At the end of 2001, I was about to start my professional career in sound. I was 24 with one degree in music and a second degree in arts, a diploma in sound engineering, a bit of experience, and a lot of expectations. Almost fourteen years later, my career has thrown up surprises, challenges, and a whole bunch of lessons. Here are five of them. (more…)
How to Create the Sound of Murder Without Actually Killing Anyone
I love working as a sound designer in fringe theatre. It’s underfunded, often underpaid and over-looked, and it can also reveal unexpected and rewarding creative challenges. (more…)
Karen Kane – Woodstock Inspires A Life in Music
Woodstock is the iconic music festival that continues to influence the music industry today. Woodstock brought over 350,000 rock n roll fans to a six-acre farm in Bethel, New York to celebrate three days of peace and music. Woodstock inspired countless attendees to pursue careers in the music industry, one of them was a young woman by the name of Karen Kane. Woodstock would inspire and put her on a journey that would start by learning to play music and wind up forty years later as a well-respected audio engineer with countless awards to her name, owning a professional studio, and teaching the next generation of audio engineers.
One of Karen’s earliest jobs was managing 6 West Recording, a New York jingle house. Even though she was working in a studio, Karen says she still did not think about a career as an engineer. Karen explains “When I worked at 6 West Recording, there was an unspoken rule that women did not touch the equipment”. Thankfully, there were a few engineers that took Karen under their wings and trained her, and most importantly taught her that she could be a recording engineer regardless of her gender.
Karen would move to Boston and enroll in Berklee College of Music, where she studied guitar and bass performance. She then landed a job at Intermedia Sound in Boston, starting as an assistant studio manager but soon after starting work there; she received two diplomas from the Recording Institute of America. (The first audio classes in the U.S. were held at Intermedia). She learned the basics of audio, as it applied to analog recording in a studio environment While there, Karen would pull all-nighters with one of the engineers, learning everything she could, including how to ride a motorcycle. Eventually, Karen would become one of the studio’s engineers.
Once in a blue moon is a woman does work in our favor, although I admit very rarely. For Karen it was beneficial as she explains “I hooked up with a community of musicians who were “folky/leftists” and when they wanted to record their songs, they wanted to use a woman because it was a male-dominated occupation and they wanted to make a statement by using a woman engineer. So even though I was a beginner and not very good yet, I got the job because I WAS a woman. I ended up making albums with them for the next 12 years and got better and better”. Karen learned everything hands-on, after graduating from RIA. Karen credits Barry Ober, R. Berred Ouellette, and Bob Stoughton as being her early mentors at Intermedia.
Through the years Karen spent in Boston she continued to work as an independent recording engineer, music producer, and live sound engineer. You can check out all her recording and live sound credits on her website mixmama.com.
One of Karen’s favorite live gigs was the Michigan Womyn’s Music Festival, where she was the live sound engineer for the acoustic stage for 19 years (she retired in 2010). The Michigan Womyn’s Festival often called the Womyn’s Woodstock was an international feminist music festival. It started in 1976 and was put on every year (until 2015) in August with attendance ranging from 3,000 to 10,000.
The event is unique in that women built all of the stages, ran the lighting and sound systems, provided electricians, security, and medical services. They facilitated workshops covering various topics of interest to the attendees. Hundreds of women spent upwards of a month out on the land building the festival from the ground up because every year the festival was torn down, leaving the land as close to how it was found as possible. You can read more about this unique festival here Michigan Womyn’s Festival
A Move to Toronto
Love brought Karen to Toronto where she continued to work as an independent engineer/ producer. During her time in Toronto, she developed courses in Audio Engineering for the Learning Annex and Centennial College. She also was hired to teach at Toronto’s Harris Institute for the Arts which Karen says “was a big highlight in my life, getting to teach at such a great school.” “I learned how to be a teacher at Harris. I realized I was good at it and the students really liked me. I spent four years teaching there”.
The desire for a warmer climate would bring Karen to Wilmington, North Carolina, where she is now based. In Wilmington, she owns her own professional home recording/mixing studio. She also runs her own audio courses, which take place in the Fall, Winter, and Spring. There are five courses offered, including, Intro to Audio Engineering, Learning Pro Tools, and the “hands-on” only Advanced Course. You can check out her courses here mixmama.com.
In addition to her independent recording work and audio courses, she joined the faculty at the University of North Carolina Wilmington as the instructor for the Recording Technology program there. Karen says the University job is “one of the best things to EVER happen to me.”) Getting to teach Audio Engineering and Pro Tools in a University setting is my dream part-time job! I plan on it being my retirement job!” The 2nd “best” thing to ever happen to her is WINNING the “Producer of the Year 2013” Award last summer at the Carolina Music Awards in Raleigh, NC. AND, she just found out that she is nominated again for Producer of the Year at the Carolina Music Awards for 2014.
