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Empowering the Next Generation of Women in Audio

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Aline Bruijns, M.P.S.E 

 

Aline Bruijns, M.P.S.E, works in Audio Post Production, specializing in sound effects and foley editing, and as a sound designer and re-recording mixer.  Aline has been working in audio since 2007 and owns her own company called AudioRally Sounddesign in the Netherlands.

Early Life

When did you discover audio as a career path?

I knew very early on, at age 16 that I wanted to do something in audio but my interest was first in music. I was in a band and was asked to help out other bands which I really enjoyed so I first thought I wanted to become a music producer. At the time there weren’t really studies (that I found) that would be suitable for helping me in that direction so I went to the Conservatory Enschede studying jazz vocals instead to really learn musical language and to be able to collaborate with many musicians. During that study, I bought a Pro Tools license and a computer and started learning Pro Tools to do some recordings in my bedroom. I enjoyed that very much so I wanted to pursue a studio career, so I continued studying at the HKU (High School of the Arts, Utrecht) in the direction of music & technology. However, due to subsidies from the government at that time, I couldn’t pursue my main study in music and I was only able to apply a study in the sound design direction with music on the side. That got me introduced to sound design and I was hooked!!!

How did you get interested in audio? 

At my house growing up there was always music. My parents are both music lovers and photographers and have their own company (still!) in photography and video. So I grew up with technique available and music all around.

Educational Background

Did you attend a University/College/Trade School? 

I went to 2 colleges, The Conservatory Enschede for Jazz Vocals and the Music and Technology  Department of the School of the Arts Utrecht (HKU) in the direction of sound design  Graduating with a Bachelor’s in Jazz Vocals (got a 9, scale goes to 10) and a Master degree in Sound Design for the HKU.

Musical Background

My mother is an excellent accordionist and my father is a big music lover of all sorts of genres  (jazz, rock, folk, classical, etc.) My brother played bass in a rock band and after having piano, saxophone, and guitar lessons I bought an electric guitar and started a rock band where I sang and played guitar.

Career Start

How did you get your start? 

I was lucky to do 2 internships during my 3rd year at the HKU which gave me a good sight of the actual workfield in the Netherlands. After graduating from HKU I founded AudioRally  (together with a befriended composer friend from the HKU) and we were able to work together with many people we met during our time at the HKU.

How did your early internships or jobs help build a foundation for where you are now? 

It introduced the career side of sound design. Learning how to deal with clients (even just watching other people have conversations about a project), learning how to deal with time and schedules, and also being able to use larger mixing stages for re-recording mixing. Learning why certain choices are made and why some designs work and some don’t.

What did you learn interning or on your early gigs? 

That you have to work very hard and if you make mistakes you fix them. And I also learned to stay myself in character but work hard and be punctual and precise. And also how much time do jobs need? I struggled with it in the beginning because I learned how to be creative but the business side of it all was still something I found tough.

Did you have a mentor or someone that really helped you? 

My mentor was my teacher Bart Jilesen on the HKU. Also, the people from the audio post-production company Metasound (now Cinemeta) were and still are lovely and let me use a lot of their facilities to help me with projects.

Career Now

What is a typical day like? 

I start up with coffee (def need coffee!!!) and then walk up my stairs to my studio after my kids are off to school and the dog has been walked. My studio is in my house which I love especially with my kids. Then I will start up whatever project I’m working on which divers from an audio tour for the Van Gogh museum, to foley editing of sound effects for a TV series or feature film, or sound design for a project that is about project mapping in a huge venue.

Also If I’m not on a paid job I’m trying to learn new stuff, record sounds or I’m busy working on a podcast about sound in the Netherlands called “Klankmakers” (Soundmakers) which I do together with befriended sound designer Lennart Kleinen. Or I’m doing stuff for the VCA, which is the Dutch Film & TV Audio Society where I’m on the board, or the SoundGirls Netherlands Chapter which I co-run.

How do you stay organized and focused? 

I make sure that I have a clear overview of what I need to do per day in terms of minutes of work for a project. Sometimes that’s easy due to knowing the length of a project (TV series or feature film) and sometimes that can be a hassle especially when there are a lot of feedback rounds and adjustments needed due to the creation of sound and images. But I try and keep an overview in my Pro Tools project or my agenda to make sure that I will make the deadline. I work best when I have a certain deadline in mind to keep me going and keep me focussed, but when you see my studio it can be a chaotic mess haha, but I like to call it that I have ideas lying around.

What do you enjoy the most about your job? 

The diversity. Because I work in so many different areas, it’s great because I have to use different tools and different approaches and get to work with different people. I like that every project needs its own soundtrack, and its own audible story, so it never gets dull for me.

What do you like least? 

Administration, people who aren’t team players and equipment not operating and taking so much time to try to fix…

What is your favorite day off activity? 

I walk my dog, do stuff with my kids & husband, get inspired by other arts, and go to concerts or a movie theater. I hope to be able to make music again in the future but due to lack of time, that’s not possible at the moment.

What are your long-term goals?

I hope I’m able to keep doing this work, be creative, and work with other talented people to create something that brings joy or can educate people.

Building a studio next to my house in the future is also on my wish list. A place where I can design, record, and mix. And where I can work with whatever is going on in the neighborhood would be such a dream.

In terms of projects, I hope I can continue working on project mapping projects or do sound design for amusement parks. It is such a great medium and has so much potential to create immersive sound design. I did the sound design for an immersive museum called “Quake” in Lisbon, Portugal which is the Lisbon Earthquake Museum. That was a very challenging project but also great to work on! So I hope to be able to do more of these kinds of projects in the future.

A unique immersive journey through the history of Lisbon

I think as long as I’m able to elevate the story with my sound design or sound effects/foley editing I’m as happy as can be in whatever medium the story is being told in.

What if any obstacles or barriers have you faced? 

Since there were almost no women in audio post-production when I started out in the  Netherlands (I was the first woman in both intern locations) I heard so many times “Oh wow a woman, I have never worked with a woman” (luckily mostly happily surprised) but that was weird at first because I never had the idea that being a woman in the industry would be such a big deal to some. I was always supported by my parents and it never felt to me that I was chasing a career that would be weird to some. Nowadays there are more women around so it’s not that big a deal anymore and is starting to become normal. But that made me work harder because you also know that mistakes will be less forgiving and you won’t be forgotten for that.

How have you dealt with them? 

In terms of other people connecting with me or reactions to me being a woman in this industry:  Be professional, be kind but also don’t let someone walk over you (don’t lower yourself in case someone is rude), be a role model for others.

I never had a woman role model in the Netherlands and was so very grateful to find out about  SoundGirls and to meet other women in this great industry. As soon as I found out about the existence I started the Dutch Chapter of SoundGirls and now we have a great network of women,  trans people, and non-binary people working in Dutch music, audio, and post-production.  I’m also on the board of the Dutch Film & TV Audio Society (VCA) representing women in audio and making sure we are heard and trying to be a role model there.

Advice you have for other women who wish to enter the field? 

Reach out to others (sign up to sound or other associations), learn stuff, know your strengths and weaknesses, always set your own boundaries and stay true to them, and keep yourself healthy:  mentally and physically. In this industry, it is so easy to be worn down, so we need to take care of ourselves while kicking ass.

And listen to the world around you. The more you use your ears the more you can get inspired.

Try to sit in a premix or ask for evaluations if you work for others so you learn how your work is helpful for others or if you need to change stuff when you work on a new project.

Must have skills? 

People skills, your network is everything.  If you’re a nice person to work with and work precisely and deliver, are good at collaborating with all sorts of departments is so important. Have a mutual respect and understanding of each other’s craft and try to make the best soundtrack possible with given circumstances. And know your strengths and weaknesses. Don’t be afraid to try out stuff, but don’t let it become your downfall on a project. And if something is not your thing don’t be afraid to say “no thank you” (and I know I’ve been there that you say yes to everything on your path because you don’t want to lose a client and try to get a foot between the door, but sometimes it’s better for yourself to say no to keep yourself sane. And people will respect you for that).

