked if either parent worked on-set as part of their emergency questions.)

For me, having a toddler has motivated me to start something new: a blog about kids and sound called Sound Is Fun. There’s a lot of interesting research about sound relating to kids that I had never heard before in the audio industry. For example, did you know children under the age of 5 are more at risk of hearing damage than adults? Since their ear canals are shorter, the sound pressure level is actually 10 dB higher. Background noise affects test scores and learning for kids and teens and it affects how toddlers learn language (tip: toddlers need dialog and vocals much clearer than an adult would for intelligibility). There is a lot to be explored in this area and I’m looking forward to learning more about it.

Should I Stay or Should I Go?

I think we all reach a point in our lives where we might feel a little lost on our path. All of us who are in the entertainment industry, know how lucky we are to have the opportunity to work in a creative field. The few of us who actually followed our dreams or perhaps just happened to stumble upon them.

However, like anyone else we can also feel a bit lost and unmotivated, feeling like there is no purpose in what we do. I recently felt like this, craving something new and learning new things. I felt like I wanted to move on from where I am currently at.

Writing this I felt a struggle, as I felt like I’ve been on autopilot the last two months, and therefore have nothing to say or write about, feeling generally unmotivated. Not because I had little to do, but because the festive season is approaching and having learned from last year, I wanted to get a head start on all the craziness that is waiting around the corner.

Looking back at these past two months, contrary to my feeling of lack of motivation, I have been very productive and done plenty! Is that perhaps why I felt like I wanted to move on as I know what to expect and the excitement (and stress) is not what it used to be? The adrenaline you get from the excitement of not knowing what is ahead of you? Maybe.

I guess that though we might feel stuck, unmotivated or lost, it does not mean that we actually are. Perhaps there are small changes we can do to change our circumstances, make things more exciting or possibly it is time to go, to move on in life and seek a new adventure?

Step back and evaluate

Look at where you are, what is going on around you? Are there things that could run better, smoother & more efficient? Is your workplace in order, do you have everything you need to do your job properly?

Sometimes you need to take a step back to take two steps forward. Identify what is causing you to feel unmotivated. Will moving on solve your problems or will it actually just make you feel more lost? Are you prepared to move on?

Can you change your situation?

Are you able to change things at work to make things more/less challenging? It is important to feel challenged and to learn new things, but if it is too challenging it can result in stress.

Challenge yourself, set goals in your work- and personal life. There is always room for improvement even if you are already doing a great job.

If things are too challenging and stressful, ask for help and maybe take a step back. Troubleshoot and take one thing at the time.

What is your purpose?

We all need a purpose to feel fulfilled in life. What are you working towards, do you have a plan?

Sometimes you need to walk away from situations that are not fulfilling. Sometimes it is about saying no and establishing boundaries. Sometimes it is not your job that is unfulfilling, but your personal life and that affects your work life. Sometimes you need to stay to grow.

What do you need to reach your goal? Are you in the right place, right scene, right city or even in the right country?

Deal with it

It took me a good couple of months to shake away the lack of motivation and decided to make a few changes in my personal life rather than in my work life. I felt like I wanted to leave and to move on just because I did not want to deal with things in my personal life. I took a step back, evaluated and changed my situation, and this is something we need to do regularly in life.

So the not so simple question is; will you stay or will you go?

Berenice Hardiman FOH Engineer/ Tour Manager

Berenice Hardiman is a veteran of the industry having first been inspired after seeing Pink Floyd at the Liverpool Empire, which was her very first concert. “I immediately knew that I wanted to be part of whatever that “thing” was that I had just witnessed, but of course I had no idea how to even start. I ended up doing computing at University in the late 70s, which of course, ironically, has actually ended up being very useful. I’d always gone to loads of gigs all over the world, and as I reached my late 20’s, I decided that if I was ever going to make the leap into the music industry, time was ticking away.” So taking a huge risk, Berenice decided to sell her house and buy a PA system with her partner Dave Claxton. From there they proceeded to mostly teach themselves. “We got books from the library and talked to anyone who would spare us 10 minutes. I’d been hanging around the periphery of the music industry for years so I had some useful contacts to press into service. Luckily, it transpired that I was able to achieve a good FOH sound and Dave took to doing monitors. We worked out very quickly that buying a monitor desk would give us the edge over other local PA companies.”

“We built up the company over the next ten years or so covering tens of thousands of miles, first in a Ford Transit and then building up to a 7.5 tonner (truck), doing the sort of gigs where you learn your trade and people generally seemed to like what we did. By the early 2000’s it had become obvious that in order to continue expanding would involve massive capital commitment, and by that point work with our main client, Midge Ure, had reached the point where really we didn’t have time for any other shows, so we took the decision to sell off most of the gear while it was still worth something, and put on our white gloves.”

Currently, along with being FOH Engineer and Tour Manager for Midge Ure, Berenice also handles most of Midge’s bookings, does contracts, invoices, designs his merchandise, runs Midge Ure’s webshop and website and whatever else needs to be done. “We started off providing the system; then he asked me to do FOH and TM as he liked what he’d heard me do for the support act on the previous tour. We carried on like that for a while until 1998 when I told him that he really should have his own website and online store as I felt that was the way to go. Somehow it ended up falling on my desk! Merch design followed on from that in an obvious sort of way. Then he left his manager of 25 years, and I decided it was time to stop being a hire company as it would have needed massive financial investment to continue, so it made sense for me to take over booking the shows. After all, we had been doing his shows for over ten years by that point so knew all the venues

The Show Must Go On!

As anyone who has been on tour knows, things are not always what they should be, and some gigs and productions leave a lot to be desired. The lack of attention to detail by some service providers/promoters is one of the things Berenice hates about touring. “We had a fairly prestigious festival show recently that descended into a total nightmare for me. The in-ears hadn’t been set up prior to our arrival, one of the keyboards didn’t have a power supply, the drum riser was the wrong size, half the rider was missing, and if that wasn’t enough I discovered the mix position was on a gantry in the roof of a round metal building. I literally couldn’t hear a THING I was doing. I also couldn’t get down to hear what it sounded like where the audience was.”

