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Noise Engineering SoundGirls Scholarships

About Noise Engineering:

Noise Engineering‘s mission is to make engaging tools for sound and music production. Started as a hobby in 2014(ish), we cut our teeth making Eurorack synthesizer modules in new and unusual styles. We love exploring new sound spaces and interesting ideas in synthesis to help broaden the universe of musical tone. We strive to put as much immediate functionality into every product as we can: we want to make fun products that inspire creativity; products WE want to play with. With products spanning a growing range of platforms, we aim to meet you, the artist, wherever you are. On the road, in the studio, in hardware or software, anywhere in the world, we have tools for you.

Our core values are based on community. Music is a place for everyone. We believe that all people should be treated with acceptance and respect and we welcome everyone into our community. But synthesis can be difficult to wrap your brain around, and we believe that it’s our job to help lower the barrier to entry. We work hard to offer extensive outreach and education, but we know there is always room for more–there’s so much to learn! We created the SoundGirls Noise Engineering scholarship to help people dedicated to the SoundGirls mission follow their dreams.

Award: We are awarding two $500 scholarships to be used for audio education and continuing education.

APPLICATIONS For 2021

Noise Engineering is providing members of SoundGirls two $500 scholarships to be used for audio education and continuing education. Applications are now open

WHO IS ELIGIBLE?

Any member of SoundGirls that is attending or plans to attend educational programs in Professional Audio. There is no age requirement and includes college programs, trade schools, seminars, and workshops. Applications are open to all genders and non-conforming genders.

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Applications are now open- Apply Here

DEADLINE FOR SUBMISSION

The essay submission deadline is 12:00 midnight EDT July 30, 2021. The scholarships will be awarded in August 2021 and paid to scholarship winners. Scholarship winners will be required to send proof of enrollment in the educational program to SoundGirls or scholarship money must be returned.

SELECTION PROCESS & NOTIFICATION

The SoundGirls Board will review essays and will notify the winners via email.

ADDITIONAL DETAILS

The scholarship funds awarded can be used for educational programs related to professional audio. Scholarships are non-renewable. You will need to submit proof of enrollment in a program.

QUESTIONS?

Any questions on the scholarship essay can be directed to soundgirls@soundgirls.org.

Additional Scholarships and Resources

 

 

 

 

Leslie Ann Jones Scholarship in Honor of Ethel Gabriel

This scholarship is made possible by a generous donation from Leslie Ann Jones and is in honor of Ethel Gabriel

APPLICATION For 2021

The Leslie Ann Jones Scholarship in honor of Ethel Gabriel and is a $250 scholarship to be used for education in the music industry. Applications will open on June 1, 2021

WHO IS ELIGIBLE?

Any member of SoundGirls that is attending or plans to attend educational programs relating to the music industry. There is no age requirement and includes college programs, trade schools, seminars, and workshops. Applications are open to all genders and non-conforming genders.

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Application opens on June 1, 2021 – Apply Here

DEADLINE FOR SUBMISSION

The essay submission deadline is 12:00 midnight EDT July 30, 2021. The scholarships will be awarded in August 2021 and paid to scholarship winners. Scholarship winners will be required to send proof of enrollment in the educational program to SoundGirls or scholarship money must be returned.

SELECTION PROCESS & NOTIFICATION

The SoundGirls Board will review essays and will notify the winners via email.

ADDITIONAL DETAILS

The scholarship funds awarded can be used for educational programs related to professional audio. Scholarships are non-renewable. You will need to submit proof of enrollment in a program.

QUESTIONS?

Any questions on the scholarship essay can be directed to soundgirls@soundgirls.org.

APPLY HERE

Additional Scholarships to Apply for

The Ethel Gabriel Scholarship

SoundGirls Scholarships

 

 

Be Resilient

 

Wow, have things been tough lately! Significant sections of our industry came to a screaming halt in a matter of days, if not hours. All of it out of our hands, as we wait for the day we are allowed to gather in large groups again. Sadly, at this point, we just have to sit back waiting to see what happens, though we all know it will come back one day. Our industry is about community between concerts, lectures, outdoor movies, festivals, and more. We bring communities together and when this virus has passed, communities will be stronger than ever. For now, we must wait out the storm, which is easier said than done for most of us since we all have concerns regarding paying bills, staying engaged and employed, being able to buy basic life needs, remaining mentally healthy, physically strong, and so much more.

