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She Shreds – Seeks Women Audio Engineers and Interns

She Shreds is looking for Women/Non-Binary Sound Engineers and Interns for their show at SXSW.  If you would like to be involved, please send resume and cover letter to soundgirls@soundgirls.org.

All positions are volunteer! Although, there is a small salary available for the Sound Engineer Positions.

Positions Needed –

FOH/ME to mix the show – Will need to supervise interns. – Two spots available

Intern Positions– will be working as stagehands assisting in loading and setting up band gear, set changes and working under the supervision of engineers.

Production Manager/Stage Manager

She Shreds Magazine is the world’s only print publication dedicated to women guitarists and bassists. We strive to change the way women guitarists and bassists are depicted and presented in the music industry and popular culture by creating a platform where people can listen, see and experience what it means to be a woman who shreds. Our goal is to transcend boundaries like gender and genre—supporting radicalism, respect, and revolution.

Harnessing your Inner Leader

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

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

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

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

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

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

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

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

Read Janna’s Blog 

Boom Op: Head to Toe

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

Set etiquette

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

Head

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

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

Eyes

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

Arms

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

Body

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

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

Feet

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

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

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

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

 

The Benefits of Sign Language

I’ve been slowly learning British Sign Language for a while now (BSL – it’s different to American Sign Language, or even Irish Sign Language. You might think it would be more logical for everyone to use one universal language, but how would you feel if someone forced you to speak only in Esperanto, giving up all the nuances and beauty of your own language and the ties to your culture that go with it?). I’ve been asked a few times if it’s because I know someone who is deaf. While more than a few people I know are hard of hearing (we can all think of at least one engineer who doesn’t even flinch when there’s a 10k squeal on stage), I’m not studying BSL because I know a deaf person. Firstly, I’m doing it because it’s fascinating. It isn’t just taking each spoken word in order and translating it to a sign; it’s an entirely different approach to communicating. I highly recommend everyone at least reads about it, but you should consider learning it too.

Sign language can be genuinely useful for us sound engineers. How many times have you needed to talk to a colleague, but it’s too noisy to even catch their attention? How about trying to get an urgent message to the other side of the stage but you don’t have comms? If more people had some basic sign language skills, we’d be able to communicate more quickly and efficiently. It isn’t an option for private discussions about other people though: most sign languages are very graphic and literal, so if you’re rude to someone in front of them they’ll know about it!

On a more selfish level, I’m preparing for later life. The comedian Francesca Martinez has pointed out that it isn’t a matter of disabled vs. able-bodied: we are all either disabled or not-yet-disabled. It’s a dark message, but it’s true. An unfortunate side effect of our job is that no matter how careful you are, and how conscientiously you wear earplugs, your hearing will deteriorate over time (but don’t give up on the earplugs!). The older you are, the harder it is to learn a language too, so I don’t want to wait until I need it before learning it. I hope I will never become deaf, but studying BSL is fun, and I’ll have that knowledge if it does happen.

With BSL, I have a way of welcoming deaf clients, even if my grasp is very basic right now. You might think it’s odd for sound engineers to interact with deaf people, but it does happen. There are deaf musicians, choreographers, event organisers and guest speakers. There are also shows that have live interpreters, for example, a lot of comedians will have specific performances with live signing, or some bands and festivals provide signed sets. Just because someone is deaf doesn’t mean they don’t enjoy comedy or music (they can still feel the beats, or they may not be entirely deaf so can hear the melody but not the lyrics), so why should they miss out?

The same can be said for any condition. Having epilepsy doesn’t stop you liking dance music, having autism doesn’t stop you having a wicked sense of humour, having dwarfism doesn’t mean you don’t like to go out for drinks, being in a wheelchair doesn’t mean you don’t enjoy live theatre. One of my best friends has a long-term condition that affected her mobility for years, and now she’s in a wheelchair. Just getting around and doing simple things can get quite complicated and tiring, and you know what? It’s boring! She can’t just give up and stop having her condition when she feels like it, she’s got to go through it every day. Having some time to relax and going to see a show where the aisles are wide enough, and she doesn’t get dumped on the end of a row and feels like she’s in the way, or the toilets are actually set up so she can use them without help (have you ever tried to open a door towards you while in a wheelchair and then roll yourself through it one-handed? It’s pretty challenging), can make her feel normal for a while, and make her week.