Favorite gear? 

I don’t really have favorite gear, but the ones I do want to mention:

My sound devices mix pre 6-II and my mics (LOM’s, Schoeps, Røde) so I can go out and record  sounds

My 5.1 PSI speakers, I love those speakers playing with sound in surround and hopefully will  upgrade to a Dolby Atmos in the somewhat near future.

And in terms of software, I try to keep challenging myself.  But I also try not to buy new tools all the time. I already need more time during the day to get to know the ones I have better. But I try to stay up to date with what’s happening in the industry although that’s challenging with being the sole person at my company.

If anyone wants to come on over to the Netherlands please reach out. Would love to meet you all!

Sydney Bolton Live Sound Engineer, Production Manager and Translator

Sydney is a freelance live sound engineer working out of the great Northwest. Working in live sound since 2012 and works for the Showbox / Showbox SoDo, Morgan Sound, Carlson Audio Systems,  and The Triple Door. She will be heading out on the road this fall with Gaslight Anthem as their monitor engineer.

Sydney’s interest in audio was sparked during her middle school years when she was recommended to The Vera Project in Seattle. The Vera Project is a DIY project that offers classes in audio, lighting, and studio recording and allows participants to volunteer to work their shows. Sydney says she was “always really interested in music. I actually thought I would become a musician and play in bands, I never thought I’d end up doing audio. When I was a kid I was really interested in how movies were made, and wanted to work in special effects for a while, so as I got older and started going to concerts that interest shifted to what goes into putting on a show and No one wanted to form a band with me, so I figured audio was the next best thing.”

Sydney volunteered with the Vera Project for about a year and a half before being hired full-time. At the same time, she attended the University of Washington and graduate with a degree in Electrical Engineering (focus in DSP).

CAREER START


How did you get your start?

I got my start at a DIY venue called The VERA Project in 2012, and I worked there from 2012-2016. I was a volunteer for about a year and a half before getting hired by their FOH staff.

How did your early internships or jobs help build a foundation for where you are now?

I was fortunate enough to join The VERA Project when there was a full staff of experienced engineers working at other venues, and it was those connections that really helped build the start of my career and get me outside gigs, especially once I turned 21 and was able to work in bars.

What did you learn interning or on your early gigs?

I learned a lot. I think the main thing I learned was to have confidence in myself and my skills because I was a high schooler in charge of running shows on my own. I got very used to being underestimated and doubted and learned to ignore people’s misconceptions of me. I developed strategies to deal with people that were being judgmental and ignorant and also learned the importance of letting the people that did accept me right away know how meaningful that was.

Did you have a mentor or someone that really helped you?

I would say I’ve had a few throughout the different stages of my career.

Back at The VERA Project, there was one engineer in particular named Chris Gibbs who did a lot to get me to the point where I could take shows on my own. He was also responsible for throwing me a lot of the first gigs I got outside of The VERA Project as I started to outgrow it.

Kelly Berry took a chance on me while I was still in high school and working for his small audio company was my first introduction to production work. Josh Penner, Robin Kibble, Alejandro Irragori, and Ryan Murgatroyd have all been very supportive and helpful with navigating the touring side of things.

More recently, I credit Josh Wriggle with seeing my potential as a production manager, convincing me to give it a try, arguing with the right people to make it happen, and mentoring me through the whole process. Aside from production managing the occasional Showbox show I also production manage at a smaller venue and take occasional production assistant work.


CAREER NOW

What is a typical day like?

It varies a lot depending on what job and venue.

On a typical day doing venue sound, I’ll show up and we’ll load in the tour, and get them set up. When they’re ready to soundcheck I’ll hand over drive lines and open up the PA. About half the time, especially at the larger venues I work at, the tour will be mostly or completely self-contained and that is pretty much all I have to do until load-out. If I do get to mix, I’ll talk to the support when they arrive, double-check that the input lists and stage plots we got are accurate, find out if they have any specific mix notes for me or any other requests, prep everything for soundcheck so that we can just throw and go. One of the main venues I work at has a 5:00 PM noise curfew most days, so usually opener soundchecks are pretty rushed – we are lucky if we get half an hour.

Working for production companies is obviously very different since you don’t have a system to walk into and sometimes the builds are very big. Usually, we’ll show up, dump the trucks, more often than not wait for the staging company to finish building the stage. From there we organize which cases go where and layout power, audio, build towers if needed, and fly PA. I am usually patch, so once the PA is in the air I get to work laying out everything that goes on the stage – placing subsnakes, coming up with a patch plan for all of the acts, micing everything, having a plan for changeovers, making sure the A1s know the input list. Then we do the show, take everything down, get it all back in the cases, and get the cases back in the trucks.

Production managing is very different. Hopefully, the tour has gotten back to me and I have all the information I need, but that’s not always the case. I usually show up a couple of hours before venue access, in case the tour arrives early and also so I have time to print and set out day sheets, give the shopper plenty of time to get hospitality shopped, tidy up the green rooms, etc. I like to hand over any cash to the tour first thing so that I don’t have to think about it, and if there’s a runner I introduce them to the tour manager as soon as possible. After the security meeting before doors, the rest of the day is managing parking, scanning in receipts and filling out paperwork, refilling the tour’s ice, and dealing with whatever problems arise. At the end of the night, I introduce the tour manager to our house manager to settle, help clean out the green rooms once the tour has left, and head home.

How do you stay organized and focused?

When it comes to scheduling, I use a digital calendar but also have a paper one hanging by my door that I write all of my workdays and call times into. I know my limits and try to avoid working more than 5 days in a row, and I also try to keep one regular weekday off (usually Mondays) and at least one weekend day off each month. It helps keep me sane – that I can have a little bit of regularity to my schedule, and I know that there’s at least one day when my schedule will match up with friends who work regular jobs.

What do you enjoy the most about your job?

I am the happiest on days when I get a mix dialed in that I feel proud of, on the days that I do sound for friends’ bands, and on days when I get to work with bands that I am a fan of. Those are the days that remind me why I do this. I also appreciate the huge variety of music that I get to work with – I’ve been introduced to genres that I didn’t know existed and found out about so many great artists through work. Even if it’s not music that I personally like, enough other people like it enough to show up and keep me employed that night. When I can’t appreciate that anymore it will be time to find another job.

What do you like least?

I don’t like that no matter how tired you are, how far away you’ve come from for that gig, or how injured or sick you are, there’s probably someone that had even less sleep than you, that came from even farther away to get there, that hurts more or feels worse than you. That’s the side of our industry that I don’t like.

What are your long-term goals?

I want to tour. I was really close before the pandemic, and have had many near misses since things reopened, but it just hasn’t worked out yet.

What if any obstacles or barriers have you faced? How have you dealt with them?

I’ve dealt with the usual misogyny that most women in this industry will face at some point, and I’ve written for SoundGirls in the past about experiencing racism for the first time. There are venues in town that I know I can’t work at if I want to be treated well and paid the same, and that’s frustrating but you just have to work around it. I’ve noticed too that lately it’s taken coming across some of the few other Asian people in this industry to find people willing to go out of their way to support me and give me opportunities, and while the solidarity is nice it’s frustrating that my career seems to hinge on it.

Mostly I just try to let it roll off of me. As I said above, I think confidence is key. I know that I’m a good tech and that the right opportunities for me will come along. Finding the people who support you and stand up for you, and keep them close by is also really important. I feel like I have gotten to the point where I have a really solid group of people around me, that has made a huge difference in how I feel at and about work.