Barring a global pandemic as individuals we encounter different issues and problems throughout our careers and life. How we choose to deal with this rollercoaster is extremely important. We must be resilient. We must be able to bounce back from the lowest of lows the industry has seen, but we must also be able to bounce back as individuals when faced with hard times.

When setbacks happen it’s ok to get upset. Be upset and work through the feelings you are having.  It is healthy to work through your emotions and know many of us are feeling the same. Believe it or not, we are working through the seven stages of grief which are shock, denial, anger, bargaining, depression, testing, and acceptance.  Now I am not going to go in-depth with the concept, but if you are struggling, look into this model and see if you can work through the process because it is important to process your emotions so you can move forward.

To move forward we need to work through our options. Some more favorable than others, but for each individual, it will be different. Options could be finding a new career path, finally opening your new business as you have desired for the last 10 years, and/or learn new skills and expand your horizons. Anything to move forward.  Get out of the rut that has occurred and pick yourself up because things will return to a new normal and we all will be a part of it in some way or another. This could look like a day of planning for your future, taking new classes, processing your long-term plans and taking steps to achieve them, reaching out to folks regarding new opportunities, and/or all of the above.

Most of us are between the phases of being upset and moving forward. We will likely stay this way until the government and society reset after this pandemic. Once we do it is very important to continue to process everything that is happening and to dive into the new.

Shut the door on the negative emotions and put everything into practice that you have done to be resilient and move forward.  Start putting your new plans into place. Open a storefront, teach the next generation about our industry, work that shows you’ve always wanted to, eat at your favorite restaurant, be within 6 feet of someone that’s not your family and so much more! (Ok maybe extended personal space is good) Take steps for yourself to gain back your momentum so you begin to reach your new goals. Before we know it, everything will feel right again. It is important to not get stuck in anger and grief.  We all have setbacks and although right now it is a global setback, there is still your individual impact and how you react. That is what will set you apart from everyone else. So be resilient, by processing the emotions you are experiencing, plan, learn, and change for what is to come, and dive in headfirst when this pandemic has passed.

 

3 Easy Steps to Cutting Classic Cartoon Sound Effects

At Boom Box Post, we specialize in sound for animation.  Although sonic sensibilities are moving toward a more realistic take, we still do a fair amount of work that harkens back to the classic cartoon sonic styles of shows like Tom and Jerry or Looney Tunes.  Frequently, this style is one of the most difficult skills to teach new editors.  It requires a good working knowledge of keywords to search in the library–since almost all cartoon sound effects are named with onomatopoeic names rather than real words like “boing”, “bork”, and “bewip”–an impeccable sense of timing, and a slight taste for the absurd.

I used to think that you were either funny or not.  Either you inherently understood how to cut a sonic joke, or you just couldn’t do it.  Period.  But, recently, I began deconstructing my own process of sonic joke-telling and teaching my formula to a few of our editors.  I was absolutely floored by the results.  It turns out, you can learn to be funny!  It’s just a matter of understanding how to properly construct a joke.


WHAT NOT TO DO

Before I get into what to do, I think it’s important to point out what not to do.  When editors start cutting classic cartoon sound effects for the first time, they pretty much always have the same problem.  They stumble upon the Hanna-Barbera sound effects library and find some really funny sounds.  Bulb horns–those are always funny!  Boings–hilarious!  Splats–comic genius!  Then, one by one, they start sprinkling these in whenever they feel there’s a dull moment.

Let me say this once: A single funny sound effect is almost never funny.  It’s like blurting out the punchline of a joke without the setup.

Here’s an example of a joke: Someone stole my Microsoft Office and they’re going to pay.  You have my Word.  