Clearly, Berenice has a history of doing whatever it takes and keeping a positive attitude, which are key to being successful. “Obviously we have done loads of gigs where it’s gone horribly wrong for whatever reason, but we’ve always managed to scrape by somehow! That’s what it’s all about though, making the best of things and getting the show done. Once, there was the time when the truck windshield wiper motor went on our way to a show in mid-Wales, some 4-hour drive away, and the only solution was to rig up some bits of wire and pliers so we could move them manually every now and again… we made the gig though!”

“Once, I nearly got stabbed when somebody pulled a knife on me at a show a long time ago when the only way to avoid our desk being stolen by a rioting crowd was to lie across it! We were doing a Soca band in a drinking club in Southall called the Tudor Rose. What we didn’t know was that there was a big boxing match being shown in the venue after the band and I suddenly became aware we were somewhat outnumbered! Not only outnumbered, but by people who REALLY wanted a load of audio gear!! They didn’t get it though.”

When asked what Berenice likes most about her job, “Nothing beats standing behind the desk with a great PA and making it sound fantastic!”

Michelle Sabolchick Pettinato and Berenice Hardiman at Rock Of Ages Festival in Rottenburg, Germany

What advice would you give young women wanting to enter the field of live sound or professional audio?

“Be very sure it’s what you want! Home life is bound to suffer. I’m lucky that I work with my other half because otherwise, we would never see each other. We worked every New Year’s Eve for about 15 years! The downside is that we never really switch off from “work” which is ok for us because we love what we do.”

As it is with most veteran live sound engineers, when Berenice started her mixing career, consoles were of the analogue format. If you understood signal flow, you could walk up to any analog desk and familiarize yourself with it rather quickly- a luxury that no longer exists in the current digital age. Coming from a computer background, Berenice made the transition from analogue to digital consoles fairly easily. “ My only issue still is that at the back of my mind I know that if an analogue board goes down, you can generally row to shore somehow, but the same is simply just not the case when you go digital. Having said that, there are so few old boards out there that work flawlessly now that it’s a small price to pay for being able to just simply load your show, and off you go with a few tweaks!”

The vast array of digital platforms and the complete lack of uniformity among them can be intimidating if not overwhelming to a less experienced engineer. Berenice’s suggestion for learning different consoles- “RTFM!!! and then install the offline editor and play with it… YouTube is a very useful resource.”

What is your favorite gear?

“I’m a big L’Acoustics fan! And I don’t like to go anywhere without a trusty TC Electronics D2 with a footswitch. I’m not really into carrying racks of valve compressors etc.”

What’s in your tool bag?

“Now? A bag full of XLR/jack converters, my headphones, a footswitch, and some lucky Chinese money a fan gave me in 2009!”

What do you feel is the biggest mistake you made throughout your career? What did it teach you?

“I once tried to fix a power amp during soundcheck and forgot to unplug it first! It taught me not to panic because things get forgotten!”

What would you say are some ‘must have’ skills?

“Calm, methodical thinking in a crisis, and keep your eyes and ears open all the time.”

“Being able to cope with very little sleep and crap food also helps!”

“As far as audio engineering goes, a very wise man once described a very well respected engineer to me… he’s a really great engineer, there’s nothing between his ears and his fingertips, and I think that’s still a very sage opinion. In my opinion, there are far too many engineers out there who overanalyze stuff rather than just feeling the sound.”

Find More Profiles on The Five Percent

Profiles of Women in Audio

Live Digital Audio Part 3

Digital Audio in the Real World

Read Part One and Part Two

Knowing the theory of digital audio is all well and good, but how do you set all that stuff up on-site? First of all, both good and bad news about digital audio is a lot of the equipment looks after things like sampling and clocking for you. Word clock signal is often carried on the same path as the audio signal, so for a lot of systems, you don’t need to worry about plugging sync cables in separately at all. This automation makes it much more user-friendly and quick to set up, but it also means it can be tricky to troubleshoot because manufacturers will proudly proclaim that their system “just works!” This is also yet another subject where there is no consensus, and each brand has its preferred protocols, cables, and network topology. When using any new equipment, primarily digital, it pays to read the manual: you might find out about some crazy quirks you would never have thought of checking for. You are also likely to have several pieces of equipment from several different manufacturers; follow their advice about how to connect these together, including using the correct convertors or adaptors.

Practise best practice

If you want to avoid digital audio issues, keep your system as simple and neat as you can. Much like analogue, you usually want to minimise the number of connections and cable length between points in your system. For example, connect your devices in a “star” topology when possible – this means each unit gets plugged straight to one central device, like a network router for system communication or master clock generator for synchronisation (like in figure 1a). The alternative is a “daisy chain” topology – linking from one unit to the next (figure 1b). Even if you use a direct output from a device, each loop through introduces latency to your system. It may be a fraction of a millisecond, but if you have several units, those can add up to cause trouble. It can also mean that if one device or cable fails in the chain, everything downstream of that loses connection. If your devices don’t have the ability to link out, you’ll need to use a splitter or ‘T’ connector to carry the chain on, which is another potential point of failure or signal loss. However, certain manufacturers recommend leaving their section of the set up (e.g., a desk and its stage boxes) connected in a chain for syncing purposes. Their argument is if everything is clocked directly to an external master and it fails, everything will fall out of sync. Their equipment was designed to work together, so allowing it all to clock from one of its own units, which in turn is clocked to your system’s master, means that if the master goes offline all that gear will at least be in sync with each other, if not the rest of your system (figure 1c).

Figure 1: Different methods for connecting a live system

Figure 2: 50 ohm male and female BNC connectors (right) with their dielectric rings clearly visible, and 75 ohm male and female connectors (left) without. Source: By Kaback [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)], from Wikimedia Commons.

