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Editing Sound Girls into Wikipedia

This March I unofficially participated in Kickstarter’s Art+Feminism Wikipedia Edit-a-Thon.  An edit-a-thon is an event where the attendees edit and update Wikipedia articles. Often these events have a specified purpose, and with Art+Feminism it was about women and the arts. While it generally happens in March, the Art+Feminism banner has hosted over 500 events almost every week across the globe since 2014. Events have occurred in places like the Ivory Coast, New Zealand, Uruguay, United States, and Germany.

Why is editing a Wikipedia article so important?

First of all, Wikipedia is the modern equivalent of an encyclopedia; it is the first stop in finding an answer. With over 5.6 million articles in the English language, it is one of the most comprehensive collections of knowledge available. Currently, there are very few female Wikipedia editors and a very small percentage of female-related articles. Art+Feminism is looking to change that by training new Wikipedia editors (it could be you or me or anyone). They are not the only ones either. Wikipedia has its own group of Wikiprojects dedicated to providing female-related articles.

Editing an Article

While I had not formally edited a Wikipedia article before, I was vaguely familiar with their style and guidelines, so I thought I would try my hand in becoming a Wikipedia editor and share my experiences with SoundGirls. I had some knowledge of formatting and citing in the Wikipedia style, but I also made sure to keep several tabs open of Wikipedia’s helpful tutorials.

Wikipedia requires strict standards in sources, citations, and sentence structure. There is a lot to keep in mind when writing an article, and so Wikipedia has tutorials and templates to copy from. Self-promotion is not permitted when creating an article. Therefore, sources cannot be a personal website or an IMDB page. Bias is also frowned upon, which means many controversial articles are locked from the fledgling editor.

Often new editors are guided to almost complete topics, ones that only need cleanup in citations or a couple of extra facts.  Many niche articles are plagued with improper citation and writing flags. From there, an editor can build up their chops before turning to a completely new article. Focusing on pre-existing articles also helps with the moderating backlog that is a constant problem for Wikipedia.

Creating an Article

Even knowing all of this, I still decided to create a completely new article.  I wrote about Karen Lam, a female film director, and producer, known for her horror short films and for promoting other women in film.  While I did meet her briefly, I have no professional association with her, and therefore I had no conflict of interest with which to color the tone of my article.  She had been interviewed several times in local and national magazines, and her films had won several awards. This meant that she was relevant and documented enough to have an article based off of her. I, the lowly blog writer, still early in my career, do not have the right credentials to have a Wikipedia article, and so it goes. As an added bonus, a film directed by Karen had its own article already and therefore referenced my subject. An article that is not referenced by anything else is an orphan, which often suggests the irrelevance of the topic.

Not including the time it took to research her, I was able to write my article and submit it for the first time during the Art+Feminism event, and within minutes I received my first error flag. I had cited IMDB for awards won by my subject, and so I updated the article, took out a few awards that were only listed on IMDB, and put a new award mentioned in a reputable press release. I did not hear back for a month an a half. My article was then finally approved.

Wikipedia Advice

Wikipedia was made to be edited by the public, and it can be another tool to grow the influence of women in media and to break the glass fader.

 

Shadowing Opportunity w/Guit Tech Claire Murphy

SoundGirls Members who are actively pursuing a career in Guitar teching, Backline or Concert Production are invited to shadow Guitar tech, Claire Murphy. Claire is currently on tour with Vance Joy.

The experience will focus on Guitar teching; setting up “guitar world,” setting up the stage, experiencing line check and soundcheck with the artist. This is open to SoundGirls members ages 18 and over. There is one (1) spot available for each show. Most call times will be at 11.30am (TBD), and members will most likely be invited to stay for the show (TBD). Ideally, applicants will be able to demonstrate some experience in touring or knowledge there of, to gain the most from this opportunity.

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

Shadowing Opportunity w/ FOH Engineer Kevin Madigan

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Kevin Madigan.

The experience will focus on FOH Mixing. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD and members will most likely be invited to stay for the show (TBD).

Graham Nash

David Crosby

  • June 17 Mayo Performing Arts Center Morristown, NJ
  • Sept. 15 Palace Theatre Manchester, UK

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

 

Shadowing Opportunity w/ ME Aaron Foye

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow Monitor Engineer Aaron Foye. Aaron is currently on tour with Willie Nelson.

The experience will focus on monitor mixing. This is open to SoundGirls members ages 18 and over. There are two spots available for each show. Most call times will be at 11 am (TBD) and members will most likely be invited to stay for the show (TBD).