I know this is a super lame joke… but it is a joke nonetheless and if you told it at a party, you’d probably be rewarded with an awkward groan/chuckle.  Cutting just a single bulb horn at a random moment is like yelling out “Microsoft Office!” in the middle of a party and expecting people to laugh.  It’s just not funny.  Cutting cartoon sound effects is not the artform of adding “funny” sounds randomly into a visual work, it’s the art of telling a sonic joke.  And to tell a joke, you need three parts: the introduction, the setup, and the punchline.  If you want to go one step further, you can add a bonus part: the tag.


AN EXAMPLE OF JOKE CONSTRUCTION IN PROGRESS

Love him or hate him, this video example of Jerry Seinfeld talking about his process in writing a Pop-Tart joke is very illuminating.  There are many different elements that go into how funny your joke will be perceived to be.  They are things like: how incongruous are the words (or sounds) to each other, how surprising is the punchline at the end, how well were elements from the setup woven back into the punchline, how well did you captivate your audience by the “story” of the joke.  With that in mind, it’s not hard to see why it would take two years to craft the perfect Pop-Tart joke.

Watch the video here.

ANATOMY OF A JOKE: THE INTRODUCTION

When telling a joke, this is your first sentence.  It lets the audience know where you’re starting.  In the case of Jerry’s Pop-Tart joke, this is when he starts talking about breakfast in the 1960s being composed of frozen orange juice and toast.  From this, we understand that this is going to be a joke about breakfast.

In sound, the importance of the introduction is all about timing. Take a Mickey and the Roadster Racers that one of our editors, Brad Meyer, and I worked on.  There was a sequence where all of the characters were driving around and Goofy was holding a stolen diamond.  It was incredibly valuable and he was nervous to be mistakenly caught with it and possibly taken for the thief.  At one point, he abruptly came to a stop, the diamond flew out of his car and landing in a Ferris wheel bucket.  The Ferris wheel then began to turn around, and the two characters (one good guy and one bad guy) scrambled to enter the bucket with it.  Up they went with the diamond to the top when it, of course, slipped from their hands, bounced down the spokes of the Ferris wheel one by one, and then landed neatly in Goofy’s car at the bottom.

In this sound design example, choosing the point at which we kick off the joke is key. Like I mentioned earlier, if we just sprinkle cartoon sound effects in whenever anything slightly “toony” happens in the visual, it’s not really a joke.  We’re just shouting funny-sounding words at a party.  Instead, we need to choose an exact moment to begin the joke.  That moment would be when the diamond flies out of Goofy’s car.  We chose a simple sail zip whistle to kick this off, and a glass clink when the diamond landed in the bucket. Those two sounds were our introduction to the joke. Keep in mind that from this moment, our goal is to make all of the following cartoon sound effects create anticipation leading up to the final “punchline” effect.

ANATOMY OF A JOKE: THE SETUP

In Jerry’s Pop-Tart joke, after introducing us to the idea that he’s talking about breakfast, he continues his setup by us about the downside of all of the prevailing breakfast foods of the 1960s.  Then, he announces the arrival of the Pop-Tart, likening it to the arrival of an alien spacecraft, and he and his friends were like “chimps in the dirt playing with sticks.”  As he points out–in that phrase alone, there are four very funny words: chimps, dirt, playing, sticks.

The setup is the story.  It takes us on a journey and gives us all of the elements we need to pull together the punchline.  But, notice that the more incongruous the elements of the setup, the better the punchline comes off.  What do breakfast, aliens, chimps, dirt, and sticks have in common?  Nothing.  Absolutely nothing.  This is exactly why it’s a great setup.

In sound, the idea is the same.  You kick off the joke with something that makes sense (like a sail zip for an item flying into the air).  In the example of the scene from Mickey and the Roadster Racers, we cut completely incongruous cartoon sounds for the landing of the hero and villain in the bucket (timpani hits), followed by a spin whistle for them scrambling to grab the diamond.  Then, when they got to the top, we cut different pitched glass “tinks” (ascending in pitch with each one) for the diamond falling and hitting spokes of the Ferris wheel along the way. Not only are all of these sounds funny on their own, but they are funnier because they are so different from one another.  Also note that these sounds, although different from one another, continue to build tension leading to the next moment.