But if it bothers you too much and you don’t want to put up with all of it, that’s totally valid too. I know that I have thought about quitting many times. In the end, I like my job and the people I work with too much, but that might not apply to everyone. It can be hard sometimes.

Advice you have for other women who wish to enter the field?

Be confident in yourself first and foremost. Until you get to venues big enough to have a separate monitor position you won’t have anyone to back you up or help troubleshoot, and there will be many times where you will need to stand up for yourself and trust in your skills.

Find the people that want to help you succeed and stick with them. Always say thank you. And once you get to a point where you can help others, try to create opportunities for those below you.

Also, don’t be afraid to turn down gigs or walk away from places that aren’t treating you well. If you are good at what you do, there will always be more work. There is a lot of pressure to say yes to everything, especially when you’re first starting out, but you don’t have to.

Must have skills?

You absolutely have to be able to keep calm under pressure. We spend a lot of time in hurry-up and wait mode but do enough shows and you will have one that goes catastrophically wrong.

You also shouldn’t be afraid to ask questions and own your mistakes. No one starts off knowing everything, and mistakes are part of learning.

Be someone that people like to work with. Technical knowledge can always be learned, but being someone that is on time and pleasant to be around will get you much farther.

Favorite gear?

I’m mostly on DiGiCos these days, and we’ve got Quantums at my main places of work. I got to try out nodal processing for the first time the other day when mixing monitors and it was pretty cool.

Translator

Knowing other languages can be surprisingly helpful too. During the pandemic, I revised Spanish translations for the plugin company Goodhertz and translated a new plugin into Spanish from scratch, which is a job I never knew existed. I speak several languages and I find it an excellent way to win over international crews (and it can also make facilitating communication much easier).

Read Sydney’s Blog

 

Taiya Cheng – Transforming Sound 

Taiya Cheng is a freelance Front of House (FOH) and Monitor Engineer. She grew up in Bangor, Maine, and was passionate about playing guitar with her high school bands and attending punk, hardcore, and metal shows. She remarked that these shows often sounded bad, and wondered how she could help change this. When it came time to attend college, Taiya took a general semester before making the decision to pursue a bachelor’s degree in communications at the New England School of Communications in Bangor, Maine.

During her junior year, a partnership between her school and a local television station allowed her to begin working as an audio engineer. After graduating, she was eager to further develop her skills and accepted a summer internship with PRG in Las Vegas. For Taiya, that summer was the push she needed to start her full-time career in audio: “Through this guided internship, I was learning workflow and applying what I learned in college to the real world. It all really clicked, even if I had to learn some things the hard way like ringing out monitors and frequencies.” She stayed in Vegas for three more years, primarily working as a monitor engineer at the Sunset Station Casino.

In 2017, Taiya moved back to the east coast to be closer to her family. She now lives in New York City and works for various production companies and music venues. She particularly likes working at her home venue, Elsewhere. At the end of 2019, she delved into touring. She has since toured as FOH with Madison Cunningham, Son Lux, and Overcoats, as well as monitor engineer with Sleigh Bells.

Earlier this year, Taiya opened up about her trans identity. As she transitioned as a
teenager, many of her colleagues were unaware. For Taiya, it was important to speak out on her journey in a time where so many LGBTQ+ rights are being attacked and to be open and visible in an industry that has traditionally been a cis-male-dominated space.

Maxime: What is your typical day like on tour and what’s your typical day like at a venue like Elsewhere? Are they different?

Taiya: Yeah, they’re different. When you’re on tour in a van, you wake up somewhere in the country, probably in a hotel room. You get ready for lobby call, get to the venue, and then it’s just like a typical day of loading in, setting things up, making share the PA sounds good… maybe trying to find a coffee shop nearby with good coffee. Then it’s just normal sound check stuff. I’ve found that with touring, everything is always on the go. You’re always thinking about what’s going to happen next, whether it be like the run of a show or finding coffee or finding a place to eat lunch, or maybe seeing if you have any downtime to see friends in town. Being on tour is always being on the hunt for something. You add to that coordinating with venue staff, which can be challenging, but also fun. It’s also great to be going into cool venues and seeing what the live sound community is like there. And then it’s the show, and you load out and pack the van.

Maxime: That’s a great point about cool venues because that’s how I met both you and Katie Lau – another talented sound engineer who works at Elsewhere. I think it’s always nice to go to someone else’s home venue and see how they run things.

Taiya: Yeah, that’s what I really like about working at Elsewhere, there’s a great community, it’s a queer-friendly space, and we have great acts come through all the time. And I love the familiarity of my home venue, knowing the gear, and my co-workers. To go back to your question about touring and venue work, there are some similarities. As a venue tech, you don’t always know who’s going to come through and how it’s going to be working with the band/artists’ touring crew. Then on the other side of the same coin, as a touring tech, you don’t know who the venue staff is and what their experience level might be.

Maxime: What do you enjoy most about this job?

Taiya: It would have to be the music. When you’re working with an artist you choose to tour with,
hopefully, you really like their music! When I mix FOH and tour, it scratches a more creative part of my brain when it comes to reverbs and delays, deciding which compressors or saturators to use to achieve a certain sonic characteristic. I love thinking of all the different techniques there are to achieve a balanced mix and to get it to sit well within itself. I also have a technical mind. When I work with production companies, it’s very utilitarian. It’s like a puzzle having to just make things work. Something that I love about working jobs with production companies is helping to facilitate the event even if I’m not the one behind the console. That could be from putting microphones on people to coordinating RF to being the comm tech or setting up the PA. So that scratches the technical side of my brain. I also love the travelling and adventure aspect.

Maxime: What’s your favorite day off activity, either on tour or at home?

Taiya: I’ve been trying to play guitar more often, noodling around. I love biking, I’m an avid bike rider.  Hanging with friends. Summer’s coming around, so you know hopefully going to the beach a lot, I’m kind of a beach bum.

Maxime: What are your long-term goals?

Taiya: I think it’d be cool to learn more about systems tech’ing and work towards being a systems engineer. I’d also like to teach. When I’m on a show site or at a venue and end up working with a greener tech, I love trying to get them to a place where they better understand what they’re doing. I think that’s really fulfilling for me because I’m helping them move forward in their career and in a way it’s also a form of problem-solving: trying to figure out how you can convey this concept to this person in a way where they can understand it and when you need to explain things it forces you to do your diligence and make sure you know what you’re talking about!

Maxime: Have you faced any obstacles or barriers in your career?

Taiya: Thinking I had to say yes to everything. It’s an easy thing to do in this in this industry, and then you just overburden yourself. You need to figure out your boundaries and be comfortable with saying no to things. Sometimes I think a lot of us freelancers think we have to say yes to everything because we don’t know when the next gig is coming through, or we have FOMO, but we also need to prioritize a work-life balance.

Working with grumpy sound guys is also challenging, or just being a woman in the industry as well. Having men “explain” things to me when I didn’t ask for that condescension and things like that.

Maxime: How do you deal with those obstacles?

Taiya: Well, for work-life balance, I’ve become very comfortable saying no because I know work things are always going to pop up. If it doesn’t immediately make me say fuck yes, I usually don’t do it. It’s important to have a life outside work because it’s easy for work to take over. Especially because audio work is kind of a lifestyle, right? So, it’s easy to fall into that overworking trap sometimes.

When I’m dealing with grumpy sound guys, I just stay confident. I try not to cave in, I stay confident, and that usually helps. Whether that teaches that guy anything is another story, but as far as trying to get through my day, I try not to let that person bother me because of who they are.

Maxime: Do you have any advice for young people who wish to enter the field?

Taiya: Be confident in what you know, but also don’t be afraid to ask for help. Know that it’s okay to ask for clarification. Always stay curious, and watch a lot of educational videos – YouTube is a great resource for audio knowledge.  Learn to hang out, absorb information from other techs around you but also to be social. If you’re going to be working with someone for fourteen-plus hours a day, you want to be able to be social. being social.