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

 

Line Check! Experience Sound Check a Grammy Nominated R&B/Pop Artist

SoundGirls are invited to Experience Sound Check with a Grammy Nominated R&B/Pop Artist

Who: Young women between the ages of 18-26 who are actively pursuing a career in Live Sound Audio and/or concert production.

The experience will focus on Live Sound Mixing, Production Management, Professionalism Practices, and Life as a Tour crew member.

Please Apply here and then send a resume to linecheck@earshotagency.com.

Selected Candidates will be scheduled for a Skype Interview.

Deadline is to Apply is June 1st.

Cities available

Slate Digital Workshop at Emerson College

Slate Digital is excited to partner with SoundGirls for an evening of fun, education and recording insights.


Steven Slate, CEO of Slate Digital, and Erika Earl, Director of Hardware for Slate Digital, will have an open Q&A moderated by Ali “A MAC” McGuire, Audio Engineer & Producer from Amaculent Entertainment.

After the Q&A Steven will break down the mix of a pop song recorded recently at The Sound Emporium in Nashville. This song was recorded by industry veteran Jeff Juliano (Dave Matthews Band, Jason Mraz & Paramore) using the Slate Virtual Recording System. Steven will explain his EQ and compression on the mix, as well as demonstrate the versatility of the VRS8 and the ML-1 and ML-2 microphones.

Following the mix breakdown Steven will answer questions about the mix, mic choices and anything related to Slate Digital.

Free – But you must register as space is limited

Register Here

For more information:
http://slatedigital.com/
http://stevenslate.com/
https://soundgirls.org/
http://www.amaculent.com/
http://www.emerson.edu/

Harnessing your Inner Leader

One of the things about volunteering to work festivals that really got me hooked was they unlocked hidden stores of confidence within me. This came at a time in my life where I was picking up the pieces from a brutal trauma and so, embracing fearlessness was the name of the game. It was all about new rules and a whole new me. The way I booked festivals in my first year of volunteering was on the fly, the weekend prior. I would attend a festival and over the weekend I would hear about which fests people were going the following weekend. I’d weigh the options, rally the troops and approach the organizer of the event I’d decided on.

I’d rarely had courage like that in my life. I would say, “Hi, I’m Janna. I’ve worked so-n-so fests and taken on such-n-such roles. I am capable, I get sh** done, I bring in people and I have been an asset at these (*cue name drop) festivals. I would like to come to your festival and offer you my team to put out the fires as they arise. Would you like this?”. They would agree and were so pleased with what I could offer. I knew I could handle any job. Not because I knew how to do every job, but because I knew people. I knew who had what skill, who could do what job or who could teach me how to do it myself. Plus I brought volunteers, which actually wasn’t that hard. My friends and I had all been travelling the country since we were young teens, sleeping in parks, busking street corners, general vagrancy, etc. Now we had trucks, more passion for nature and music, and these fests would feed us! It also offered us a way to connect with driven musicians, collaborate on new projects and offered some of us a chance to get on stage.

When Labor Day rolled around and I approached my 9th festival of 2016, Quadrapalooza on Quadra Island. They needed volunteers and invited me to come and stay with them the week before to help out if I’d wanted. The day the fest was to begin I discovered my role would be stage manager. I’d worked every role at events but had never delved into the world of stage/sound. There was so much I didn’t know, but I’d become a master of winging it! My approach to researching the role was indicative of the type of tech I’d eventually become. Even though I’d never worked on a stage I could logically deduce some duties as stage manager. The term manager alone refers to multitasking. I could assume that keeping things on schedule was a big factor and I knew there was often a clipboard involved.

I began to research what I couldn’t assume by speaking to my new musician friends. I asked them, “What makes a good stage manager from your perspective?”. The answer that stuck with me was from Zonnis who agreed that it was the ones who brought them water. To this day this rings in my ear when wading deep in stage hi-jinx. It may sound trivial but it’s genius and it’s not even about the water at all! It’s about taking a moment to connect with the artist, seeing them as a human about to bare a part of themselves on stage and offering them a gift. Many don’t want the water, even better! But let me tell you every single one of them appreciates the offer, and they will remember you for it. Buzz quickly around the artists but enter their personal space with grace and care. When I’m busy and rushing around an artist as they’re setting up to perform, if I get within a foot and a half of them, I stop, exhale, channel calm, smile genuinely and ask how they are and if they need anything. The most fulfilling feeling is running a 24 channel re-patch direct to the board by yourself in a 15 min switchover and still bringing each of the eight band members a cup of water. I win, they win, everyone’s happy!