ANATOMY OF A JOKE: THE PUNCHLINE

In the Pop-Tart joke, Jerry gives the punchline of wondering how they knew that there would be a demand for “a frosted fruit-filled heatable rectangle in the same shape as the box it comes in, and with the same nutritional value as the box it comes in.”  And he goes on to wrap it up by telling us that in the midst of hopelessness, the Pop-Tart appeared to meet that need of the people.  This punchline works because it harkens back to the introduction when Jerry tells us of the dire state of breakfast choices in America.  The people were in need, and a savior appeared.

In our sonic cartoon example, we did the same thing.  We started with an introduction of a sail zip, then lead to a whole batch of incongruous sounds that built anticipation, and then, as a punchline, we used a reversed sail zip to lead us to the final glass clink of the diamond falling into Goofy’s car.  Thus, the joke was bookended.

ANATOMY OF A JOKE: THE TAG

In Jerry’s example, he talks about wanting to develop an additional end to the joke when he ties in the “chimps in the dirt playing with sticks” with the Pop-Tart punchline.  This would be the tag.  In a cartoon, it might be one final sound at the end of the gag that really finishes it off, like two slow eye blinks from another character who just watched the joke take place.  When you see these visual “tags,” be sure that you always consider them part of the joke as a whole and keep the sounds part of the same family.


FINALLY, FARTS

Because you made it to the end of this incredibly long blog post, you shall be rewarded!  So, here is a video of my favorite comedian, George Carlin, telling fart jokes.  Being that we work in animation, we at Boom Box Post love nothing more than a good old-fashioned fart joke.  If you want extra credit, you can analyze this bit to see how the intros, setups, and punchlines work together.  Or, just sit back and enjoy the smell….

Watch the video here. 

This blog is a repost for Kate Finan at boomboxpost.com. Check out the original post here which includes audio clips.

 

 

The Hive: Cleaning Microphones

From the Hive:  Recommendations and Advice from our Community Through Social Media Discussions.

Topic: Cleaning Microphones

It was recently asked what is the best way to clean microphones (now that it’s cold season)?  Of course, it’s great to clean your mics if someone who’s sick has used them, but it’s also good to clean them frequently no matter what.

Here’s how our community responded with some additional resources in regard to cleaning microphones.

The Quick Clean:

Many folks recommended disinfecting wipes to quickly wipe down the grill of the microphone after use.  Also, consider using a non-flavored Listerine.

You could also use Purell or another kind of hand sanitizer. I recommend avoiding any with added fragrances just to make sure that it doesn’t impede someone’s use of the mic. Many people have fragrance sensitivities.

Microfoam was also suggested, this is also known as a foaming sanitizer or deodorizer a lot like the gel sanitizers we see all the time.

There are also industry-specific cleaners such as Thomann microphone cleaner or the Microphome Cleaning Kit. Hosa also sells a whole line of cleaner sprays for items we encounter in our industry. For mics, they sell Goby Lab’s microphone sanitizer.

 

The Deep Clean:

Remove the grills and foam. Wash the foam with isopropyl, antibacterial hand soap, or dawn detergent. The grills can be washed with the same items using a toothbrush to get a good scrub or thrown in a dishwasher for a deep clean; just make sure both are completely dry before use.

Others suggested an ultrasonic jewelry cleaner. Around $40, these cleaners can be used to wash more than microphone parts. Small in size and only needing limited amounts of cleaner and soap this tool could be useful especially if you’re on tour.

When things get really bad you can also replace the grill and foam on a majority of microphones, but hopefully, none of us have to deal with something that bad! Keep in mind antibacterial soaps and isopropyl won’t kill some viruses. Bleach solutions, hydrogen peroxide or replacement is your best option to stop the spread of tough viruses.

Bonus response!

For windscreens or pop, filters soak them in a 10% bleach solution and rinse in cold water. This eliminates germs, viruses, and order.

Thank you to Jennalyn Alonzo for posing the question and thank you to all of our community members for their great responses!

 

Whose Job is It? When Plug-in Effects are Sound Design vs. Mix Choices.