So the next time you’re working or organising an event, think about how you can make it more accessible to a broader range of people. You don’t have to wrap everyone up in cotton wool and not do anything risque for fear of offending someone, just put yourself in their shoes. Maybe contact local groups and charities to ask their advice on how you can help to make your venue more wheelchair friendly beyond the basic building regulations. You can also suggest daytime acoustic performances, some shows without flashing lights, better lighting at the box office and bar to aid lip reading or look into having a section of your bar lowered so people of all heights can order a drink. Why limit your audience (and your income stream!) when you can make all sorts of people feel not just included, but genuinely welcome?

 

 

 

Post-production basics: Studio jobs (and how to get one)

If you’re looking to build a career in post-production sound (sound for picture/television, film, and web) there’s generally two routes: working for yourself, or working for a sound facility that specializes in post-production. There are advantages and disadvantages to both. If you don’t have a lot of experience, working for yourself could mean high competition for low-budget projects with a varying level of quality. At the same time, it can be an excellent experience to do all the sound yourself, learning how to solve problems and manipulate sounds at your own pace.

The main advantages of starting out at a facility are you get to work on higher quality projects with professionals, better credits, and you have the security of having a job. You’ll get exposed to a lot, and chances are, you’ll meet a lot of experienced people in the field. The main disadvantage is it can be a lot of grunt work, long hours, and time (possibly years) before you move up into hands-on roles like engineer or re-recording mixer.

The jobs at a post-production sound facility typically include

PA – A “production assistant” is someone who aids in daily operations. On an average day, you might be making coffee, answering phones or sitting at the front desk, stocking the kitchen with snacks, studios with supplies, running errands (picking up food, supplies, hard drives to and from clients), taking out trash. You may be one of the first ones to the studio in the morning and last to leave.  PAs don’t get to hang out in sessions much (unless it’s allowed off the clock) but there’s a lot you can learn just being around it. PAs are hired as employees. PAs may be interns who were promoted or people who applied from outside the company. PA jobs are in high demand, and studios get a lot of applicants since it’s the “foot in the door” job.

Intern – Interns often do the same duties as a PA but may get more opportunities because they aren’t getting paid. An intern might get to sit in on sessions or do occasional light work (like sound editing). Interns come and go more frequently than PAs, and there is no guarantee of getting hired. I know people who waited it out in internships for over a year (without pay!) before moving into a paid PA position. Unfortunately, some studios abuse the intern status, so it’s important to ask questions to make sure it’s not just a PA job without pay or opportunities to learn.

Assistant (also called A2, assistant engineer, or machine room operator)  – Assistants help support the technical operations of the studio. If an engineer or mixer has an issue, they call an assistant to help. Job duties might be troubleshooting computer or gear issues, setting up and testing mics, opening and splitting AAFs, prepping Protools sessions, file management/archiving, tape laybacks, quality control, and receiving/sending files to clients. The way assistants tend to move up is slowly getting opportunities at the studio – things like engineering sessions, doing sound editing, or small mixing projects (in addition to his/her normal job the rest of the time). Assistants are usually employees. If you’re an assistant, who can engineer, edit, handle your own tech support and know the day to day operations of a studio you’re genuinely an indispensable employee. An assistant could be a promoted PA or intern but may come from the outside.

Sound editor – sometimes sound editors are role-specific (dialog editor, sound designer, Foley editor) or sometimes a single sound editor covers all of those roles. Sound editors can be employees or freelancers. Sound editors are increasingly expected to know how to do detailed audio repair (using software like Izotope RX). The job “assistant sound editor” doesn’t really exist but there still is a hierarchy of editors. Entry-level sound editors may only do simple tasks like cutting background sound fx, edit recorded Foley, or light sound design. Lead editors get to do the heavy creative lifting. Editors can be trained and promoted from within or come from outside the company. Freelancers are expected to already have some editing experience/credits and possibly work off-site. Side note: A Music Editor (by title) is not an employee of a post-production studio. Those jobs fall more under music and with music editing companies.

Engineer – there are generally three types of engineering gigs in post-production: recording voice-over, ADR, and Foley. Some facilities have dedicated engineers, and sometimes engineering duties are part of other jobs. For example, a mixer may record VO as part of his/her mix session. Some engineers are hired freelance by the session or project and others are employees. Freelancers are expected to have engineering experience/credits already.