Figure 3: A BNC terminator connected to a T connector (left), a T connector (centre) and a terminator. As you can see by the dielectric material, these are actually 50 ohm connectors and would not be ideal for digital audio setup. Source: By Romantiker [GFDL (http://www.gnu.org/copyleft/fdl.html), from Wikimedia Commons.

Are you using the correct connections?

There are a whole bunch of different cables used to connect digital audio. Confusingly, several have the same connectors as other cables, and look and feel very similar. For example, your device might have BNC sockets, but should you use RG58 coaxial cable or RG59? What’s the difference? RG58 has a characteristic impedance of 50 ohms and is used for RF applications because it can deal with the high power involved in radio transmission. RG59 (you might know it as ‘video cable’) is 75 ohms and is what you need for digital audio connections. Its lower impedance will let the signal pass through it more efficiently and accurately.

Similarly, AES3 cable uses XLR connectors but is 110 ohms rather than mic cable’s 75 ohms. If you’re lucky, the grade will be printed along the length of the cable, but if not, RG59 and AES3-grade cables tend to be stiffer and less flexible than RG58 and mic cable (beware of RG213, which is even thicker than RG59! There are quite a few different cables with BNC and XLR connectors out there. If you are in charge of organising cables in your workplace, please store all these different ones in clearly marked places, far away from each other! It will save a lot of confusion). There are two different BNC connectors: a 50 ohm one with white plastic ‘dielectric’ rings and a 75 ohm one without (see figure 2). However, this isn’t a foolproof way of identifying the cable itself, because some manufacturers or repair people cut corners or are genuinely mistaken and can use the wrong ones. The shorter the distance, the less critical it is to use the correct cable, but if you’re having issues and you know you cheaped out and used let’s say mic cable instead of AES3-grade cable, swapping it for the real deal is a smart move. Make sure you don’t connect cables of different impedances too. Each time you connect a 50 ohm and 75 ohm coax together it can result in the loss of roughly 5% of your signal (this is also something to bear in mind if you know your cables have the wrong impedance connectors).

If you connect your devices to a word clock generator separate to the audio transmission, you also need to make sure that each path is terminated, to stop parts of the signal being reflected back down the cable and causing jitter. Some devices have a switchable internal terminator that you can select, or if you’re using BNC you can plug a T connector into the input of the last device in the chain, with the word clock plugged into one side of the T and a (75 ohm) terminator (see figure 3) on the other side.

Is everything singing from the same hymn sheet?

Once everything is powered up, make sure all your devices are running at the same sample rate. Most equipment these days has an internal sample rate convertor, which can switch between sample rates, called up or downsampling. Downsampling to the slowest device’s rate is the norm in live audio. This option is usually found in the system/settings menu, but sometimes there is a physical switch on the unit. If a device has a second brain/engine or fallback feature, make sure that it is also set to the correct sample rate. Some systems are now smart enough to choose the best word clock to be the master themselves and even switch to the second best one if something happens to the first, without interrupting the audio. If your system doesn’t do this, decide on a master clock and tell each device what it is. Again, this will be in the system/settings menu.

Is the network working?

If you networked units together, make sure they each have a unique IP address, that can be seen by the router (if you have a straightforward setup you may not need a separate router). If two or more devices have the same IP address, or any device has the wrong type of IP address, it will cause issues. Here is a brief rundown of the basics of IP addressing:

Static IP: You set the IP (‘internet protocol’) addresses of each device manually, and they stay the same until you change them. This is best for most live audio cases, so you can keep track of all your devices and can quickly identify which unit is faulty, for example, by its IP address.

DHCP (Dynamic Host Configuration Protocol): You let the router assign addresses. This is faster, and best if other units are likely to be added to the network without your knowledge (this is normally used for things like wifi networks in offices and cafes). As devices come and go, they are certain to have unique IP addresses and won’t clash. However, the same unit can be assigned different IP addresses over time, which can get confusing.

Subnet: The part of the IP address that a router looks at to see all the devices in a particular network. e.g., a desk might be 192.12.34.3, a stagebox might be 192.12.34.4, and they are both part of the “192.12.34.x” subnet. A laptop with the address 168.12.34.5 would not be part of that subnet.

Subnet mask: The number that defines the range of the subnet. For each section of the mask, if the number is 255, each IP address must match at that section exactly. If the number is 0, it can be any value between 0 and 255. For example, if the subnet mask is 255.255.255.0, each device’s address must match in the first three sections. 192.12.34.3 and 192.12.34.4 would be seen, but if an amp was set to 192.12.56.7, it wouldn’t be seen. If you expanded the subnet mask to 255.255.0.0 the amp would then be seen by the router, along with anything else that had an IP address starting with 192.12. (so that laptop would still not be seen as part of the subnet). It is best to avoid assigning IP addresses that end in 0 or 255 because these are often used by the router for its own system tasks.

It might seem like a lot to take in, but most of this only really comes down to setting up like you would an analogue system, then doing a few extra checks in your gear’s settings menus. Getting the fundamentals right will minimise the need for troubleshooting, which I promise I will get on to in my next post!

Shadow Beth O’Leary ME Tech on Kylie Minogue

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow monitor system tech Beth O’Leary on Kylie Minogue.

Beth O’Leary is a freelance live sound engineer and tech-based in Sheffield, England. Over the last ten years, she has done everything from pushing boxes in tiny clubs to touring arenas and spends a lot of her life in muddy fields working on most of the major festivals in the UK. She has a particular passion for flying PA, the black magic that is RF, travel, and good coffee.

Read Beth’s Blog

The experience will focus on the monitor system set up and Beth’s responsibilities. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD. Unfortunately, members will not be able to stay for the show (unless you have a ticket).