Maxime: What are some must-have skills to become an audio engineer?

Taiya: Knowing how to troubleshoot is a big one, and knowing how to stay calm under pressure is very important. Being proactive. Asking the right questions for clarification on things. Thinking ahead, and signal flow. Good old signal flow.

Maxime: Do you have any favourite pieces of gear?

Taiya: I really like Digico consoles. For hardware, the SSL Bus Compressor, the SSL Fusion, and the Neve Dual Diode Bridge Compressor. I also love Beyer Dynamic microphones.

 

Karla Barrera Mixing at Both Ends of the Snake

 

Karla Barrera has been working in live sound for over twelve years and got her start working at clubs throughout Los Angeles, as a house tech, including The Viper Room. She works for Launch, and Motion Audio, and tours as FOH and Monitor engineer and is currently touring with Mt. Joy as their monitor engineer.

Karla has an extensive background in music, playing in symphonic, marching, and jazz bands, as well as drum lines. Karla says “Music was a huge part of my life and being able to play music in my teenage years really inspired me. I loved reading music and practicing whatever instrument I was into at the time while also reading the album credits on records that I loved. That’s when I discovered the people behind the recordings and production of a record. It sparked my interest in wanting to be a part of music behind the scenes.” Karla attended concerts and this solidified her path in audio, she fell in love with the ebb and flow of energy from the artists to the audience and knew she wanted to become a FOH engineer.

Karla would enroll in The Art Institute of Los Angeles and graduated with honors. She would cut her teeth interning at The Viper Room, and under the mentorship of Matt Andrade was able to focus on her mixing and teching skills. Karla credits several mentors that took the time to teach her how to be confident in her work, including; Christian Murphy, Jason Hines, Doron Dina, and Francis O’Riley (Franky Fingers).

Karla says some of the things she learned when she was starting out was signal flow on analog equipment, and considers it so valuable. She also learned that it was important to recognize signs of burnout. Karla recounts her experience with burned-out engineers “There were so many people I came across that were burned out and didn’t care as much about providing a good service to local bands. I learned that we are in a position of service to an artist and that it’s important to provide a good experience to them without ego.”

Career Now

What is a typical day like? 

On tour:

Load in / set up / sound check can be from 10 am – 4 pm

⁃ Set up monitor world on stage left

⁃ Direct hands to help me flip my desk, build mic stands, run hoses across the stage, etc…

⁃ Put up antennas and Scan for new frequencies

⁃ Make sure the artist is comfortable in the new space.

Dinner break 4-7 pm

⁃ Make sure all body packs have fresh batteries.

⁃ Allows time for a shower if I didn’t get to it in the morning

⁃ Reorganize my suitcase/day bag. Has to be done every other day or else life becomes more chaotic than it already is.

⁃ Go out for dinner w other crew members / wait for the group Uber eats order/catering

⁃ Stretch

⁃ Nap

⁃ Change into show clothes. Or just fresh socks and shoes.

Show/load out 8 pm -12 am

Just to do it all again the next day (unless it’s roadie Friday)

How do you stay organized and focused? 

I drink Guayaki Yerba Mate or a cafecito.  Also, PACKING CUBES !!! Oh and I take notes constantly.

What do you enjoy the most about your job? 

My favorite part is constantly learning and growing. I feel like, after every tour, I evolve into a new version of myself. I’m constantly soaking up new information and implementing new techniques.

What do you like least? 

When you build a file on an offline editor and the venue desk does not have the latest firmware.

Just a heads up: Digico SD12 had an update in October 2022 to v1619 and the only offline editor available for download is v1619.

If you tour what do you like best? 

I enjoy working directly with the artist and collaborating on ways to have the best-sounding show.

What do you like least? 

Weird sleep schedules and having to wake up in the morning and find the nearest bathroom in a new city/venue.

What is your favorite day of activity? 

Being in nature and getting some fresh air. It’s important to get off the bus or out of the venue and connect with the earth.

What are your long-term goals?

I have some bucket list venues I would love to mix shows at (Madison Square  Garden, Sydney Opera House)

Also, work with more Latin artists down the line.

Continue to become more knowledgeable and gain more practice networking pro audio equipment in all aspects.

What if any obstacles or barriers have you faced? 

One of the most recent obstacles I’ve faced was having a family member end up in the hospital while I was away. It was a rough time for me because I had to set aside my feelings and emotions in order to mix a good show.  I learned to keep myself together somehow.

Also, before I started touring with a console, I felt like a lot of house engineers couldn’t picture me as a seasoned sound engineer. I always felt like I had to prove myself to new people all the time. That was annoying. Once I started touring with my own desk, I felt like it somehow gave me more credibility as an engineer. I guess you could say that comes with the growing pains, but also mainly because I’m a  Latina woman mixing sound. It just doesn’t compute with some people right off the bat that I could, in fact, mix and navigate my way around any desk and mix in any room or at any festival. I’ve had many “first time doing this” experiences on every single gig I’ve been on. They’ve all been different, but I always managed to make the best of every situation.

How have you dealt with them? 

When it comes to personal family issues and not being able to help with what’s going on back home, it’s just not easy to deal with it. I knew prior to accepting my latest tour that my mom was struggling with her health and I was open to management about it. If my sibling told me he needed me in person, I would have to leave the tour. It hasn’t gotten to that point this last tour thankfully, but I had to keep working without letting the stress back home affect my work. I think being open and honest can sometimes help feel more supported by management/clients.

Also, I burned sage and palo Santo on stage left to help cleanse my space and mind to maintain a healthy and focused state of mind.

Re: preconceived notions of me – I learned to care more about what the artists/management think about my mixes and work ethic.

Advice you have for other women and young women who wish to enter the field? 

Always try new things; don’t stay in the same place for too long. There is so much room to grow in the world of production.

Watch YouTube videos / listen to podcasts about audio about live sound/rf coordination / SMAART / DANTE /  live sound desks / learn to network consoles  with waves or UA / learn how to multitrack on every console

Must have skills? 

Favorite gear? 

Karla’s Top 100 Favorite Albums!!

