There are many colleges and technical schools that offer degrees and education in audio engineering and music production.
If you’re not good at learning on the job and/or have no idea where to get started, get an education at a trade school or college. Your best bet is one that offers real world hands on training. Understanding signal flow and theory such as proper gain structure, trouble shooting are as valuable as getting your hands on the console and mixing.
On ourProfiles page you’ll find a constantly growing collection of stories about the successful women engineers/producers/ and technicians in the industry. They’ve got excellent advice and information to share about what it takes to make it in this business and how they did it.
Gaining Experience
If you’ve already got a basic background in audio, try and find aMentor.
Start by learning as much and getting as much experience wherever you are at the moment – if you’re in school, does your school have an active A/V department or music production program? Does your school have a sound system that it uses for events such as band concerts, theatrical performances? Get involved and learn how to use the equipment.
Already have some experience? Approach local sound companies, venues, or local bands for a job. Explain to them your interest in live sound and ask if they will give you the opportunity to work and learn from them. Be prepared to work as an unpaid intern until you have enough experience. Gaining knowledge and experience whether it is shop work, loading trucks, or working a show are all valuable assets. Be available and open to working every opportunity that is offered to you. Proving that you are reliable is as valuable as your mixing abilities.
No experience? Are you a fast learner? Can you learn on the job? Are there any opportunities where you live? Inquire with sound companies, bands, and venues for internships. If you have no experience you will need to find an opportunity to learn on the job. Inquire with local sound companies or sound engineers if they will take you under their wing. Often bands cannot afford a sound engineer but desire to work with someone capable, that they can trust and knows their material, approach local bands and see if they are open to this. Expect to start out working for free, consider the experience you acquire as payment.
Is there a local club or live music venue with an in house sound system in your area? Explain to them your interest in live sound and ask if they will give you the opportunity to work and learn from their house engineer. Be prepared to work as an unpaid intern until you have enough knowledge.
Join the local stage hand labor company or union (IATSE) and work as many shows as you can, and request that they put you on the sound call. If you live in a major city such as LA, NYC, Atlanta, Chicago, Nashville, you have many options available to you: sound companies, stage hand labor companies, IATSE, equipment rental companies and rehearsal spaces (such as SIR).
Work as hard as you can.
Learn as much as you can.
Show initiative, have a positive attitude and be prepared to jump at opportunities as they arise!
Sarah Welsh – It Runs in the Family
Sarah Welsh was born into the world of sound and at age thirteen is possibly the youngest girl working in audio. Her parents own and operate Welsh Sound a regional Mid-Atlantic production company. James and Dawn Welsh have raised Sarah around music and the business, taking her on the festival circuit at three months old. Since then, Sarah has accompanied her parents on numerous gigs throughout the Eastern United States. She helps with everything from schlepping gear to working as a runner and more importantly making sure the Welsh Sound crew is fed. As Sarah puts it, she “usually does roadie work”. Like all seasoned roadies, she has stories – like the time she chatted with Yo-Yo Ma about Oscar the Grouch and Elmo, has her favorite catering, and her own road case.
I had the pleasure of meeting Sarah a few years ago when she came to a Pearl Jam show to interview me. I found Sarah to be a smart and mature ten-year-old who had a keen interest in sound. Sarah is now thirteen and says that interest is constantly growing and that she has developed a level of respect for the industry and the challenges it presents. She likes the fact she can be part of a live musical performance and hear the immediate results. Like many roadies, Sarah has an extensive musical background, playing several instruments and holding a tune, as well. She says bass is her favorite instrument to play and loves the Black Keys, the Shins, and Flying Lotus. She draws her musical inspiration from ZUN, the creator of the Touhou Project.
Sarah was recently given the opportunity to mix her first gig for a Jazz-Rock band called Tuxedo Drive. James helped Sarah set up the gain structure and dynamics and then Sarah took over the FOH mix. While Sarah was in shock that she was mixing, she received many compliments and the band was happy. She also learned an important lesson – It ain’t over until it’s over. The band decided to play a few extra songs that sent Sarah scrambling for her headphones and dealing with instrument changes. “It was trial by fire,” says Sarah.
Although Sarah has the support of friends and family, and I am sure the Welsh Sound crew, she feels that her age and gender “just screams – Hi there. I’m here to hold you back”. I do not get the impression that will much of an obstacle for her. Asked about her long-term goals Sarah says “ her true love is her artwork” and hopes to pursue a degree in graphic design. Eventually becoming a concept artist working in Anime, Magna, comics, and video games. She can always fall back on her sound experience and jokes about taking over the Welsh Empire and “ruling with an iron fist”.
Digital consoles have taken over in Sarah’s lifetime and yet she considers herself “an old school analog girl” and loves her classic Shure 55 microphone. Sarah is practical though and likes the Yamaha M7 and
considers line-arrays a part-time hobby.
Sarah’s advice to young girls her age is “If you’re into this stuff, great! We need more women working with audio and music. Don’t let anyone hold you back, just keep doing what you love. That is something I’ve learned in my short time of working around live audio.”
That is Sound Advice!
We at SoundGirls.org wish Sarah the best of luck in all her future endeavors.
Claudia Engelhart – Attention to Detail
Claudia Engelhart has been working in live sound for the last 30 Years. Her parents were artists and musicians, and she grew up in Berkeley, CA, Claudia began her live sound career at the legendary jazz room Keystone Korner in San Francisco. The Keystone Korner hosted legendary jazz acts such as George Benson, Grover Washington, Bill Evens, Stan Getz, McCoy Tyner, Art Blakey and Miles Davis. The Keystone Korner left an enormous legacy of live recordings.