We’ve reached out to our blog readership several times to ask for blog post suggestions.  And surprisingly, this blog suggestion has come up every single time. It seems that there’s a lot of confusion about who should be processing what.  So, I’m going to attempt to break it down for you.  Keep in mind that these are my thoughts on the subject as someone with 12 years of experience as a sound effects editor and supervising sound editor.  In writing this, I’m hoping to clarify the general thought process behind making the distinction between who should process what.  However, if you ever have a specific question on this topic, I would highly encourage you to reach out to your mixer.

Before we get into the specifics of who should process what, I think the first step to understanding this issue is understanding the role of mixer versus sound designer.

UNDERSTANDING THE ROLES

THE MIXER

If we overly simplify the role of the re-recording mixer, I would say that they have three main objectives when it comes to mixing sound effects.  First, they must balance all of the elements together so that everything is clear and the narrative is dynamic.  Second, they must place everything into the stereo or surround space by panning the elements appropriately.  Third, they must place everything into the acoustic space shown on screen by adding reverb, delay, and EQ.

Obviously, there are many other things accomplished in a mix, but these are the absolute bullet points and the most important for you to understand in this particular scenario.

THE SOUND DESIGNER

The sound designer’s job is to create, edit, and sync sound effects to the picture.


BREAKING IT DOWN

EQ

It is the mixer’s job to EQ effects if they are coming from behind a door, are on a television screen, etc.  Basically, anything where all elements should be futzed for any reason.  If this is the case, do your mixer a favor and ask ahead of time if he/she would like you to split those FX out onto “Futz FX” tracks. You’ll totally win brownie points just for asking.  It is important not to do the actual processing in the SFX editorial, as the mixer may want to alter the amount of “futz” that is applied to achieve maximum clarity, depending on what is happening in the rest of the mix.

It is the sound designer’s job to EQ SFX if any particular elements have too much/too little of any frequency to be appropriate for what’s happening on screen.  Do not ever assume that your mixer is going to listen to every single element you cut in a build, and then individually EQ them to make them sound better.  That’s your job!  Or, better yet, don’t choose crappy SFX in the first place!

REVERB/DELAY

It is the mixer’s job to add reverb or delay to all sound effects when appropriate in order to help them to sit within the physical space shown on screen.  For example, he or she may add a bit of reverb to all sound effects which occur while the characters on screen are walking through an underground cave.  Or, he or she may add a bit of reverb and delay to all sound effects when we’re in a narrow but tall canyon.  The mixer would probably choose not to add reverb or delay to any sound effects that occur while a scene plays out in a small closet.

As a sound designer, you should be extremely wary of adding reverb to almost any sound effect.  If you are doing so to help sell that it is occurring in the physical space, check with your mixer first.  Chances are, he or she would rather have full control by adding the reverb themselves.

Sound designers should also use delay fairly sparingly.  This is only a good choice if it is truly a design choice, not a spatial one.  For example, if you are designing a futuristic laser gun blast, you may want to add a very short delay to the sound you’re designing purely for design purposes.

When deciding whether or not to add reverb or delay, always ask yourself whether it is a design choice or a spatial choice.  As long as the reverb/delay has absolutely nothing to do with where the sound effect is occurring, you’re probably in the clear.  But, you may still want to supply a muted version without the effect in the track below, just in case, your mixer finds that the affected one does not play well in the mix.

COMPRESSORS/LIMITERS

Adding compressors or limiters should be the mixer’s job 99% of the time.

The only instance in which I have ever used dynamics processing in my editorial was when a client asked to trigger a pulsing sound effect whenever a particular character spoke (there was a visual pulsing to match).  I used a side chain and gate to do this, but first I had an extensive conversation with my mixer about if he would rather I did this and gave him the tracks, or if he would prefer to set it up himself.  If you are gating any sound effects purely to clean them up, then my recommendation would be to just find a better sound.

PITCH SHIFTING

A mixer does not often pitch shift sound effects unless a client specifically asks that he or she do so.

Thus, pitch shifting almost always falls on the shoulders of the sound designer.  This is because when it comes to sound effects, changing the pitch is almost always a design choice rather than a balance/spatial choice.