Karla’s Top 100 Favorite Albums 

  1. Yeah Yeah Yeahs – Fever to Tell
  2. Radiohead – In Rainbows
  3. The Mars Volta – Frances the Mute
  4. TV on the Radio – Nine Types of Light
  5. Thom Yorke – The Eraser
  6. Jimi Hendrix – Axis: As Bold As Love
  7. Bob Marley – Kaya
  8. Arcade Fire – Funeral
  9. The Black Keys – Brothers
  10. The Strokes – Room on Fire
  11. Lianne La Havas – Self-Titled Album
  12. Unknown Mortal Orchestra – Self-Titled Album
  13. Aniceto Molina – Los Mejores Exitos
  14. Nick Hakim – Green Twins
  15. Imaad Wasif – The Voidist
  16. The Budos Band – Long in the Tooth
  17. Charles Bradley – No Time for Dreaming
  18. Shuggie Otis – Freedom Flight
  19. Moses Sumney – grae
  20. Little Dragon – Machine Dream
  21. Beirut – The Flying Club Cup
  22. The Black Angels – Passover
  23. Fever Ray – Self-Titled Album
  24. The Knife – Silent Shout
  25. Toumani Diabate – New Ancient Strings
  26. Al Green – Call me
  27. Pedro Infante – Palabritas de Amor
  28. Badbadnotgood – IV
  29. Bjork – Medulla
  30. Portishead – Dummy
  31. Sufjan Stevens – Age of Adz
  32. Interpol – El Pintor
  33. Chet Faker – Built on Glass
  34. Charlotte Day Wilson – Stone Woman
  35. Donavan – Sunshine Superman
  36. Nick Drake – Pink Moon
  37. SadGirl – Water
  38. Haelos – Full Circle
  39. Idles – Joy as an Act of Resistance
  40. The Kills – Blood Pressures
  41. Band of Skulls – Baby Darling Doll Face Honey
  42. Them Crooked Vultures – Self-Titled Album
  43. Los Angeles Negros – Y Volveré
  44. Calle 13 – Self Titled Album
  45. Hercules and Love Affair – Self-Titled Album
  46. Selena – Amor Prohibido
  47. Durand Jones & The Indications – American Love Call
  48.  Caifanes – Self Titled
  49. Siouxie Sioux and the Banshees – The Rapture
  50. Bat for Lashes – Two Suns
  51. PJ Harvey – White Chalk
  52. Television – Marquee Moon
  53. Devotchka – A Mad And Faithful Telling
  54. The Unicorns – Who Will Cut Our Hair When We’re Gone?
  55. Band of Horses – Cease to Begin
  56. Heartless Bastards – Arrow
  57. Teleskopes – Self Titled
  58. The Hives – Tyrannosaurus Hives
  59. Savages – 2013
  60. Shout Out Louds – Howl Howl Gaff Gaff
  61. The Velvet Underground – The Velvet Underground and Nico
  62. Devendra Banhart – Cripple Crow
  63. Helado Negro – Far In
  64. Soft Hair – Soft Hair
  65. Marconi Union – Weightless
  66. Glass Animals – ZABA
  67. Phantogram – Eyelid Movies
  68. Dirtwire – Electric River
  69. HVOB – TOO
  70. Janis Joplin – Pearl
  71. The Growlers – Are you in or are you out?
  72. Dungen – ta det lungnt
  73. Dr. Dog – B Room
  74. Moonface – Heartbreaking Bravery (w/ Siinai)
  75. Karen O & Danger Mouse – Lux Prima
  76. Pink Floyd – Dark Side of the Moon
  77. Radiohead – King of Limbs
  78. Yves Tumor – Heaven to a Tortured Mind
  79. Antibalas – Where the Gods Are In Peace
  80. Wings – At the Speed of Sound
  81. U.S. Girls – Half Free
  82. All Them Witches – Nothing as the Ideal
  83. ZZ Top – Tres Homres
  84. Spoon – They Want My Soul
  85. José González – Veneer
  86. Kokoroko – Could We Be More
  87. Blood Orange – Coastal Grooves
  88. Curtis Harding – Face Your Fear
  89. Nina Simone – Baltimore
  90. Cream – Disraeli Gears
  91. Juan Gabriel – Lo Mejor En Bellas Artes – 40 Aniversario (En Vivo)
  92. Zola Blood – Black Blossom
  93. Future Islands – On The Water
  94. Sault – 5
  95. Franz Ferdinand – Franz Ferdinand
  96. J.S. Epperson – Splendor
  97. Lee Fields – My World
  98. Grizzly Bear – Shields
  99. Local Natives – Hummingbird
  100. Miles Davis – Bitches Brew

 

Chelsea Body – Foley Mixer & Editor

 

Chelsea Body is a freelance Foley Mixer and Editor, working primarily with Footsteps Foley and Formosa Group (Toronto). Chelsea has been working in Foley for seven years and became a freelance engineer five years ago. Currently, she can be found working among the Foley teams on critically acclaimed productions such as ‘Dune (2021)’, ‘Women Talking (2022)’, and ‘The Handmaid’s Tale (2018)’.

Chelsea grew up taking classical piano lessons from age 10 and worked her way through the Royal Conservatory rudiments to a Grade 10 level. She now considers the bass as her main instrument, which she enjoys. She loved listening to music and going to concerts as a teenager and always admired the tech crew at live shows and thought that would be a really fun job. She attended Mohawk College and Fanshawe College, both in Ontario, Canada, and graduated with an Advanced Diploma in Applied Music from Mohawk College (2012), Diploma in Music Industry Arts from Fanshawe College (2014), and a Post-Graduate Certificate in Audio Post Production from Fanshawe (2015).

 

Career Start

How did you get your start?

At the end of college, I was offered a contract at Urban Post in Toronto doing Closed Captioning work. While it wasn’t specifically in my field, it was my first foot in the door and I took that opportunity to connect with the staff there and show my interest in audio. After a few months, they were looking for a new Foley recordist and they thought of me for the job. It was a night gig and a position I didn’t have much experience in but I jumped at it. I had such wonderful, supportive mentors there and I learned so much from everyone. After about two years, the time came for me to explore other studios and network with the broader Toronto community, and from there I went freelance as a Foley mixer and editor.

What did you learn interning, or on your early gigs?

I especially enjoyed my time working in a post house as I was able to jump between roles and projects. If Foley wasn’t busy, I would be editing a reality tv show or was able to take the time and sit in with a re-recording mixer, or an ADR session. Being in that environment, I was able to gain knowledge in many aspects of the post field which really helped me understand the wider process and how to better communicate with other colleagues along the pipeline of a project.

Career Now

What is a typical day like?

Footsteps is about an hour’s drive each way from home which isn’t ideal but I enjoy being in the city and having that escape to the countryside for work. We work a typical 8-hour day, though I often work longer to tidy things or finish up emails and scheduling. While my main role is Foley mixer and editor, I also manage the scheduling at Footsteps. We work as a team so I find time throughout the day when I can step aside to answer client emails and update our work schedule. We have a small, tight-knit crew there that’s extremely collaborative and I enjoy working in a team like that.

How do you stay organized and focused?

I guess I am somewhat organised even if it doesn’t feel that way sometimes! I do enjoy finding new tools to help me keep track of everything but it can be difficult to find software geared toward our field that does exactly what we need it to do. I still keep an old-school handwritten planner because I find it faster to jot things down than to open an app on my phone. Finding what works for you is important and planners that I can put stickers in make organising things more fun too!

What do you enjoy the most about your job?

Being able to work on a variety of projects is a real pleasure. One week we’ll have a drama, the next, a horror, and then a comedy. All of those genres require a different set of aesthetic and creative mindsets and I love the variability and challenge of jumping between them. Sound editors typically work on a job for weeks or months at a time while our timeline is much shorter in Foley, so we have the opportunity to create sounds for many different projects throughout the year.

What do you like least?

Sometimes the budgets we have to work with can be challenging. We always focus on the high quality of our work and that can be tough to manage when we’re on a tight timeline.

What is your favorite day off activity?

On my off days, I enjoy focusing on my hobbies which include yoga, sewing/crocheting, and playing bass in my band.

What are your long-term goals?

I still have a lot to learn and I’m looking forward to being able to do that. I would like to spend some time in different roles in the post field to have an even better, well-rounded knowledge of the work my colleagues do. I know that no matter what, so long as my work is in audio, I will be happy so I’m looking forward to a long career playing with sound.

What, if any obstacles or barriers have you faced?

I feel very fortunate and acknowledge the privileges I’ve had in my career so far. I think a big thing for me has been having the ability to say ‘yes’ to pretty well every opportunity that has come my way. I am so grateful for the mentors I’ve had who have helped guide me and I hope to extend that to the next generation of folks coming into the industry.

Advice you have for women and young women who wish to enter the field?

Say yes to those opportunities. Even if you doubt your ability, say yes and figure out how you’re going to manage it after. Apply for those jobs where you don’t think you quite qualify because you never know, you could be the best candidate. Don’t sell yourself short and be sure to ask for what you deserve. My golden rule is always “don’t be a dick”, that goes for everyone. If you’ve got a personality that people want to be around, that’s worth more than how much you know about compressors or the frequency response of every microphone.

Must have skills?

Unfortunately, you have to know ProTools for post-audio work. Every studio uses it – though some editors work with other DAWs, so long as you’re able to output what your supervisor or client needs from you.

