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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.

 

 

Victoria Butash -Monitor Engineer for Jason Isbell and Sylvan Esso

Victoria has worked in Live Sound for over eleven years and is currently on tour as a monitor engineer with  Jason Isbell & the 400 Unit and works with Sylvan Esso as a monitor engineer. In addition, she works for Big House Sound, Inc. and Sound Image.

Victoria grew up surrounded by music, as her dad was a musician as well as his friends, and at age ten began exploring songwriting. She was part of the choir and band at school and can play a variety of instruments. She attended Capital University, in Columbus, Ohio with the notion of becoming a studio engineer, but realized quickly that her love was in live music and the dream of touring. She would graduate with a Bachelor of Music in Music Technology.

 

Career Start

How did you get your start?

I honestly didn’t know what exactly I wanted to do when I started college. I didn’t even know if I wanted to be in college at all. At first, I thought that I wanted to pursue being a studio engineer, and I realize now that that was a result of my program being so studio-focused. As soon as I got a taste of the live sound environment, I was sold. My first paid gigs were in small clubs. My friend recommended me to cover a few shows, and soon I was being scheduled regularly and was being offered shifts at other clubs that were similar in size. I was bartending to keep a steady income, but eventually, I realized how much those two tracks conflict and decided to pursue other audio opportunities.

What did you learn interning or on your early gigs?

One of the biggest lessons I learned early on was that there is more than one way to efficiently and correctly accomplish something and that you can learn so much from simply observing. I learned and practiced the nuance of asking the right questions at the right times. The other big one was that you absolutely do not have to yell or be a bully to get things done in an effective way. I watched a lot of others try that tactic, and it exclusively garnered resentment amongst the people that you want on your team. There’s a time and a place for being stern (safety), but you absolutely do not have to use it as your primary tactic.

 

Sylvan Esso Crew

Career Now

What is a typical day like?

Wake up at least an hour and a half before walk and chalk, and check Google Maps to see where we are and if there are good coffee spots within walking distance.

Even though I’m not flying anything currently, I still go to walk and chalk to determine my footprint on SL and make sure that I’m being left enough room to operate and make adjustments if not.

Load In

Build MON world and take a look at the air space with RF Explorer and Touchstone Pro

My RF products are all Shure, so I use Touchstone Pro to visualize, and then import data into Wireless Workbench to analyze and deploy my frequencies and pair receivers/transmitters.

Open the previous show file, review my notes, and update snapshots accordingly

Once the backline is built, I run my looms to stage boxes and power drops and help patch the stage

Find some time for lunch and another coffee, and if there’s enough time I’ll call a loved one

Line check with backline pals

Soundcheck

Organize stage/prep changeover if there’s an opener

Dinner

Show

Load Out

 

How do you stay organized and focused?

The most important thing is taking care of your mind and body – if you’re not drinking enough water or eating consistently, your mind will not be at its best.

Outside of health, I find that having a step-by-step routine for getting your day started and setting up is helpful. If you continue to practice the same routine every day, you’ll be able to troubleshoot faster and be considerate of your team’s schedules. For instance – I wouldn’t ever run stage looms first thing because the backline has rolling risers that need to be built and placed. I really don’t like when I hear others use the phrase “work smarter not harder” condescendingly, but I can attest that running out a hefty sine loom is much easier if you don’t have to move it because it’s in the way.

What do you enjoy the most about your job?

I love being a part of the interpersonal relationships within the tour team and talent. I think that being a monitor engineer means that your crew is instilling a lot of trust in you. It’s your job to create a sonic space that honors the musician as well as the backline techs that work tirelessly to preserve tone. It’s an amazing feeling to experience the energy on stage as it morphs from song to song.

What do you like least?

When things go wrong, it’s hard not to take it personally. Even if you’re fully prepared and have done the work to secure spare lines, spare frequencies, etc., the equipment can still fail in a way that isn’t immediately fixable. That aspect can be anxiety fuel.

Luckily, I work with incredibly understanding folks who keep their frustrations in check and trust that I am doing my best to make the issue go away. It’s been great to know that if something comes up, we can have a civil conversation about it later.

If you tour what do you like best?

I have always (kind of) joked about how my number one passion in life is food and touring is my gateway to experiencing all of the world’s best food. Seeing the world is such an amazing perk.

I also love that I get to partake in so many fantastic friendships.

What do you like least?

I think that living out of a suitcase surrounded by up to 11 people in a small space as well as being away from your loved ones gets tiring during a long tour. It certainly forces you to choose what items are most important to your every day. I think even the most social people need a break with privacy sometimes, and it can be hard to come by.