Karen on Live Sound
I never had any trouble with how I was perceived as a woman in a live sound position. I THINK mostly because I was not doing big shows with mainstream artists. At the time in Boston, there were not a lot of engineers studio, or live. Because of that, I was able to hook up with a few rock bands and started doing local/regional gigs with them. Later, I went on several U.S. tours (on a converted school bus) with a political folk band named Bright Morning Star. That started in 1980, and I did gigs with them for several years. I also did a lot of local acoustic shows with other singer/songwriters.
On the Evolution of Gear
The studio gear today blows my mind compared to the studio gear in the ’70s and ’80s. There are things I can do today that I NEVER DREAMED possible. I do miss, some things about analog recording (especially the smell of 2″ tape) and the simplicity of it all compared with today’s gear. I cannot speak to live sound, but I can say that as I am learning how to use live digital boards, I love some of the features like calling up monitor mixes and FOH mixes (as many times I do both).
Advice to Women Starting Out
Learn to play a musical instrument…for fun or seriously. It helps with audio engineering in many ways.
Go to a good audio school. Research them and find out all you can about the teachers! That is what makes an audio school GREAT, the teachers! The best audio schools have teachers that are ACTIVE professionals in the music industry.
If you are interested in studio work, TRY to get an internship at a local studio.
If you are interested in live sound, go to as many live shows as you can…stand by the soundboard and watch and listen to what the engineer is doing. This will start to train your ears. And by the way; ANYONE can learn to use equipment, what separates the good from the great are your EARS!
You can also begin training your ears by analyzing recordings…. on a good pair of speakers, describe the tone of each instrument, describe what you hear more in the left speaker or in the right speaker, describe the overall balance of the instruments, and then the instruments with the vocals. It’s a good way to get you to listen more intensely.
Sarah Black has been working in live sound since 2006, and is one of the seven women on the sound crew at the iconic Sydney Opera House. Sarah shares her experiences working Vivid Live with SoundGirls.Org.(more…)
The Sydney Opera House
By: Karrie Keyes
Sydney Opera House
The Sydney Opera house is an iconic performing arts center in Sydney, Australia. It was designed by Danish architect Jorn Utzon and opened in October 1973. The first performance was the Australian Opera’s production of War and Peace. The Syndey Opera House cost over one million Australian dollars to build. The Sydney Opera House hosts over 3000 events each year with over two million people attending, and provides guided tours to over 200,000. It is 185 meters long and 120 meters wide, has 2194 pre-cast concrete sections in the roof, with sections weighing up to 15 tons. There roof is held together with 350 km of tensioned steel cable and has over one million tiles. There are 6225 square meters of glass and 645 kilometers of electric cable. The Sydney Opera House has 1000 rooms.(more…)
I had a coworker tell me one time that being an audio engineer is like being a duck – you look calm and peaceful on the surface, but underneath, you’re paddling like crazy. I’ve thought of that little nugget more than once during this process of getting the audio for RENT off the ground. And it’s actually comforting to know, really, when you have Indian music in your keyboard feed, channels that don’t output, dying mic packs, skipping CD players, and “now-you-hear-me, now-you-don’t” monitor cabinets that this IS the gig. People have been doing it with crappier gear, smaller budgets, and in pricklier situations longer than you’ve been alive. And the shows have gone on. So we’ve kept on paddling, and the result so far is a show that isn’t suffering one bit for all the trouble, and I’m extremely proud of that. (more…)
Reason! Sanity! Focus! : Part 3
Act 1 Sitzprobe totally…happened. And we all survived. Everything is relative, I’m filing that under “good news”.
And relativity is key when you have 16 mic’d actors on stage, who are getting their first chance to sing with the band, and the band, who are getting their first chance to play with each other, AND along with singers in a smaller-than-they-expected pit, and a new system getting its first chance to pump out all of it, and an operator/designer who is figuring out just how little all of her script notes mean at this point! It is key because unless I remember that all of this is part of the PROCESS, it can all get overwhelming really quickly. And an overwhelmed mind lacks three things needed to make the process fruitful – reason, sanity, and focus. So my tech mantra for Rent is…REASON. SANITY. FOCUS. (more…)
Loading in Rent
Loading in Rent
By: Kerrie Mondy originally posted 2/15/14
Today my rental guy and I did the lion’s share of my load-in for a small company I work fors production of “Rent”. The theater is a quirky little space. It’s a 200 seat venue with a steep seating rake and a flat, sort of triangular stage floor that’s maybe 30 feet at its widest point. The whole thing is brown and green. No wing space, squeaky stairs, plenty of insect inhabitants, and no exit to the bathroom for patrons during the show except to walk across the front of the stage! But it’s got a few things that make my job great (more…)