For Foley recording, a good knowledge of different microphones is useful as well as recording techniques including compression and EQ.

Favorite gear?

Hardware:
TLM103
My ’92 Lake Placid Blue PBass

Software:
FabFilter Pro Q3 – I put that on EVERYTHING
Whatever the most current Izotope RX Suite is at the time (de-click gets the most use in my work)

*Huge thanks to my parents for sending me to piano lessons and listening to my sometimes painful practicing; for not getting upset when I said I wanted to go to music school; and for generally being super awesome and supportive.*

 

Emily Pearce – From the Marines to Live Sound Engineer

 

Emily Pearce is the Monitor Engineer and RF Tech for independent artist Blue October. Emily is a longtime musician, learning to play piano at age seven, and would play throughout high school. She also learned to play clarinet and taught herself the oboe in middle school, while playing with percussion ensembles and the drumline during high school and college. Emily learned to play the bass guitar while attending The Los Angeles Recording School.

Emily would enroll at Grand Valley State University in the music education program, yet after two semesters Emily joined the Marines and auditioned for the Marine Corps band. Emily didn’t make the cut which Emily believes was a blessing in disguise after learning about her friend’s poor experience with the Marine Corps Band.  Emily would serve a four-year term working in Marine Corps aviation with Marine Aviation Logistics Squadron-13 and VMX-1 both out of Yuma Arizona. She received an honorable discharge as a Sergeant.

After being discharged Emily became interested in the technical side of music production and reached out to a few engineers to get a feel for what that might be like.  Emily loved the idea of touring and working live events and used her military benefits to enroll in The Los Angeles Recording School, graduating with an Associate Degree of Science in Recording Arts.

Emily believes the seeds to work in the music industry were planted long before she realized these jobs existed, growing up Emily says she has vivid memories “of Michael Jacksons Thriller, Journey, and Metallica playing in our living room.  Alongside artists like Ella Fitzgerald, Dean Martin, Led Zeppelin, and The Beatles.  I was always borrowing (with or without permission) my older brother’s mp3 player and my older sister’s CD player so I could jam some MCR, Atreyu, and Death Cab for Cutie.  I developed a love for metal and went to my first show at 15 and fell in love.”

Career Start


How did you get your start?

I moved to Los Angeles to attend The Los Angeles Recording School in 2017 to take the opportunity to dip my toes into a major market.  Since the program I attended was primarily studio focused, I took a lot of volunteer opportunities around town and was the person that showed up to a gig to just ask questions.  I shadowed a few people at White Oak Music and Arts in the valley and The Viper Room on the strip in Hollywood.  I attended a SoundGirls class on live sound at the Ventura Theater and was linked up with a summer internship at Schubert Systems.  I worked my butt off and showed I could learn and be a part of a team. I was hired full-time and worked there up until the pandemic.  During that time I learned so much and was afforded a lot of opportunities to network and grow.  None of us were hired as just one specific role which gave me experience in many positions like being a Systems/PA tech, RF tech, stage tech, and mix engineer for notable artists.  I also met people who hired me for my current gig, which may be the best part.

I also worked at a few clubs/theaters around town including The Whiskey, The Federal NOHO, and The Satellite in Silver Lake to name a few.

What did you learn interning or on your early gigs?

Understanding your place in a team is just as important as being the leader of it.  Being teachable and asking questions when you don’t know something will make people trust you more than if you think you know better than everyone else.  And if you are mixing monitors, don’t take it personally.

Career Now:

What is a typical day like?

I am primarily a touring engineer as of right now.  We usually start loading in at 11 am and with a lunch break, we are usually ready for line check with techs at about 2:30-3 pm.  The guys come to the stage to check a few songs and will sometimes use that time to work on adding new songs to the setlist. Depending on how long they want the stage, we are usually done and have a small break from 4-5 pm before the meet and greet.

During our meet and greet, the band plays one song and while the band takes pictures, the techs get the stage peeled for the opener and cover the set.  Dinner break is 6-8 pm.  I use this time to hang out and make sure I’m ready for the set by putting fresh batteries in all my wireless, checking my scenes/setlist for correct order, making sure I’ve saved my file, etc.  We do another line check right before the set starts at 9 pm.  Our show I almost 2 hours so we are usually loaded out and lock the trailer at midnight.  Then we shower and get to the bus before call usually around 2-3 am.

How do you stay organized and focused?

I like to make sure everything goes back in the same place and in the same order just as a general rule.  This applies to our trailer pack and how gear is packed in the cases and how it’s set up/torn down.  Things like mics and labeled looms/cables are all inventoried by me before they go into cases.  I always pack up my personal things like laptops, adapters and my in ears first followed by the band’s molds and wireless.  Making sure you have a routine helps you not misplace gear especially when load out is moving fast.

I have a photographic memory so I’m pretty good at seeing when something is missing, but having a physical list of gear or order of operations for yourself could be a good way to do the same thing.

What do you enjoy the most about your job?

I love the problem-solving and technical aspects of my job.  It’s always fun to figure out a new way to do something or an easier way to get the job done.  I love live events because of the finality of a show and how fast things move.

What do you like least?

RF anxiety on a daily basis.  Our space is shrinking rapidly.

If you tour what do you like best?

I love traveling and working with amazing people while doing what I love.  Sometimes I have to pinch myself to make sure I’m really awake.


What do you like least?

I don’t love paying for an apartment back home when I’m hardly in it.


What is your favorite day off activity? 

I love going to get a good meal on days off.  Usually something local or what that place may be famous for.  Second to that would be hiking and mall walking.

What are your long-term goals?

I would love to work on bigger festivals and shows than what I am doing right now, although I’m pretty content with the level of touring I’m at.  I am spoiled and skipped van tours.  I just want to always come to the gig excited to work the show and excited to see the people I work with. Right now I’m so blessed that I have both of those things.

My long-term goals are probably more knowledge/skill oriented than working for a huge artist.  I just want to be the best I can be at my job.

What obstacles or barriers have you faced?

I am lucky that I haven’t faced too many obstacles along the way.  I know that working in a vastly male-dominated world can be daunting to some, but that is something I was used to since I am a former Marine where the numbers are almost identical to live audio.  I have been turned down from gigs because a touring camp didn’t want a woman on the bus, but that is their loss and I wouldn’t want to work with people who don’t want me around for something so trivial.

How have you dealt with them?

I find that walking into a gig or venue with the right attitude makes those around you respect you.  I tend to show up to the gig with a level of confidence that shows I should be respected, not to be confused with arrogance or false confidence.  I’d like to think that’s working for me because I rarely encounter anyone who gives me a hard time.  Plus I know I have 11 brothers with me on the bus that always have my back.

Advice you have for other women and young women who wish to enter the field?

Have confidence.  In my experience, the industry is changing, especially after the pandemic.  A lot of the people who had old ways of thinking have been weeded out.  Trust yourself and know that you belong.

Must have skills?

Wrapping cable and a good attitude will take you a very long way.  Signal flow and having a good grasp of digital gear are a must as well.

Favorite gear?

I love having a Q box with me.  I was generously gifted with one and it’s one of my favorite things to have with me if I need to troubleshoot.  I’m also very grateful for Shure’s wireless workbench software.  It’s essential for coordinating wireless and I use it daily while on tour.

Anything else you want to add or contribute

Never stop asking questions and learning your craft.

And a huge shout out to Mike G from Schubert Systems for giving me an amazing start, to Josh Sarraulte for teaching me and continuing to teach me everything I know, and to Mckenzee Morley for hooking me up with my current gig.

The people you meet and form friendships with along the way are one of the most important things you do!