MODULATION

A mixer will use modulation effects when processing dialogue sometimes, but it is very uncommon for them to dig into sound effects to use this type of processing.

Most often this type of processing is done purely for design purposes, and thus lands in the wheelhouse of the sound designer.  You should never design something with unprocessed elements, assuming that your mixer will go in and process everything so that it sounds cooler.  It’s the designer’s job to make all of the elements as appropriate as possible to what is on the screen.  So, go ahead and modulate away!

NOISE REDUCTION

Mixers will often employ noise reduction plugins to clean up noisy sounds.  But, this should never be the case with sound effects, since you should be cutting pristine SFX in the first place.

In short, neither of you should be using noise reduction plugins.  If you find yourself reaching for RX while editing sound effects, you should instead reach for a better sound! If you’re dead set on using something that, say, you recorded yourself and is just too perfect to pass up but incredibly noisy, then by all means process it with noise reduction software.  Never assume that your mixer will do this for you.  There’s a much better chance that the offending sound effect will simply be muted in the mix.


ADDITIONAL NOTES

INSERTS VS AUDIOSUITE

I have one final note about inserts versus AudioSuite plug-in use.  Summed up, it’s this: don’t use inserts as an FX editor/sound designer.  Always assume that your mixer is going to grab all of the regions from your tracks and drag them into his or her own tracks within the mix template.  There’s a great chance that your mixer will never even notice that you added an insert.  If you want an effect to play in the mix, then make sure that it’s been printed to your sound files.

AUTOMATION AS EFFECTS

In the same vein, it’s a risky business to create audio effects with automation, such as zany panning or square-wave volume automation.  These may sound really cool, but always give your mixer a heads up ahead of time if you plan to do something like this.  Some mixers automatically delete all of your automation so that they can start fresh.  If there’s any automation that you believe is crucial to the design of a sound, then make sure to mention it before your work gets dragged into the mix template.

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

December Feature Profile

Love for Chaos: Willa Snow Live Sound Engineer

 

SoundGirls News

She Rocks Awards Tickets

SoundGirls Yearbook 2019 – Now on Sale


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here


SoundGirls Events

Alberta SoundGirls Winter Social

SoundGirls FOH Tuning Workshop – Los Angeles

Colorado SoundGirls Monthly Social

SoundGirls Mentoring at AES@NAMM

SoundGirls NAMM Dinner

SoundGirls NAMM Sunday Breakfast

Business Basics for the Entertainment Industry


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Women-Owned Businesses

SoundGirls – Gaston-Bird Travel Fund

Events

Sexual Harassment

 

SoundGirls Chapters

 

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

December Feature Profile

Love for Chaos: Willa Snow Live Sound Engineer

 

SoundGirls News

She Rocks Awards Tickets

SoundGirls Yearbook 2019 – Now on Sale


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here


SoundGirls Events

Los Angeles SoundGirls Holiday Party

Atlanta SoundGirls Chapter Launch

Houston SoundGirls Holiday Potluck

Alberta SoundGirls Winter Social

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM

SoundGirls NAMM Dinner

SoundGirls NAMM Sunday Breakfast

Internet Round-Up

Grammys Pledge More Diversity Under New Leadership

60 seconds with mastering engineer and PSNEurope columnist Katie Tavini


SoundGirls Opportunities


SoundGirls and SoundGym

 

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

 

 

SoundGirls Chapters

 

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

December Feature Profile

Love for Chaos: Willa Snow Live Sound Engineer

 

SoundGirls News

She Rocks Awards Tickets


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here


SoundGirls Events

Colorado SoundGirls Social

Melbourne SoundGirls Holiday Drinks

New York SoundGirls Winter Mixer

Los Angeles SoundGirls Holiday Party

Houston SoundGirls Holiday Potluck

Alberta SoundGirls Winter Social

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM

SoundGirls NAMM Dinner

SoundGirls NAMM Sunday Breakfast


SoundGirls Opportunities


SoundGirls and SoundGym

 

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

 

 

SoundGirls Chapters

 

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