Sound supervisor – the sound supervisor oversees the sound process. He/she may be involved with scheduling or delegating work to sound editors. If there are questions (technical or creative) before the mix, the sound supervisor is the person in the know or who will communicate with the client to find out. Traditionally, the sound supervisor has a meeting or spotting session (watching down a project to take notes and ask questions) with a director or picture editor. The supervisor would also attend ADR sessions and the mix. Unfortunately, sound supervisor is one of the first jobs to go or gets combined into other positions if there are budget constraints. Some studios don’t have a designated sound supervisor, either – sometimes a lead assistant or lead sound editor handles similar duties but doesn’t hold the title.

Re-recording mixer – this is the person responsible for taking all of the elements of a mix (VO, edited dialog, recorded/edited ADR and Foley, sound design, music) and blend them together. Mixers are at the top of the hierarchy (in terms of sound jobs and pay) but along with that comes more responsibility – including being the point person with a client, which can be stressful at times. Re-recording mixer work is increasingly becoming freelance/contract, but full-time opportunities do exist. Freelancer mixers generally are expected to already have significant experience and credits and, in some cases, bring their own clients to a facility.

Important people to know behind the scenes:

Operations Manager – oversees day to day tasks and handles issues at the studio (with clients and employees). They are involved with other aspects of the business such as accounting, sales, scheduling, HR, etc. Usually, the studio owner is not the operations manager, so these two work closely together.

Scheduler – Scheduling coordinates client bookings and also books freelancers for sessions. Sometimes the scheduler is also the operations manager. It’s in a freelancer’s best interest to have a good relationship with the scheduler since he/she may have an option who to call for a session.

Sales – you probably won’t see a good salesperson at the studio all the time. It’s to your benefit to get to know the sales people, though, since they generally have a lot of relationships in the industry.

How to get a studio job

The best way to get a foot in the door is through a recommendation from a connection. Most studios do not post job listings online and will hire by word of mouth. Sometimes it doesn’t go far past employees to find a few good applicants (between friends, roommates, and colleagues looking for work). Anytime you’re contacting a studio find a way you’re connected. Do some sleuthing to find out if you know someone who works there, has worked there or is friends with someone who works there. LinkedIn and Facebook can be good for this. Always contact your connection and ask permission to use them as a recommendation. Then, when you contact the studio manager, start with: “Pat Smith at XYZ Studio recommended I contact you. I’m looking for work as…” This intro can be the difference between getting an interview and a resume put in a cabinet.

It’s important to cater your resume to the position you’re applying to. If you’re trying for a PA position, include you have a car and are willing to do errands or that you have experience in the service industry. It’s not important to know what consoles you can operate (most post-production studios are on control surfaces, anyhow). For machine room operators, definitely include skills like IT/networking, soldering, computer or electronics (especially repair).

Don’t waste time on a demo (I’ve been asked once in 15 years for one). Again, this is because the quality of work isn’t always the most important factor. We don’t have control over the source material or deadline. Some gigs it is more important to work fast than it is to have pristine audio.

A studio or employer will be interested in your CV (list of credits/projects). They may check your iMDB page before a meeting, so it’s important to keep up to date. I highly recommend updating iMDB yourself whenever you work on a post-production project. There’s an option for “uncredited” if your name wasn’t in the credits. If you have time, add the entire sound department. This helps out your colleagues plus it’s not as obvious you were the one who added it.

Studios get so many applicants for every job they don’t have to pick the person with the most experience. They may pick someone based on temperament, or who the recommendation came from (was it, someone, the manager or owner knows and trusts?) They also look for applicants who show willingness to do the job they are hired for (not expecting an immediate promotion or to be mixing as an intern).

Why you have to start at the bottom

It might seem unbalanced to start as an intern or PA when you have a degree, Protools chops, or other relevant experience but what a studio is looking for goes beyond that.

Studios need people they can trust. If a studio can’t trust you to make a lunch order without errors and on time, why would they trust you with a crucial delivery of a master tape or hard drive? Confidentiality is also important at a studio because of high-profile clients or if the sound crew knows the winner of a tv show before it’s aired. Like any relationship, it takes time to build that trust.