Sam Boone – Systems Engineer

 

Sam Boone has been working professionally in audio for just three years and is currently a freelance system engineer, completing her first tour with Volbeat in 2022. She discovered audio in middle school and spent considerable time working in churches through her teen years. Sam played in the school band as an oboist and then took up guitar as she decided she wanted to attend a school for music. She admits that she was a terrible musician but her love of music, would lead her to live event production. She would go on to attend Middle Tennessee State University as a part of their recording and music program. At the same time, she was interning with a local production company, and when they offered her a full-time position she dropped out of school.

Career Start

How did you get your start?

I got my start interning at a regional production company. I managed to land that internship by asking for an introduction from a family friend who was familiar with the company.

What did you learn interning or on your early gigs?

I learned several technical skills, primarily basics like cable management, show power, and troubleshooting and repairing gear. I also learned how to prep a tour from start to finish, line check, and build show files. More importantly, I began to see and learn how to interact with clients, how to ask questions, and observe.

Career Now

How did you discover System Engineering?

I discovered systems engineering during my internship while working in the shop, learning what a drive rack is and what it does. That led to me asking about the position of the person using the gear and what all systems engineering entailed.

Why were you drawn to System Engineering?

I was drawn to systems engineering because, unlike so many other aspects of live audio engineering, it’s as much a science as an art. For me, it’s taking the challenge of making the show sound the same in every seat into the context of a new venue daily. I enjoy that I can measure the system, see how well I’ve done, and see what I need to improve. It’s fascinating that I can see a lot of how something sounds on an analyzer. My work is a specific, measurable process, and nothing is random. It’s all a series of decisions with measurable effects, and I can go back to the data and say this is why I made these choices, and that, to me, is something I love.

If someone wants to pursue this path, what advice do you have for them? Education and skills?

The advice I have for someone jumping into this specific role in the industry is to not only get a mentor but also to read a lot. Sound Systems Design and Optimization by Bob McCarthy is a book that I have learned a lot from. I recommend reading Between the Lines by Michael Lawrence as well.

What is a typical day like?

My typical day on tour begins by making a 3D model of our venue for the day (or verifying a pre-made model if I was given sufficient information in advance). Then I’ll design the PA and send the splay angles, trim heights, and all other necessary information to our fly techs. From there, I’ll build FOH, run snakes, and get our FOH engineer powered up and ready.

Once our FOH engineer completes the virtual sound check, we tune the PA, take a walk and listen to it. At that point, we will make any changes we see fit. Then we go onto line check and soundcheck with the band.

Additionally, I’ll usually sit with all the front-of-house engineers through their soundchecks and make any changes they ask for in the PA. I typically have some downtime from there to relax, and finally, we have a show.

During the show, I walk around the venue and listen to the PA. I will also make any changes asked for by the engineer or any specific changes needed to make all areas of coverage sound the same tonally across the venue. Last, we load out and do it again the next day.

How do you stay organized and focused?

I use several spreadsheets and keep notes on everything from the patch to show file changes.

What do you enjoy the most about your job?

I enjoy the challenge of making every seat sound the same every day, regardless of the venue we are in. Some days we play in clubs, while others are in arenas. No matter the venue, my goal is to have every seat at every show sound as close to the same as possible.

What do you like least?

While I love doing tours in Europe,  what I dislike the most is the time change when I am there.  Tour life can be challenging to regulate and manage all aspects of your life, whether it be work, relationships, or simply trying to figure out how to have a functional schedule without burning yourself out. The time change simply adds another layer to the mix and makes talking to friends and family much more difficult.

If you tour, what do you like best?

I enjoy the people I meet and the travel.

What is your favorite day off activity? 

I go to the gym or run on days off to stay physically active. I also work on the next day’s gig, so I feel confident and prepared when I show up the following day.

What are your long-term goals?

Long term, I would love to become even better at my craft. I plan to eventually work on new technology or theory in research and development. I aim to contribute to the industry in a way that will outlast me. I plan to leave behind a better version of the industry than I found when I started.

What, if any, obstacles or barriers have you faced?

For me, the most challenging part of getting started was learning where to start asking questions. For a long time, I didn’t have enough knowledge to ask questions worth answering. Also, once I started learning about audio and its different aspects, there was a moment when it felt overwhelming to look at all the skills I needed to know.

How have you dealt with them?

I decided to deal with this by choosing one skill at a time to work on learning and then either further pursuing it if I was interested in it or moving on to the next one if I wasn’t. That’s how I gathered interest in systems engineering, leading me to my current job.

Advice you have for women who wish to enter the field?

My advice for young women joining this field would be not to be intimidated or deterred by the people around them. Some of the nicest people I have ever met, I’ve met on tour. We’re all figuring it out as we go, and we’re all constantly learning. If someone won’t answer your questions, it’s a sign you should be asking someone else.

Must have skills?

My must-have skills are troubleshooting, organization and communication.

Favorite gear?

My favorite piece of gear I’ve used this year is the Meyer Galaxy 816 processor. I’ll put one in front of any system, and it’s been a game changer to have access to U-shaping for tuning PAs.

You Can Find Sam on The Signal to Noise Podcast

 

Kylie Grace Snyder – Forging her Own Path

Kylie Grace Snyder is a reformed singer-turned-audio and media engineer working on staff at the University of Michigan’s Duderstadt Center as Technical Lead for Media & Studio Arts. She loves building complex integrations between analog and digital systems, primarily in studios, and talking about her experiences as a trans woman.

Kylie got her start in audio at age 13 participating in choir and band and by the time she got to college, it was the only path she wished to pursue. She received a bachelor’s degree from Ball State University in Gender Studies, with minors in Digital media and English, and a nearly-complete degree in Music Engineering Technology from Ball State University, and a Master’s Degree in Science in Music Technology from Indiana University. She is also a classically trained vocalist.

Career Start

How did you get your start?

Primarily doing freelance work throughout the midwest. I managed to land a 9-5 not long after graduating college (luck) where I was helping run a major audio website at the time. So thankfully my writing experience came in super handy. After a number of years doing that while freelancing I decided to get my master’s degree, as I was very interested in working at a university (turns out it was for the safety :), and that eventually led me to where I am now.

What did you learn interning or on your early gigs?

To not overreach with perceived knowledge. You’re not going to know everything, but despite how it may feel, you’re not supposed to. Not knowing something is wildly acceptable so long as you ask for help.

Career Now:

What is a typical day like?

These days they’re relatively chaotic, though nothing like my days of running shows, but in general, most days are relative chaos. I spend a handful of hours in various meetings depending on the day (production meetings, admin, IT, etc.) and completing various related tasks (expense reports, demographics data, purchasing, etc.). The best days are those where I’ve been pulled into the studios to help with a challenging issue (PSU blowing up, network abnormality, or even just QC that doesn’t make sense) as I feel most directly connected to the job. In essence,  I do my best to support my team through the various technical challenges they may face.

How do you stay organized and focused?

I promise to let you know when I figure it out 🙂 Realistically, for me, it’s my calendar which I live and die by. Over the years I’ve found that to be the best mechanism for coping with my ADHD as lists, etc. are wildly nebulous and don’t provide the accountability I need. For me, it’s all google calendar.

What do you enjoy the most about your job?

Learning new things and solving unusual problems. Once the technology is working I’m wildly disinterested and would prefer to hand the task off to staff. Finding the problem, however, is a supreme joy for me as my brain finds troubleshooting to be an endlessly fun game of logic puzzles.

What do you like least?

Meetings and paperwork. They’re absolutely terrible. However, the studios don’t keep running just through enjoyable gigs, so it’s helpful to remember that even the most mundane administrative task can have a material impact on facility operations.

What is your favorite day off activity? 

Relaxing with loved ones, hiking, and playing video games.

What are your long-term goals?

Oh, that’s a good one… I often toy with the notion of getting a Ph.D. but I also muse a lot about getting an MSW and trying to help people. What I’ll surely wind up doing, as it tends to be my pattern, is keep learning new things and expanding my skill set.