So at Quadrapalooza I jumped in over my head and quickly learned when sound issues began to arise, that I needed to learn as much about the role of the sound person as possible if I was going to do my job effectively. Within a couple hours I had reorganized how we designated channels and devised what would become my signature style of drawing stage plots. I loved being busy and having such an important role in keeping the party going. Attending events was forever changed, I now need a job to have fun!

Don’t get me wrong, it was stressful and scary too. It’s how you handle it that matters. We all make mistakes and it’s how we learn from them that counts. As the headlining band of Saturday night was wrapping up I was approached by a dear friend of mine, Doug Koyama (Doug the Hug). He told me, “Janna, this is chaos.” I sank, sighed and apologized. He corrected, “No, this is chaos. You are organizing chaos. You are awesome.” I don’t even remember if I cried or not, but I’m tearing up remembering that feeling of being recognized by someone who really knows what they’re talking about.

It’s true. It was chaos. I organized chaos and no one had to teach me how! Feelings of value and self-worth flushed through my veins, reminding me what life could be and again telling me that I was indeed still on the right path. The only parts of the weekend I wasn’t pleased with were the things I could’ve remedied had I known more about amps, cords, mics, speakers, frequencies and feedback. Hell, who am I kidding, I never used the word frequency back then, but this realization sent me on a personal mission to start! The next week I embarked on a two month education intensive that had me hitch-hiking again, but this time with a whole new purpose and direction….

Janna Dickinson aka JDog broke into the industry last year, when she accidentally worked nine festivals! At the Last-ival, having worked every volunteer role through to stage-managing, she watched the techs and realized that she had finally found a job where her varied skill sets could finally all work in unison. She spent nearly two months couch hopping while hitching to every tech across BC that she had met at festivals who were willing to teach her anything. Her first gig was waiting for her when she returned! With a childhood free from live music, she had never played in a band or plugged in an electric guitar. She was learning it all from scratch! So, learning WHAT an XLR cable is called, let alone what it’s for! She returned to the same festivals this year with a new role and received honorable mentions at each one. Follow her on her journey of navigating such a complex industry as a complete novice, working solely on instinct, an ear and the drive to work at her passion no matter the odds. Unafraid to ask embarrassing questions on her quest for excellence, she carries with her goals of touring, teching/tuning, tv and teaching. Her freelance company is Penny Lane Audio & Production.

Read Janna’s Blog 

The Studio Side with “JP ‘The Specialist’ Negrete”

Join us for a moderated discussion and Q&A with “JP ‘The Specialist’ Negrete”. Juan Pablo Negrete alias J.P. is the founder of Melrose Sound Studios in LA. He previously worked as head engineer at Atlantic Records and Warner Music Group. Persistence and dedication led to two Grammy nominations for his vocal production work for Flo Rida. J.P. Negrete has also worked with artists including Skrillex, Nelly, Jason Derulo, Cody Simpson, Pitbull, B.o.B, Kelly Rowland, David Guetta, Tyrese, and many more. J.P. will be breaking down his production process with a surprise mix.

 

  • Location: Emerson College
    5960 Sunset Blvd, Los Angeles, CA 90028
  • Parking: Garage on the corner of Gordon St.
  • March 31, 2018
    7pm – 10pm
    Cost $25
    Register and Pay Here
  • Space is limited and is open to members of SoundGirls and Students of Emerson College.

 

 

 

Boom Op: Head to Toe

There are many articles that cover technical gear of location sound, but I want to focus on the skills and personal touches that will make a Boom Operator more efficient on set.  While the majority of these guidelines come from my own experiences, I also draw from Richard Patton’s Sound Man:  An Introduction to the Art, Science, and Business of Location Sound.  Richard Patton is a film Sound Mixer with 40 years of experience and over 70 credits.  Patton describes the job of a Boom Operator as the “placing of all microphones.” including the boom mic, lapel mics, and other miscellaneous mics planted for the scene.  It is important to note that sometimes there is only one location sound person on set, and therefore they become the Mixer, Recordist and Boom Operator.