Kylie Minogue – November European Dates

9th: La Seine Musicale, Paris, France
10th: Samsung Hall, Zurich, Switzerland
12th: Gran Teatro Geox, Padua, Italy
13th: Zenith, Die Kulturhalle, Munich, Germany
14th: Gasometer, Vienna, Austria
18th: Jahrhunderthalle, Frankfurt, Germany
19th: Tempodrome, Berlin, Germany
20th: Palladium, Cologne, Germany
22nd: AFAS Live, Amsterdam, The Netherlands
23rd: Royal Danish Theatre, Copenhagen, Denmark
24th: Mehr! Theatre Am Grossmarkt, Hamburg, Germany.

Please fill out this application and send a resume to soundgirls@soundgirls.org with Beth in the subject line. If you are selected to attend, information will be emailed to you.

A Year of Saying No

At the end of 2017, I made a career decision: I no longer wanted to do theatre sound design jobs that were creatively unfulfilling.

For years I’ve been working theatre and opera sound design jobs around other sound work because the work that came my way was often last-minute and frequently not well-paid. I regularly felt worn out from over-working. I had also noticed that by filling up my schedule, to feel like I was still part of the industry, I was limiting my opportunities to apply for better-paid, more creative jobs. I wanted to move up the career ladder. To do this, I needed to make a change.

So I made a list of what I wanted from a theatre or opera sound design job and set this as my criteria for accepting an offer. It was a pretty straight-forward list: decent fee, exciting script/concept, opportunities for creative sound design and not just a “dog bark, doorbell” show, within timescales that fit with my schedule and ideally something that would mean a step up (not across or down) the career ladder.

I knew this would cut out a lot of the smaller-scale work that came my way, particularly with regards to the fee, but as I had other means of generating income, I knew this wouldn’t be too difficult. The challenge would be fighting against the urge to take creatively unfulfilling jobs that wouldn’t add anything to my CV so I could still “feel” like a theatre sound designer. But I’d made my list, and I believed that creating space in my schedule would open me up to the kind of opportunities I wanted.

The result? I haven’t had a theatre or opera sound design job this year so far.

At the start of this year, I felt pretty confident with my choice. A couple of sound design opportunities came along that I wasn’t able to do because of scheduling conflicts, but neither of them provided much creative stimulus, and I didn’t feel conflicted about turning them down. Then along came a job I really wanted to do, with a great script and intriguing concept. The interview went well – but they needed more availability than they had initially indicated, and I didn’t get it.

I didn’t know it at the time, but this set a precedent for the rest of the year. Every so often an opportunity came up that excited me, the interview with the director would go well, and ultimately I wouldn’t get it because of a specific requirement. One director eventually decided that they wanted someone who could compose and arrange as well as sound design, which counted me out. Another revealed in the interview that they wanted the sound designer to be present during all rehearsals, which were outside of London, but didn’t have any budget to get me there. In between, there were jobs that I turned down because they didn’t meet my criteria.

So what have I learned? Despite what motivational memes might lead us to believe, sometimes taking a leap of faith doesn’t have the hoped-for result. At least, not in the short term. Having a solid backup plan is also a good idea. If I hadn’t had other workstreams that I could rely on for income, I wouldn’t have been able to say no to many of these opportunities.

And while I say I didn’t get quite the result I wanted, I have got a different result. Not having theatre sound work freed me up to work on audio drama and audiobook sound design, and building a portfolio in this area has led to unexpected opportunities. I am currently designing and mixing three audio dramas and a series of audiobooks for well-known production companies, and it’s an area of sound design work that I very much enjoy.

I’m passionate about theatre sound design, and it’s been demoralising not to be able to get the work I think I should be getting after I’ve made room for those opportunities. It’s made me seriously doubt my skills and ability. Despite this, I am going to continue with saying no to work that doesn’t fulfill my criteria. Because as much as I’ve hated not doing sound design for theatre, I hated being ground down by unfulfilling, low-paid sound design jobs even more.

NAMM Mentoring Session 2019

SoundGirls Presents NAMM Mentoring Session

Join us for a Mentoring Session with Women Leaders in Professional Audio

January 24th
6:30 – 10:00 pm
Anaheim

You must be a member of SoundGirls, and you must register for the event. Space is Extremely Limited. You will receive venue address (venue is in Anaheim) with your confirmation.

Register Here

This event will be a casual mentoring session – where you can get advice and answers to your questions. Groups will rotate between leaders specializing in Live Sound, Recording and Mastering, Broadcast Engineering and Professional Audio Sales.

Mentoring Session Details
6:30 pm arrive/check-in/ drinks
7:00 pm Session 1
8:00 pm Session 2
9:00 pm Session 3
9:45 pm End

Industry Leaders Include

Mentors Subject to Change

Leslie Ann Jones Director of Music and Scoring, Music and Scoring Recording Engineer and Mixer at Skywalker Sound

Leslie Ann Jones has been a recording and mixing engineer for over 30 years. Starting her career at ABC Recording Studios in Los Angeles in 1975, she moved to San Francisco in 1978 to accept a staff position at the legendary Automatt Recording Studios. From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. In February of 1997, she returned to Northern California to accept a position as Director of Music Recording and Scoring with Skywalker Sound, where she continues her engineering career mixing music for records, films, video games, television, and commercials.

She is a past Chair of The Recording Academy’s Board of Trustees and is the recipient of 4 Grammy Awards, including 2 for Best Engineered Album-Classical. She serves on the Advisory Boards of Institute for Musical Arts, Ex’pression College for Digital Arts, and is an Artistic Advisor to the new Technology and Applied Composition degree program at the San Francisco Conservatory of Music.