Studios need to know the people they hire can do the work needed. A surprising number of people embellish on resumes. Even worse is when people have no idea they don’t have the proper skills or credentials for the jobs they are applying for. It takes practice to be good at any job, and a studio isn’t going to pay someone to learn on their most important client’s dime. I wouldn’t recommend applying for a job like sound editor or engineer unless you can show at least one prior job with the same title and no less than half-dozen credits. I wouldn’t apply for a re-recording mixer job without a dozen mixing credits and two years experience. You may only have one chance to get a meeting or interview, and it’s a risk to try for a job above where your experience and credits are.

Studios want employees who they feel comfortable representing the studio. Here’s how NOT to do it: At a studio, I worked at, an intern once gave his business card to a client when the mixer left the room. How do you think it looked to the client to get a card and offer to do business with someone who came in to pick up dirty plates?

There are also technical skills working in post-production that take time to learn. It takes experience to develop an eye for sync (can you tell if something is two frames out AND if it’s early or late?)

It might seem like a catch-22: How can I get work if I can’t get credits to show I can do it? That’s why the first couple of years in the field is an optimal time to camp out at a studio where you can just watch and learn as much as possible. My first studio job I learned so much I felt like I was still in school! Credits and opportunities will come in time if you are patient and open-minded to learning whatever is in front of you.

Never Too Late or Too Great to Shadow

When was the last time you shadowed someone on the job? I thought that I was too old or too far along into my career to shadow someone while they were at a gig. I thought that’s something someone just starting out or in school does right?  Wrong! We all should continue to learn at any age through ongoing education and shadowing opportunities.

I recently had an excellent opportunity to shadow someone at a National Sports arena, so I decided to jump on it. The individual I shadowed regularly works in this arena, and this night was working a National Hockey League game. Their role at the event was not sound specific, but it still offered an excellent opportunity to get an inside look at the technical capabilities of a large sports arena.  I was able to observe the staffing and teamwork it takes to make each game look and sound great on both the screens in the arena and for the televised international broadcast. It had been a long time since I had shadowed someone on the job. It felt a little strange, but it was worth it!

Shadowing isn’t just for those getting started in their career. It’s a great opportunity to be exposed to something new, especially if you are trying to grow or change your career path. Shadowing someone on the job could provide exposure to a specific specialty you’d like to learn more about or even an entirely different field in which you might want to consider on your career journey.

An experience like this provides the opportunity for people to learn and expand their skills.  Entering a new environment allows you to see how a different organization operates.  During my shadowing experience, I took notice of the technology being used, compared their policies and procedures to what I have experienced, and gained exposure to different kinds and brands of equipment.

My host provided some fascinating information about how the venue has changed over time.  I learned about the arena’s technology legacy as well as how things have been upgraded over time and the benefits of those changes.  I found the experience and knowledge shared with me to be beneficial, and I will apply that knowledge to my environment whenever it applies.

Entering a new environment also means you will meet new people along the way as well.  This shadowing experience allowed me to continue to build my network and connections in the industry.  My host introduced me to everyone and explained their roles and how everyone functioned as a team throughout the event.  I enjoy building relationships and meeting other people within the industry, and you never know when or how this will benefit you in the future. This industry often runs on past experiences, but often future experiences occur based on the people you know and what they know about you.  I’ve always felt that networking is essential and each opportunity I get to expand my network is valuable.  Taking advantage of this shadowing opportunity was a great way to gain experience, skills, and develop my network. Hopefully, you’ll consider shadowing someone in the future too.

Ova Music Studio – Feminism and Female Music Production in 1970s London

One of the most rewarding aspects of being involved with SoundGirls is hearing about (and learning from) the experiences of other members. At the most recent meetup for London and UK members back in January, I met members at all different stages in their careers, working across everything from theatre sound to podcasting. From members who had just graduated and were deciding which career path to follow, to members like Jackie Ord, who has recently started to work as an engineer and producer after decades of working as a musician.

It was through Jackie talking about her experiences as a young woman interested in sound and music in the 70s and 80s that I found out about Ova Music Studio and the fascinating story of the women who wanted to empower other women and girls to create and produce their music.

Rosemary Schonfeld and Jana Rumells established The Ova Music Studio in Highgate, north London in 1984, after had forming the radical feminist band Ova in 1976. As well as providing facilities to record and produce their music, the stud offered workshops for women on sound recording, voice, drumming, and percussion. Ova wanted to control their music production and recording outside of the commercial music industry, and the institutionalized misogyny that surrounded it and help other women to do the same.