What obstacles or barriers have you faced?

We’ve reached a few challenging questions. My early career was spent as someone who presented as masculine and I didn’t have any issues. I’ve experienced some harassment at work now that I’m out, however, in general, I have a really safe workplace. The real barriers have been global – dealing with bigotry and the politicization of who I am as a human. That really sucks and wears thin some days but I try to be brave.

How have you dealt with them?

The issues I’ve experienced have occurred at 9-5 jobs so I followed the appropriate channels to address them through HR.

Advice you have for other women and young women who wish to enter the field?

That’s a really difficult question as I only started transitioning in 2021 which was long after I had an established career. That said, I think the most universal advice I can give is to be authentically yourself. Not everyone is going to like that person, however, nothing good comes from being what another person wants. Also, stand up for yourself and others when things are wrong / feel bad even if it’s scary. Nothing changes if people aren’t told how they’ve misstepped.

Must have skills?

Knowledge of IP networking and the ability to troubleshoot

Favorite gear?

I have a handheld Sencore SP395 and a DSO Shell handheld oscilloscope that are still my first go-to’s for mobile testing. They aren’t terribly exciting but they’ve gotten me out of more jams than I can remember.

 

 

Eve Louise Horne founder of PeakMusicUK and We Are The Unheard

 

Eve Louise Horne is the founder of PeakMusicUK and We Are The Unheard. She has worked in professional audio for over 20 years and graduated from Gateway School of Recording validated y Kingston University with a HED.  Eve is a singer, songwriter, and producer.

Career Start

Eve got her start in the industry at age 18 when she signed to Polydor Records in a girl group. She skipped her last year at BRIT School and instead went on tour with The Backstreet Boys, Boyzone, and Peter Andre. She has also worked with Jermaine Dupri and Andrea Martin. She would eventually join and another girl group signed to EMI in Denmark, they worked with Soulshock & Karlin (who are Danish), Diane Warren wrote a song on our album and I was super lucky to sing another song on this album that was written by Andrea Martin too.

Career Now

What is a typical day like?

My days are always different and I love it that way! I will wake up, smile, and listen to some gratitude affirmations. My 3yr old daughter comes in with her teddy and we have a cuddle and play mummy’s songs.

Then I get us both fed and ready to bring her to nursery and I come back home, have a coffee, and start either having meetings via zoom, working my way through my to-do list which could be anything from editing a podcast for a client, editing my own podcast, creating video tutorials to teach production or songwriting using Ableton or Logic Pro X.

It could be recording vocals for my own tracks, writing to briefs, writing a new track, going out to teach in schools or talk on panels and then I come back, pick up my daughter, get her fed and ready for bed and then I go back to my computer and continue to send emails or finish things up. I will then read a bit or do a bit of learning. Then Repeat! Hahaha!

How do you stay organized and focused?

Lots and lots of Post-it notes, lists, calendars, and a lot of it in my head!

What do you enjoy the most about your job?

Helping people, being a role model, and raising awareness

What do you like least?

I am doing it alone so it is hard. I am very much a people person and love collaborating on everything! Especially songwriting and production! So It is hard to keep the motivation.

If you tour what do you like best?

I don’t tour anymore. But when I did, It was the tour bus and the crate of Jack Daniels, films and games, and the feeling of being free and traveling to amazing places. But the BEST part was getting on stage and performing to the crowd!!

What do you like least?

Being constantly tired!!

What is your favorite day off activity? 

I love spending time with my daughter and going to the gym

What are your long-term goals?

It depends on the discipline.  I want to start my Academy to teach women and gender minorities production using Ableton and make sure long term that participants can be supported from beginner to career, I want to help improve the percentage of women producers so we can get closer to 50% I feel it is my responsibility to raise awareness for the younger generation so that they know that production and engineering are career options and make sure they feel comfortable applying for college/university without worrying about being a minority.

What if any obstacles or barriers have you faced?

I feel that the barriers or obstacles have been silent ones if that makes sense.  The industry is very much about who you know; if you are not willing to act in uncertain ways, doors aren’t opened.  I also feel being a gay woman was hard. When I came out to the people around me that I thought I could trust and that they would maybe understand how I was feeling,  they used it against me and parry (pretty) much shamed me to other industry people.  This was in the early ’90s so it wasn’t as easy as it is now.

How have you dealt with them?

I continued being myself through the pain and hard times and learned to get rid of any guilt and be proud of who I am, be proud of what I have achieved, be proud of what I stand for, and speak out!!

Advice you have for other women and young women who wish to enter the field?

Believe in yourself and make sure you surround yourself with people who are doing better than you so you can always learn and grow. Be curious and never afraid to ask questions. Help others out if you get into a position where you can. Make sure you are brave and speak out if something is not right (don’t let the fear of losing your job/position stop you from doing what is right by you). Listen to your gut ALWAYS and don’t be ashamed to ask for help. oooh and don’t man hate – educate with love 🙂

Must have skills?

Self-belief is a must!  You have to be able to communicate effectively

More on The Unheard Academy

We Are Unheard Academy is launching a funded programme! 

We are so excited to be launching the online Academy that was born from the We Are The Unheard Campaign. The Academy is funded by The Arts Council and supported by leading music industry software and hardware company Ableton, Musicians Union, Help Musicians and Why Not Her.

The aim of WATUA is to be accessible to gender minorities and those from disadvantaged backgrounds. To offer training and support from beginner to career and help improve the percentages of female-identifying producers and songwriters in the Music Industry.

The programme is completely funded. All participants are required to do it purchase a WATUA hoodie and promote it on socials to pay it forward.

Women make up around 20% of all musical artists, yet only 2% of women are music producers. Even though there are plenty of talented female producers creating amazing work, male producers and artists continue to increase and dominate the music industry.

WATUA aims to address this disparity by delivering an 8-week Introduction to Ableton online program.  During this program, participants have the opportunity to attend 3 in-person masterclasses/events where they can network, collaborate and connect with industry professionals.

WATUA have partnered with Veva Collect who will provide participants with a free 1yr membership, MPG  who will promote the programmes to their members and extended industry, Raw Material who are providing the space for the events and ongoing support and Flare Audio who are gifting their amazing products.

“I am so proud and grateful to be able to deliver this program to female-identifying producers. It is important  to me that I do everything within my power to help change these abysmal statistics so we can finally focus  on the beauty of creating.” – Eve Horne: Founder We Are The Unheard & PeakMusicUK

All participants attending in-person events will have childcare costs covered and those traveling from outside of London with have travel costs covered.

2hrs a week 

8 weeks via zoom 

3 in-person networking events with masterclasses with industry professionals.  

Who can apply? 

If you identify as a female, non-binary, or trans woman. Age 18+

About the Founder: 

WATUA was founded by Eve Horne. Eve is an Award-Winning Creative Mentor and Advisor. She has over 20 years’ experience in the Music Industry as a Singer, Songwriter, and Producer. She is the founder of PeakMusicUK and the UNHEARD Campaign which demands equality for women in the Music Industry.

Want more info? 

www.wearetheunheard.com

support@wearetheunheard.com

We Are The Unheard Podcast

The intention behind the We Are The Unheard podcast is to provide a platform for everybody who has ever felt unheard. Each week Eve Horne will be bringing you unapologetic, open-hearted, honest conversations and stories. Eve aims to educate the world with love, to change perspectives, and to change lives. To bring people together through the power of audio so that they can understand the life journeys others have had, listen with empathy, and be less judgmental. We underestimate the power of kindness and their ability to help others. If we all try to understand someone else’s path or their journey or their experiences, we would learn so much more about ourselves along the way and become more compassionate and have more empathy. It is Eve’s mission to help people get their stories heard and share their experiences so that we can all learn a little more and become better human beings.

 

 

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