Dawn Birr Pro Audio, Channel Development, and Business Analysis for Sennheiser

Dawn began her career in the audio industry in 2000, joining Sennheiser fresh out of college. She started as a temporary receptionist and began to learn her way around and through the company. Shortly afterward she moved into Customer Service and began learning how the customers and company worked. Thanks to a nurturing company culture and strong role models who encouraged her to learn as much as possible whenever possible, Dawn was promoted over the years to Neumann Product Manager, Professional RF Product Manager, VP of Sales for U.S. Installed Sound, Global Commercial Manager for Audio Recording, Channel Manager for the Americas for Sennheiser Business Solutions and most recently to a global position for Pro Audio, Channel Development and Business Analysis. Dawn completed her MBA in 2006 and is a proud Advisory Board Member for the Women’s International Music Network and member of Soundgirls.org.

Jeri Palumbo, a broadcast engineer, audio mixer and RF (radio frequency) tech

Jeri is a broadcast engineer, audio mixer and RF (radio frequency) tech who, for the past 25 years, has specialized in working on high-profile sports shows. Jeri is a technical whiz and a regular on the front lines of events like the Super Bowl, NBA, NHL playoffs and most recently the World Series. Jeri is part of the RF Coordination Team each year for the Rose Bowl. She has also worked entertainment broadcasts including The Oscars, The Tonight Show, American Idol, and others.

Karrie Keyes – Monitor Engineer for Pearl Jam and Eddie Vedder – Executive Director and Co-Founder of SoundGirls.Org

Karrie has spent the last 25 plus years as the monitor engineer for Pearl Jam. Karrie started out doing sound for punk bands in Los Angeles in 1986 under the tutelage of Dave Rat of Rat Sound, where she spent twenty years helping to establish the company. She was able to gain an immense amount of hands-on experience and technical knowledge at Rat, which eventually led to her becoming the monitor engineer for The Red Hot Chili Peppers from 1990-2000. She first met and started working with Pearl Jam who opened for RHCP on their 1991-1992 Blood Sugar Sex Magic Tour. She has worked with Sonic Youth, Fugazi, and more.

Jett Galindo -Primary Affiliation: Bakery Mastering – Los Angeles, CA

Jett Galindo is a Los Angeles-based mastering engineer who works alongside Eric Boulanger at The Bakery. With engineering credits spanning different genres and artists (Nile Rodgers, Green Day, Barbra Streisand, Selena Gomez, and Colbie Caillat, to name a few), Jett Galindo carries on the legacy left behind by her late mentor, mastering legend Doug Sax (The Mastering Lab).

Recipient of Summa Cum Laude honors and the 2012 Robin Coxe-Yeldham Audio Scholar Award from Berklee College of Music, Jett Galindo was mentored by luminaries in the music industry including George Massenburg; producers Javier Limon and Prince Charles Alexander; recording engineer Susan Rogers (Prince’s Purple Rain); and mastering engineer and Dean of Education for iZotope, Jonathan Wyner.

Jett kickstarted her post-Berklee engineering career in the world-renowned Avatar Studios in New York as the recording engineer for producer Jerry Barnes. As Barnes’ engineer, Jett engineered for veteran artists such as legendary singer-songwriter Roberta Flack, Nile Rodgers, Bashiri among others.

In 2013, Jett joined The Mastering Lab family as the sole right-hand man to pioneer mastering engineer and GRAMMY Technical Achievement awardee Doug Sax. Under the steady mentorship of the late Sax, Jett burgeoned to become the last engineer to join The Mastering Lab roster. During her years at The Mastering Lab, she worked on various albums and vinyl releases from artists such as Bette Midler, Neil Young, Pink Floyd, Carmen Lundy, and Seth Macfarlane, to name a few.

Outside of mastering, Jett is a contributing writer to SoundGirls, an organization for women working in the audio engineering field led by veteran live sound engineer Karrie Keyes (Pearl Jam, Red Hot Chili Peppers). Jett is also an accomplished lyric soprano who specializes in contemporary a cappella and choral ensemble music. Currently singing with Los Angeles-based professional choir Tonality, Jett has performed in various countries spanning across Europe, Asia, and the Americas.

More Info: http://thebakery.la/jett-galindo

Sara Elliot VP of Operations and CoFounder of VUE Audiotechnik

With more than 20 years of experience in professional audio, Sara has held strategic marketing and operational positions with numerous sound production companies including Burns Audio, A-1 Audio, and PRG.
Sara also served as Director of Marketing and Sales for Live Sound International Magazine and ProSoundweb.com, two of the industry’s most respected news and technical information sources. Sara brings to VUE Audiotechnik a wealth of industry relationships and a deep understanding of business operations.

Fela Davis Sound Engineer and Owner of 23db Productions

Fela Davis is a co-owner at 23db Productions based out of New York City. She’s a graduate of Full Sail University and has over a decade of experience in audio engineering. Her past experiences include working with industry powerhouses Clair Broadcast and House of Blues. When she’s not mixing or mastering songs for 23db Productions, she’s mixing front of house engineer for the 5-time Grammy award winning jazz artist Christian McBride, and Grammy-nominated Ottmar Liebert.

Samantha Pink Colleagues call me Samantha. Family and friends call me Sam. My personal favorite though is Mom. I’d say that I am a happy combination of all three. If I were able to meet my adolescent self, I would encourage her to pay attention to the wise advice of her grandmother, mother, and aunts. Listen to her inner voice and trust her instincts!

I have worked in the MI/Audio industry for 18 years, gaining experience in Purchasing, Inventory Management and Operations. Currently, I am the Director of Business Operations at JAM Industries USA, and love helping teams find solutions to problems, improving customer satisfaction and finding ways to increase profitability. I have also held positions at Full Compass Systems as Vice President of Purchasing, and The Music People as Director of Operations.