Rosemary met and fell in love with, Jana in 1976. Both singer-songwriters started playing and writing music together, living in various squats and playing at lesbian and feminist nights across London. After their romantic relationship ended, they continued to create and perform music together as the Ova, first as a group, then as a duo. They released their first full-length album Ova in 1979 on the label Stroppy Cow, which was set up by fellow feminist group Jam Today.

The Women’s Liberation Music Archive (WLMA) describes the aim of Stroppy Cow as “to encourage women to make their kind of music in their own time and space without the counterproductive pressures of commercialism. The music industry often restricts creativity by pre-determining images and roles that women have to conform to be heard. The policy of Stroppy Cow Records is to encourage women to define their own musical output and to be involved in every stage of production.”

As Rosemary says in this interview with WLMA from 2010, this policy encompassed everything from to women owning the rights to their music to the position of how women’s voices in the mix. As she says “in the commercial music industry women’s voices were often being mixed right back, [it was] male choices for the final sound and production.”

Rosemary and Jana were introduced to recording technology by sound engineer Mike Trim during the recording of their first EP (released on cassette). Their new skills gave them the confidence to be able to hire recording studios and work with, as Rosemary puts it in the WLMA interview, “sympathetic sound engineer[s]…you had to find the ones that were helpful and encouraging…willing to share their knowledge”.

In 1983 they received a grant from the Greater London Council to establish their studio – Ova Music Studio –  as a resource for women to record demos and learn about sound recording. One of the conditions of the grant was that they had to offer workshops, and so they did outreach work, travelling to schools with a 4-track recorder, as well as holding music and sound workshops at the community centre in Highgate, north London, where Ova Music Studio was based. They had a resident female sound engineer, Livvy Elliott, who also toured with Ova and taught the sound recording workshops.

Rosemary eventually left the studio in the late 1980s and moved away from London to study music. Livvy went on to establish Studio 9 in Brixton. Ova Music Studio continued for a while, eventually becoming Overtones Studio. It appears to have closed sometime after 2007.

The full interview with Rosemary is available here and you can read more about Ova and listen to recordings in their Women’s Liberation Music Archive entry here (scroll down to find their listing).

The interview is well worth a listen – it’s a fascinating journey through feminist music-making from the mid-1970s – early 1980s, taking in the London squatting scene, touring, the lesbian and feminist movements in the US, UK and Germany, intersectionality, musical influences and working in music and music production as a woman.

Thirty years ago, these original “SoundGirls” were facing many of the same challenges as women working in sound and music production face today. It’s an interesting and sobering thought to consider SoundGirls as part of the same history – a lineage of (in Rosemary’s words) “agents of social change.”

Sistemas de Grabación Estéreo

Para poder seleccionar la técnica con la que trabajaremos, primero, debemos considerar algunos detalles como son: presupuesto, equipo disponible y estilo de música, teniendo esto claro podremos tomar una decisión del sistema que mejor se adapte y funcione a las circunstancias que nos enfrentemos.

Hay 4 elementos básicos para poder escoger una técnica:

De allí surgen algunos de los sistemas de grabación estéreo más conocidos, como son:

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Existe una relación de la posición en la que una fuente virtual aparece entre un par de parlantes y la diferencia de intensidad del sonido (en dB) para una señal estéreo. Esta variación  se logra en los sistemas de grabación estéreo mediante los cuatro elementos anteriormente expuestos: patrón polar, posición, ángulo entre los micrófonos y distancia a la fuente. (Recordemos que estamos hablando de técnicas de grabación estéreo)

Por ejemplo, sabemos que para lograr que una fuente virtual se sitúe 100% hacia uno de los parlantes la diferencia debe ser de 18dB (1.5 ms), para 75% es de 11dB, para 50% es de 6.5dB, para 25% es de 3dB y 0dB para estar completamente al centro.

Estas diferencias de nivel (dB) o en tiempo (ms) se pueden lograr manipulando la distancia y/o el ángulo entre los micrófonos, esto, para que el sonido que llega a cada una de las cápsulas de los micrófonos del sistema, se traduzcan en imágenes diferentes en los parlantes, con distintas posiciones y anchos de imagen de las fuentes virtuales.

Por ejemplo, al acercar los micrófonos a la fuente, la imagen se hace mayor en los parlantes. O si se reduce el ángulo entre los ejes de los micrófonos de un sistema XY la imagen disminuye debido a que el área de grabación se hace mayor. De la misma manera podemos observar diferencias de imagen entre cada uno de los sistemas AB vs. XY vs. equivalente.