What is your favorite day off activity? 

I have two priorities: Find the best coffee. Find at least one good meal.

Outside of that, I usually bring my rollerskates on the road, so I’ll find somewhere to skate and listen to music. I also genuinely love hanging out with my crews, so I like planning fun group activities – especially if they can be outside. I also always make time to phone my loved ones.

What are your long-term goals?

I just want to continue staying on top of the newest technologies and seeing the world (and eating all of the food that the world has to offer!). Eventually, I’d love to dive into more Production Management. I also want to continue exclusively working for and with good humans.

What if any obstacles or barriers have you faced?

My biggest obstacles have always been my own anxieties: whether I deserved to be where I was, whether I could handle challenging situations, and being worried that I’m not communicating well enough with my team. The industry’s volatile nature has left a lot of my friends and coworkers with these same anxieties, which means that many of us can share in them and help each other deplete them. You can only control what you can control.

I would be remiss if I didn’t note that I’ve experienced a fair bit of sexism and sexual harassment. I’ve worked in spaces that didn’t feel safe, and I’ve been brushed off for asking for help.

I’ve noticed that – for me at least – it hasn’t been as up-front as it once was. Post-COVID lockdown, there’s been a level of accountability that didn’t quite exist before. That’s not to discount anyone else’s experiences, but I’m glad to feel somewhat safer in my work environment.

How have you dealt with them?

Letting go of the things you can’t control is a powerful thing. I see a therapist once every two weeks, which really helps with the struggles of having anxiety and being on the road full-time. I really, really encourage everyone who tours to seek telehealth therapy options. Many cities have programs that can help with financial support for mental health services. If you live in the Austin area, please reach out to SIMS for mental health support.

I’ve had to get better at advocating for myself and my safety, as well as the safety of those around me. I do my best to work hard and foster an environment where everyone feels welcomed and appreciated.

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

Never stop learning. Remember that no single person knows everything; it’s okay to look something up on Google if you’re second-guessing. Do your best to stay focused through the beginnings of your career: it’s gonna be tough, but you can push through. Meet everyone and try to remember their names – that goes a long way and helps with networking. Make sure that you’re ALWAYS taking breaks to drink water and eat – even on the busiest days. If you only have the budget to purchase one nice tool to start out with, grab a multi-tool like a Leatherman. You will more than likely encounter some form of sexism/discrimination, but do not let that stop you…and always reach out to a Production/Stage Manager, Tour Manager, or Venue Manager if you need help. You should not be expected to work in an unsafe environment, and safety includes sexual harassment or sexism. Advocate for your health, your pay, and your safety. And as you move into positions with more authority, despite what you may see others do, you can accomplish things with kindness and comradery instead of fear.

Must have skills?

I think the biggest skill to being on any team is work ethic and the ability to see everything and everyone from the “same team” point of view. We’re all here to do the same job, even if we work in different departments. People on your team will also notice when you care about your work, and that is a valuable trait.

Be communicative and open. Take responsibility if you mess up and put fail-safes in place to avoid the issue in the future. At the same time, also know when to let a bad night go.

Do your best to stay calm and collected when troubleshooting. Something will definitely go wrong at some point, so be prepared with the knowledge and tools to track it down and fix it.

Last but not least: do your best to be pleasant while respecting your boundaries and your teammates’ boundaries. We all have to work together through long, sometimes arduous days and then we have to get onto our tiny house on wheels and live together, which is a lot. I’d say that getting along with your team goes further than technical know-how.

Favorite gear?

My Leatherman, JH Roxannes and UE 18+ PROs, my RF Explorer, soldering irons, my SoundTools Rat Sniffer, label maker (with cool glitter tapes), anything from the Neve 500 series in a rack, and honestly…zip ties. Haha.

I just want to pay homage to those who helped me get to where I am. In no particular order: my dad Jeff and my mom Cindy, Rick Rhoads, who introduced me to recording and opened the door to a plethora of incredible music, Dr. Mark Lochstampfor, Greg Harbert, Joey Pasternak, Andie Cascioli, Melanie Renecker, Kip Montgomery, Zach Anderson, Nate Peterson, Alicia Blake, Karrie Keyes, and Jeremiah Karni.

Andrea Arenas – Live Sound & Studio Engineer

Andrea Arenas is a Live and Studio Engineer working in the industry for over 17 years. Andrea is currently working as a sound technician for La Perle by Dragone in Dubai. Andrea discovered audio when she was in her teens and overheard some of her friends from orchestra discussing audio engineering.  Andrea wanted to pursue music as she had been learning percussion since she was ten years old. She was deterred by her family who said that music was not an option, so audio engineering opened another career path for her. At the time in Venezuela, there were no official institutions offering audio as a career path, so Andrea enrolled in electronic engineering at Simon Bolivar University in Venezuela, with the understanding that it was somehow related to audio and music. Andrea is currently enrolled at Iberoamerican University, Puebla working on a Master’s Degree in Cultural Management.