Catharine Wood Recording – Mix Engineer – Owner Planetwood Studios –

Catharine is a Los Angeles-based composer/producer/engineer with a recording studio in Los Angeles. With a background in audio post-production for commercials, Catharine engineered on the first iPhone commercial among hundreds of national and international campaigns. As a mix and mastering engineer, she has engineered on over 300 commercially released songs – including her own custom compositions which have aired on NBC, ABC, BBC, ESPN and more – both nationally and abroad. She is a GRAMMY® Voting Member and Producers & Engineers Wing member. Catharine currently holds a position on the LA Recording School’s Recording Arts Program Advisory Committee and is the former Director of Southern California for the West Coast Songwriters organization. She is a voting member of the Society of Composers and Lyricists, Songwriters Hall of Fame, a current Board Member of the California Copyright Conference and longtime professional member of NARIP and AIMP. Her company, Planetwood Studios, LLC (parent company of Planetwood Productions, established 2002) specializes in producing singer-songwriters and providing engineering, production and composition services to the TV, Film and Recording industries.

Daniella Peters – Head of Sales and Management Team at Rat Sound Systems

Daniella has been with Rat Sound for over 15 years building their sales dept from a concept to a multi-million dollar part of their business. She started her career working for an international cosmetics company doing their live event production. She then transitioned to HHB Audio and Ashdown Music, Emap Performance (Kerrang and Q magazines) in London and now with Rat Sound.

She is passionate about women’s issues and spends a good portion of her spare time using her production skills to produce and host music and fashion fundraising events for various women’s non-profits. In 2018 she founded SoundGirls Productions to provide work and internships to women in working in live sound.

Ali “A MAC” McGuire has worked worldwide on albums, International/ US Tours, and charity projects alongside internationally recognized artists. Ali required recording, mixing, production, and live sound skills through a combination of experience and certification. Ali has worked with such artist as Fetty Wap, Post Malone, Hed PE, Big Daddy Kane, Dick Van Dyke, Whitney Peyton and more. Ali recently moved from Philadelphia to LA to take her business, Amaculent Entertainment LLC, to the next level. Ali is currently working out of a few great studio’s and venues in LA; recording, mixing and producing for the next generation of artists and more.

Meegan Holmes – Global Sales Manager Eighth Day Sound Los Angeles

Meegan graduated from California Institute of The Arts from their Technical Theater program in 1993; she entered the live production industry before graduation as a local stagehand with LA Stagecall in Los Angeles. In 1997, she began her 18-year audio career with Delicate Productions where she worked as a touring technician and engineer. Meegan wore many hats simultaneously during her time with Delicate Productions including Labor Coordinator, Project Manager and Account Manager.

Throughout her 24 years in the industry, she has worked hard to elevate others through hiring and mentoring. Her new position as a Global Sales Manager with Eighth Day Sound is no exception, hiring full-time staff and expanding the company’s west coast-based freelancer pool as well as building the company’s touring and west coast based clientele.

Becki Barabas At 20 years old, Becki turned her passion for music into a career in audio, with a job managing the office
at Score One Recording. She has since worked in MI, Tour Sound, and with Integrators and Audio Rep
firms, doing everything from Sales to Marketing.
She has held many positions since coming to HARMAN 10 years ago. She started the HARMAN Professional Ambassador and Influencers Program in 2016, signing such names as Chuck D, Parliament Funkadelic and Black Rebel Motor Cycle Club. She is currently Managing Business Development for
Recording and Tour.

Dana Labrecque – Co-Director and Bay Area Chapter Head

Dana has worked in professional audio for the past 30 years. Working in the recording studio and live events, in addition to doing post-production work as a sound designer, and re-recording mixer. From 1998 – 2005 Dana co-owned and managed APG Records/Studios handling all business operations and shared duties in recording, editing, and mixing. She has taught at several colleges including City College of San Francisco, Laney College, Art Institute of California – San Francisco and Globe Recording Institute. Dana currently is a full-time educator at City College of San Francisco, teaching courses in audio production including recording arts, live sound, interconnected audio, sound for visual media, digital audio production and more. She is a Certified Technology Specialist.

Dana has served on several non-profit boards including Camp Reel Stories and Bay Area Girls Rock Camp and is a member of Bay Area Women in Film and Media, Audio Engineering Society, and Broadcast Education Association.

In her free time, Dana writes screenplays, composes and records music as well as swims in the Bay.

Listen to Dana on Working Class Audio

Piper Payne – Co-Director SoundGirls

Piper is a mastering engineer in Oakland, CA, where she works on albums for independent artists and major labels. Piper is the Owner and Chief Mastering Engineer of Neato Mastering, and she is a Co-Founder and the Chief Product Officer for Second Line Vinyl, a new Oakland-based vinyl pressing plant opening in 2018.

She recently finished her term as President of the SF Chapter of the Recording Academy and serves on the P&E Wing Advisory Council. She is also on the committee of the AES SF Chapter and heads the AES Diversity and Inclusion Committee. Piper is an audio professor and guest lectures often about mastering and recording.

Piper has mastered a wide variety of music including nationally renowned artists Third Eye Blind, Madame Gandhi, Geographer, Elettrodomestico (Jane Wiedlin/Go-Go’s), Shamir, Between You & Me, David Messier, and Fritz Montana, as well as Bay Area favorites Kat Robichaud, ANML, Sioux City Kid, The She’s, Emily Afton, Abbot Kinney, Travis Hayes, Kendra McKinley, Van Goat, and Diana Gameros.

Quick Guide on Invoicing

Whether you are a freelance sound engineer, session musician, tour manager, or backline technician, what we all have in common is that we like to be paid for the work we carry out. If you are not on a salary, you will most likely invoice the companies you work for.

It is incredibly important to get your invoice right from the start; it will save you and the company a lot of time if you get it right from the beginning.

You can find loads of templates online, and invoices might vary slightly from country to country. However, the basics are all the same, and there is some crucial information you need to include in your invoice.

Here is a simple guide on what a basic invoice needs to include:

Your Name / Company Name: This one is quite obvious, it needs to be clear who is invoicing the company.

Your contact information: Your full address, including city and country. You will also need to provide your phone number.

Date: The date you are sending the invoice. This is crucial, this way you can keep track of whether your invoice is overdue or not.