Set etiquette

A hierarchy on set exists that determines who is in command of whom.  The two main groups are divided into “Above the Line” and “Below the Line.”  This refers to how the budget is arranged but is a smart way to think about interactions with others on set. The Sound Department’s domain is audio, and so even if the crew consists of two other people, a Boom Operator’s job is never to direct the actor. Therefore do not interfere with eye-lines.  Direct interaction occurs only when wiring an actor, or when someone Above-the-Line initiates conversation.  Getting a repeat contract depends on respecting these rules.  Speaking of wiring talent, be professional.  Respect boundaries and let the actor be in charge of how much help they need.  When wiring younger actors, have their guardians present and walk them through the process.

Head

Not every set is a temperature-controlled warehouse.  There will be sun, cold, and extreme heat from halogen lights.  I keep a hat, sunglasses, sunscreen, and a bandana with my kit no matter the season.  Other creature comforts include headphone covers (they make a huge difference), and a towel.  I have depended on towels for drying hands, puddles, tears, and cables.  They are the true answer to life, the universe, and everything.

During a take, a Boom Operator must capture the dialog.  They have to know who is talking and direct the mic to them.  Even during a monolog, the boom operator is thinking of more than just the script. Is the actor on or off axis?  Loud noises like airplanes or dogs barking will require more takes, but sometimes now is not the time to cut the current take.  Patton gives an anecdote in his book about caramel keeping loud pups occupied.  There is also the housekeeping of collecting room tone and making track notes.

Eyes

While sound is the medium of the Boom Operator, the camera is king on set.  It is crucial to watch the camera’s movements and to get a feel for different lenses and focal points.  The last thing any director wants is the perfect take ruined by the boom.  Often the Boom Operator dances a duet with the camera crew.  This can be complicated by a wire tether (recording audio to camera) or an intricate long take.  If the choreography was not complicated enough, the mic must be just out of shot and not visible via shadows or reflections.  Whenever possible rehearse the scene.  And while each crew is different, learn to communicate with the camera team; a good relationship can facilitate recording.

Arms

A tense body is one that fatigues faster.  Keep hands and arms relaxed. The hand closest to the mic should act as a shelf to hold the boom, while the other is a counterweight that controls mic direction.  The boom is steadier when hands are further apart.  There are several arm positions that rely on the skeleton rather than muscles to support the weight. Therefore these are the most natural positions to hold.  The first is the arms straight up.  This is the stereotypical boom position. The second is elbows at the sides with the hands straight out and facing upwards.  Often one hand is staggered higher to get the boom above the camera.  The third is arms completely down.  This one is used for when the boom is below the actors.  Other positions can be used but at the expense of the Boom Operator’s energy.

Body

Actors are meant to be seen; the crew are meant to be invisible.  This means wearing black clothing with quiet fabrics.  Long sleeves are better than short sleeves, but it is not a hard rule.  Make sure to dress for the weather.  Merino wool is an excellent place to start, and Army Surplus stores always have good deals.  Fingerless gloves are useful for keeping hands warm while maintaining dexterity.  Make sure they do not have tacky (and therefore noisy) grip enhancers.

The secret to surviving long set days is core strength.  Good posture includes keeping the stomach sucked to the spine, relaxing shoulders, and having a wide leg stance.  Wide stances are more stable, especially when standing on a step stool.  To not fall, one’s center of gravity should be kept between one’s feet.  It is better to lunge than lean. Locked knees is a recipe for disaster as it restricts blood flow and can lead to fainting.  Cue half of all America’s Funniest Home Videos.

Feet

Twelve-hour days last an eternity if one does not have proper footwear.  Boots are often required or requested for safety, but that does not mean fit has to be compromised.  I know that several respected brands have models that are custom built for women instead of “smaller men’s” boots.  It is essential to break in boots before working in them for a full day, and there is no shame in swapping for a more comfortable insole.  During the colder months make sure that boots accommodate thicker socks.  Boots that are either too tight or too loose cause blisters.  And keep in mind that although athletic socks are okay, merino wool is better.  I suggest keeping an extra pair in with the gear.

Sometimes a scene is relatively stationary, but not to the point of requiring a stand.  A rubber mat works well as a foot silencer, but also to make concrete floors more forgiving. And if a boom operator is short, like me, then an apple crate can be used as a step stool. Apple crates deserve more than a few sentences but note that film apple crates can hold weight, the local grocery store’s probably won’t.

As I mentioned before:  boom operators dance with the cinematographers. Therefore one should traverse like a dancer. Someone who is light on their feet will fall less often.  When walking backward the weight should be on the balls of the feet, and the body should lean ever so slightly forward.  Falling forwards means a bloody nose, but falling backward means a concussion.

Film crews can be like family, and by using these tips, I hope that future boom operators are seen as assets rather than glorified Production Assistants.

 

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