La imagen de la orquesta representada anteriormente, muestra un ejemplo extremo de cómo pueden variar los resultados según la configuración escogida, sin embargo, esto no significa que siempre que seleccionemos un sistema de grabación estéreo AB se obtendrá una imagen que proviene de los extremos izquierdo y derecho de los altavoces, o que al escoger un sistema coincidente se obtendrá una imagen concentrada en el centro de los parlantes. Todo depende de los parámetros seleccionados (patrón polar, ángulo, distancia entre los micrófonos y distancia entre la fuente) para cada configuración.

Específicamente si comparamos un sistema XY con patrón polar cardiode vs uno AB podríamos escuchar:


Les invito a escuchar y seleccionar su sistema de grabación en estéreo preferido, realizando variaciones en los patrones polares, distancias y ángulos de los sistemas de grabación.

Aprovecho para agradecer a la persona a quien le debo estos conocimientos, a quien aprecio y admiro enormemente, Thorsten Weigelt.

Notas adicionales:

A continuación encontrarán una lista con las especificaciones de los sistemas de grabación estéreo establecidos más conocidos.

 

Andrea Arenas: Soy ingeniero de sonido. Mi primer contacto con la música fue a los 10 años cuando comencé a tocar percusión. Me gradué de ingeniero electrónico y desde el 2006 me dedico al audio. También tengo estudios de composición y un loco amor por la música.

Nizarindani Sopeña: Journalist by the National Autonomous University of Mexico (UNAM), specialist in subjects of the cultural field. Publisher since ten years of Sound: check Magazine, a Mexican publication aimed at professionals in the entertainment industry in Latin America and the world.

 

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Stereo Recording Systems

In order to select the technique with which we will work, first, we must consider some details such as budget, available equipment, and music style; having this clear we can make a decision on the system that best suits and works to the circumstances that we face.

There are 4 basic elements to choose a technique:

From there arise some of the best-known stereo recording systems, such as:

 

There is a relationship of the position in which a virtual source appears between a pair of speakers and the difference in sound intensity (in dB) for a stereo signal. This variation is achieved in stereo recording systems through the four elements previously discussed: polar pattern, position, the angle between the microphones and distance to the source. (Recall that we are talking about stereo recording techniques)

For example, we know that to get a virtual source to be 100% towards one of the speakers, the difference must be 18dB (1.5 ms), 75% is 11dB, 50% is 6.5dB, 25% is of 3dB and 0dB to be completely at the center.

These differences in level (dB) or in time (ms) can be achieved by manipulating the distance and / or the angle between the microphones, so that the sound that arrives at each of the microphones’ capsules of the system is translated in different images in the speakers, with different positions and image widths of the virtual sources.

For example, when the microphones are brought closer to the source, the image becomes louder in the speakers. Or if the angle between the axis´ of the microphones of an XY system is reduced, the image decreases because the recording area becomes larger. In the same way, we can observe image differences between each of the systems AB vs. XY vs. equivalent.

 

The image of the orchestra represented above shows an extreme example of how the results may vary according to the chosen configuration; however, this does not mean that whenever we select an AB stereo recording system we will obtain an image that comes from the left and right ends. The right of the loud speakers, or that by choosing a matching system, a concentrated image will be obtained in the center of the loud speakers. Everything depends on the selected parameters (polar pattern, angle, distance between the microphones and distance between the source) for each configuration.

Specifically, if we compare an XY system with a cardioid polar pattern vs an AB one, we might hear:

 

I invite you to listen and select your favorite stereo recording system, making variations in the polar patterns, distances, and angles of the recording systems.

I take this opportunity to thank the person to whom I owe this knowledge, whom I greatly appreciate and admire, Thorsten Weigelt.

Additional notes:

Below you will find a list of the specifications of the most well-known established stereo recording systems.

Andrea Arenas: I’m a sound engineer. My first approach to music was through percussion since I was 10 years old. I graduated electronic engineer and dedicated to audio since 2006.  I also have composing studies and crazy love for music.

Nizarindani Sopeña: A journalist by the National Autonomous University of Mexico (UNAM), a specialist in subjects of the cultural field. Publisher since ten years of Sound: check Magazine, a Mexican publication aimed at professionals in the entertainment industry in Latin America and the world

 

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