Invoice number: This one is important, especially if you are invoicing a company regularly, this way the accounts team can keep track of which invoices have been processed and which are due to be processed. It also helps you to keep track of your own invoices and how many you have sent.

For: Project or service description.

Bill to: The Company / Person you are invoicing and their address. Add ‘Attention’ depending on what department or person you are invoicing.

Description of the work carried out: The more accurate description, the better, where you have been working, what department, what date and for how long.

The amount: The amount you charge for your work.

Value added tax (VAT): If you are a VAT registered business, you need to add VAT, which is usually between 15%-20% of the amount charged.

Total amount: Sum up the amount (and VAT if you have a VAT registered business) to a total amount.

Bank Details: Now do not forget to add your correct bank details. This might seem obvious, but I’ve seen plenty of invoices which did not include their bank details, or their details were incorrect.

Add your bank, full name, sort code, and account number.

Format: PDF is the way to go. That way your invoice can not be altered with. Name your PDF after your invoice number. Also, include your name and surname, i.e., Invoice#1001FirstnameSurname.

Email: Make sure you are emailing the right department/person. If you send your invoice to the wrong department/person, it will take longer to process your invoice. Worst case, it will get lost between people, which will delay the process even further.

When emailing your invoice make sure you write something along the lines of:

“Dear Sir / Madame / Name of the person,

Please find attached my invoice for my (description such as DJ/session musician/sound technician) services at your company. If you have any questions concerning this invoice, please do not hesitate to get in touch.

Kind regards,

First name Surname “

It does not have to be long, but it needs to be polite, professional and give them some information about the invoice they have just received.

It can take up to 30 days for invoices to be processed and paid which is standard. In the UK, usually, VAT invoices must be issued within 30 days of the date of supply or the date of payment (if you’re paid in advance).

Overdue fees: In the UK we have the ‘Late Payment of Commercial Debts (Interest) Act 1998′, which means that if a payment is overdue, you can claim a late payment fee. The statutory right to claim interest and compensation is not compulsory, and it is for the supplier to decide whether or not to make use of their rights.

Make sure to look up your rights and acts in your country and do not hesitate to get in touch with a solicitor to help you if you need further assistance with any claims or questions regarding any late payments.

Interfaz de Sonido

Es muy importante conocer más a fondo los diferentes componentes y equipo que necesitarás para montar tu home studio, y para ello nos adentramos en el mundo de las interfaces de audio.

Qué es una interfaz de sonido?

En primer lugar, vamos a aclarar qué son las interfaces de audio. Antes de meternos a fondo, una aclaración: es probable que hayas escuchado hablar de interfaz de audio, interfaz de sonido, tarjeta de sonido etc. ¡No te preocupes, es lo mismo! Tan solo son diferentes formas de llamarlas, pero el nombre más técnico y más extendido es interfaz de audio.

Explicado de una forma sencilla, una interfaz de audio es el hardware que te permite trasladar los sonidos que quieras grabar a tu DAW (recuerda, la estación de audio digital, o en otras palabras, el software de producción musical). Es decir, la interfaz de audio es lo que te permite pasar el sonido acústico, la señal analógica (por ejemplo, la que produce cualquier voz o instrumento), a señal digital, que es lo que tu ordenador puede leer y procesar.

Por qué necesitas una interfaz de audio?

Esta es siempre la pregunta que todo el mundo se hace al plantearse comprar una interfaz de audio. El motivo es precisamente el que ya hemos visto. La mayoría de los estudios de grabación en la actualidad (y mucho más los home studio), centralizan la producción musical a través de la computadora. Con el avance de la tecnología, hay una tendencia cada vez mayor de abandonar los equipos analógicos para pasar a lo digital. Por lo tanto, todo lo que queramos grabar debe poder ser procesado por la computadora y por el software de producción. Piénsalo así: una computadora no entiende el sonido, así que para que puedas trabajarlo, es necesario pasarlo a un lenguaje que pueda comprender, y este lenguaje es la señal digital. No te preocupes, de momento no necesitamos profundizar mucho más sobre esto. A medida que avancemos, ya habrá tiempo de entrar en más detalle sobre los tipos de señales y otros conceptos más técnicos. Pues bien, la interfaz de audio es el equipo que capta esas señales analógicas que emite un instrumento y las convierte en señales digitales, capaces de ser tratadas por la computadora. Por ese motivo, una interfaz es algo de lo que no podemos prescindir en nuestro estudio. Si queremos hacer música en casa, necesitamos una interfaz de sonido.

Siguiente pregunta: Por qué tengo que comprarme una interfaz, si en mi computadora ya viene integrada una tarjeta de sonido? La respuesta es muy sencilla. Efectivamente, en tu computadora seguramente ya viene integrada una tarjeta de sonido. El problema es que las tarjetas de sonido que vienen incorporadas en las computadoras comunes no están preparadas para realizar ese tipo de procesamiento de sonido, que requiere mucha potencia y muchos recursos. Piensa que no estás montando un estudio de grabación para reproducir un par de canciones en Spotify. Lo que queremos es hacer nuestra propia música, y para ello no es suficiente el equipamiento común, sino que necesitaremos componentes de buena calidad que estén preparados específicamente para el tratamiento de audio.

En qué fijarte para comprar una interfaz de audio

Ya sabemos qué son las interfaces y por qué necesitamos una en nuestro estudio. Ahora la pregunta es: ¿cuáles son sus principales características? ¿En que debo fijarme para comprarme una? ¿Cuál es la que mejor se adapta a mis necesidades?

No te dejes engañar. Todas las interfaces de audio tienen básicamente las mismas características y funcionan de la misma manera. Son estas:

Entradas y Salidas

Por una parte, debemos tener muy en cuenta el número de entradas y salidas de nuestra interfaz. Es fundamental que te preguntes lo siguiente: ¿Para qué la quiero? ¿Qué uso le voy a dar?