 

Career Start

How did you get your start?

I approached a recording studio in my university, part of the communications department, open-minded and willing to find a person who could take me in to teach me all about it. The person in charge of it, fortunately, took me in and taught me most of the things I know about sound today.

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

That first job in the university studio was the door to starting my career in audio, it let me understand what the field was about and if it was something I would enjoy. So it was one of the most important decisions I’ve made in my audio career

What did you learn interning or on your early gigs?

I learned about types of gear, signal flow, working processes, and critical listening. I learned about which parts of the sound career I liked and whatnot.

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

Yes, Francisco ‘Coco’ Diaz was the person who took me in at the university studio and mentored me for almost 3 years. Even after all these years, I still go to him when I need some perspective or advice. You can follow his Instagram account in Spanish for musical production tips @serproductordemusica.

 

Career Now

What is a typical day like?

I wake up around 8 to 9 am and take care of any home and personal activities like cleaning, cooking, yoga, etc. Then I check emails and work on any out-of-work projects like my personal music, podcasts, mixing, university classes, volunteering work, etc. Then, my work hours for the show usually start after 2 pm. When I arrive at the theater, I check the schedule for the day. We usually have some training, rehearsals or validations with artists. Soundcheck happens every day a couple of hours before the show starts, depending on my track for the day (because I rotate 4 tracks, foh, monitors, RF, and musical director) I’ll do presets for microphones, consoles, computers, etc. Then I run two shows and go home at midnight.

How do you stay organized and focused?

Discipline is part of the daily routine in every aspect of my life, I think mainly because of my musical training, I try to plan short-term goals and keep track of schedules I plan in my mind. I say “in my mind” because following a routine is not my way of doing it. Depending on the day’s mood I organize my activities trying to follow those short-term goals, let’s say I try to keep a weekly schedule rather than a daily tight schedule.

What do you enjoy the most about your job?

Feeling that I’m part of a show that, for at least two hours, takes people’s imagination to new places, to enjoy and be happy for a moment. It makes me feel rewarded.

What do you like least?

Having shows on days you want to see your favorite artist show.

If you tour, what do you like best?

Before the pandemic, I was touring with Cirque and my favorite part was always during the first soundcheck at every new city. I usually felt very tired at that moment because of the transfer work, but as soon as the first notes sounded, I could remember why I was doing it, kept going, and enjoyed the moment.

What do you like least?

Working many days in a row, one time I worked 22 days in a row, live sound can be physically very demanding sometimes

What is your favorite day off activity?

I still work on my personal projects during the days I don’t have shows. I consider everyday activities as a choice and I disagree with thinking that on days off I’m “free”. Of course, I also enjoy doing nature or art activities, but I consider them as part of my schedule to achieve the mental state I need to be efficient, enjoy my creative process and enjoy life.

What are your long-term goals?

Keep learning and be open to new opportunities. The pandemic changed my perspective about two things: making plans and depending on a single paycheck. So I’m willing to expand my horizons as much as possible, always open to new experiences related to sound, music, art, culture, and a sense of community.

What if any obstacles or barriers have you faced?

It has probably been to leave my country and be able to be recognized as a professional again despite having to practically start from scratch. It’s common to find people don’t trust your skills and even doubt your CV when you are from a different latitude and speak different languages. Fortunately, not everyone thinks the same way, and some others gave me the opportunity to prove myself and let my work speak for myself

How have you dealt with them?

I always try to mention that despite anything that I’ve dealt with (consciously or not) I’m true to myself, and my ideas and keep working as hard and passionately as possible.

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

Follow your instincts, speak up, despite feeling intimidated by others, and don’t let these feelings rule the way you behave or think. There will always be people more experienced and less experienced than you anywhere, just be aware that your opinion is also important and can be considered as others.

Must have skills?

Problem-solving, active listening, and patience

Favorite gear?

I always say that because I haven’t tried them all, I can’t choose a favorite. I think the idea is to feel comfortable with the gear you use, and learning the most about it and practicing will be the only way to get there. So I usually try to feel comfy with the gear I use, sometimes I wish I could have the trendy ones or the ones that a super famous artist or studio owns, but sometimes it is not possible. So I embrace reality and get the best out of the gear I have in front.

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