La regla es que necesitarás tantas entradas como líneas quieras grabar simultáneamente. Eso dependerá en gran medida de la forma en la que grabes.

Básicamente existen dos métodos principales de grabación:

Grabación por pistas: Hoy en día, hay mucha gente que graba por pistas, es decir, grabas primero una pista (ej. batería), luego sobre esa pista grabas la siguiente (ej. el bajo) y así sucesivamente hasta completar el tema. También podría llamarse grabación por capas. La técnica consiste en ir sumando capas hasta tener el resultado definitivo. Por lo tanto, si grabas por pistas (que es lo más habitual en un entorno de home studio), te será suficiente con tener una interfaz de audio con pocas entradas.
Grabación en Vivo: a diferencia de la grabación por pistas, para grabar en vivo necesitarás tantas entradas como líneas de sonido se estén tocando a la vez. Por ejemplo, si quieres grabar a un grupo de 4 personas simultáneamente tocando en vivo, necesitarás tantas entradas como sonidos quieras grabar: varias entradas para las voces y otras muchas para los instrumentos. Ten en cuenta que hay instrumentos, como la batería, que necesitan varios micrófonos para captar los diferentes componentes (bombo, tarola, platillos, etc.).

Mi consejo, sobre todo si estás empezando, es que grabes por pistas. Es una forma más sencilla de iniciarse en la producción musical y de conocer cómo funcionan los flujos de sonido. También es una técnica increíble para potenciar la creatividad mientras compones. Además, necesitarás menos entradas, ¡por lo que podrás ahorrar mucho dinero y espacio!

El siguiente punto que hay que valorar es el tipo de entrada o salida. No todas las líneas necesitan del mismo tipo de entrada. En términos generales, existen dos tipos de entradas:

Entrada de línea: este tipo de entradas sirven para conectar instrumentos como bajos y guitarras eléctricas.
Entrada de micrófono: como su propio nombre indica, sirve para conectar micrófonos. Sin embargo, debemos tener en cuenta que los micrófonos de condensador requieren una potencia diferente para funcionar (48v). La mayoría de las interfaces de audio ya llevan incorporados un botón para activar los 48v de potencia para cuando quieras conectar tu micro de condensador, pero te recomiendo que te asegures bien antes de comprarla.

Las interfaces incorporan entradas híbridas, que gracias a su diseño permiten conectar tanto instrumentos como micrófonos.

Otro factor por tener muy en cuenta son las salidas de audífono. Hoy en día prácticamente todas las interfaces de sonido incorporan una salida de audífono. Es una característica fundamental para poder intercambiar de una forma sencilla entre escuchar tus producciones a través de los monitores y de los auriculares. Un consejo: si puedes, adquiere una interfaz que tenga más de una salida de audífonos. Te aseguro que te será muy útil cuando estés grabando a otra persona, ya que de esa forma los dos podrán escuchar cómodamente mientras graban.

Preamplificadores

Los preamplificadores son probablemente el elemento más importante de las interfaces de sonido, ya que determinan la calidad de tus grabaciones. El objetivo es buscar una interfaz que lleve integrados unos buenos preamplificadores, fiables y, sobre todo, que transmitan un sonido claro y limpio. En la actualidad, la gran mayoría de las interfaces del mercado incorporan unos preamplificadores de una calidad suficiente.

Conexión

Existen tres tipos de conexiones:

USB: es la más usada actualmente, sobre todo en las interfaces de calidad media. Aunque no es la conexión más rápida de las existentes, es muy buena opción para home studios, sobre todo por su fácil conexión a las computadoras (todas las computadoras del mercado tienen forma de conectarse a los puertos USB). Además, con el USB 2.0 y USB 3.0, la velocidad ha aumentado considerablemente, haciendo que la conexión USB sea la preferida tanto por fabricantes como por usuarios.

Firewire: Antiguamente las conexiones firewire solían ser más rápidas que las USB, pero hoy en día, la conexión USB no tiene nada que envidiarle a la firewire, consiguiendo proporcionar muy buena velocidad.

Thunderbolt: es la conexión más rápida del mercado, ahora más frecuente en las computadoras actuales. Normalmente solo las interfaces de audio de mayor calidad (y, por lo tanto, mayor precio) incorporan conexión thunderbolt.

Precio

Como siempre, es importante tener en cuenta el precio de los diferentes modelos. En Tu Home Studio, el objetivo es aprender a producir música y montar tu propio estudio de grabación con el presupuesto más ajustado posible.

Actualmente hay interfaces de audio para todos los presupuestos. Claro que, también hay opciones mucho más caras, que normalmente ofrecen más entradas y salidas y unos preamplificadores de la mejor calidad.

Conclusiones

En mi opinión, la mejor opción cuando adquieras una interfaz es que se ajuste a tus necesidades ya sea utilizando USB o Thunderbolt. Hablando de las conexiones con USB, la velocidad es más que suficiente y ha mejorado mucho con el USB 2.0 y 3.0. En cuanto al número de entradas, mi recomendación es que empieces con una interfaz de mínimo 2 entradas, con la que podrás grabar cómodamente por pistas e incluso grabar algunas interpretaciones en vivo.

Aunque siempre es recomendable tener más de una entrada. Lo mejor es que tengas una interfaz de 2 a 8 entradas, una para micrófono y otra para línea. Además de cuidar la calidad de los preamplificadores ya que algunas interfaces no son de tanta calidad y no ofrecen un sonido tan limpio.

Carolina Antón es especialista en diseño y optimización de sonido, así como ingeniera de sonido independiente. Ha trabajado con varias compañías de sonido como la producción de 2hands, Eighth Day Sound, Britannia Row, Meridian Pro audio y Ocesa. Ha realizado giras por los EE. UU., México y América Latina con Zoe, Cafe Tacvba, Natalia Lafourcade, HaAsh. Carolina también es propietaria de Hibiki Production que proporciona servicios para grabación y transmisión en vivo.

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