In 1983, Claudia moved to New York and started working at another legendary club CBGBS. By 1985, Claudia was touring full time and has been Bill Frisell’s FOH engineer since 1989. Claudia has toured with several renowned artists during her career including Ryuichi Sakamoto, Wayne Shorter, Herbie Hancock, Michael Brecker, David Byrne, Laurie Anderson, David Sylvian, John Patitucci, Dave Holland, Grover Washington Jr., John Scofield, Medeski Martin & Wood, John Zorn, The Kronos Quartet, Don Cherry, Cecil Taylor, Fred Frith, Eddie Palmieri, Willie Colon, Airto Moreira and Flora Purim, among others.
Growing up, Claudia was surrounded by working musicians and that perhaps has given her a deeper appreciation and understanding of music. The musical environment is natural to her, and she understands both music and musicians. Having studied the cello, piano, and voice for over ten years, Claudia always knew that she did not want to become a performer. “I played in the orchestra a little, but I wasn’t interested in that. I just loved the sound of the instruments, cello specifically, and how it felt to play”. Being surrounded by all those musicians, Claudia wanted “to find something of her own, which nobody else did.”
Through a family friend Airto Moreira, the Brazilian percussionist Claudia was exposed to the touring life. His band would stay with her family when they came to town on their West Coast tours. Claudia says “ there was something romantic about being on the road, seeing them all, hanging out with them, and going to the clubs to hear them play.” It was then that she knew she wanted to tour.
After graduation from high school, she traveled to Brazil for a year and coincidentally ended up staying with two live sound engineers. They had reel to reels of every live concert they had done, and Claudia believes they helped switch the light bulb on as it became clear she would pursue sound.
Luckily, she knew where to turn, her second home the Keystone Korner. Her parents were friends of Todd Barkan, the owner and attended many shows for free. Claudia and her sisters got to see many of the Jazz greats and often sat in the sound booth. She approached Milton Jeffries, the sound man, and he would give Claudia her first gig and become a teacher and mentor. He passed his knowledge down to Claudia teaching her to be patient, making sure she took her time to listen and then to make changes sonically. How important it is to talk to and get to know musicians, establishing the trust that is the foundation of live sound. Claudia says to this day she still heeds his advice “Just move slow, take your time, and record everything.”
From Keystone, she would make her way to New York and soon found herself mixing Audition Nights at CBGBs. Claudia says it was “a perfect place to learn. You could do anything, and it wouldn’t matter. It was crazy – like a garage band factory”. She also learned to work quickly with seven bands a night and 20 to 30 minute set times. CBGBS was at the height of the hardcore scene a complete 180 from the Jazz scene Claudia came from but says she did not meet any resistance to her gender and felt it often worked to her advantage. She was not alone either as both the head sound engineer and LD were women. Hilly Kristal, the owner, was very supportive, and Claudia says if there ever was a problem “ he would scare the shit out of people. Nobody would get in Hilly’s face. That’s for sure. He was a total puppy dog in real life. I think he was proud to have women on his crew”.
Claudia has fond memories of CBGBS, reminiscing that it was the best sounding club in New York, and bands would take the gig seriously. Bands could also get good sounding board tapes or 16 track recordings that they often used later. The sound system consisted of a 16 channel Soundcraft, an Apex 16 track recorder, and a large P.A. of JBL boxes. The system was designed and built by Norman Dunn. The best thing was that the mix position was in the middle of the room, where you could hear the P.A. Claudia says “CBGBS was a stepping stone – I think I might have been too young to realize how important it was. I wasn’t really focused on who would be there. In retrospect I was really lucky to cut my teeth in a room like that, I learned a lot”.
After CBGBs, she moved onto SOB’s, also known as Sounds of Brazil, a premier venue in NYC for world music. SOB’s hosted music Claudia loved, and she was able to connect with many talented musicians during her time there. It was also a challenging environment, with interesting instrument configurations and figuring out how to mic unusual instruments while achieving a rich and natural sound. Claudia says every day was a new experience and her launching pad for getting out on the road.
In 1989, the Knitting Factory called her in to mix Naked City, whom she had never heard of. The quintet included John Zorn, Fred Frith, Wayne Horvitz, Joey Baron, and Bill Frisell and Claudia spent a week mixing their improvised set of Thrash Metal, Free Jazz, Americana. Claudia says it was a blast and from then on John Zorn hired her for sound. She would tour with them through the early nineties and toured with Frisell’s, Frith and Horvitz’s bands. Since Naked City was the central band, there were never scheduling conflicts. She has been with Bill Frisell since.
Working with a musician or artist over several years has both pros and cons. Working with Frisell for over 25 years, Claudia finds it is important to work with other groups and styles of music that all bring fresh ideas and knowledge about sound. “There is always the danger of falling into a comfort zone when working with the same people all the time, that being said it does allow the ability to get really inside what is happening with the music.” Claudia elaborates “ It’s a deep place [to be] you become an integral part of their experience, and it is powerful for [both the artist and you]. Not everyone has that chance, in any workplace, to know and understand whom you work with at such an intense and intimate level. It’s a great thing.” Luckily Bill offers Claudia the chance to keep her mixing skills sharp as the band configurations change often. The most positive aspect is the bond Claudia and Bill have. They know and understand each other on a very deep level. Claudia explains that Bill knows he “can do anything [onstage] and he knows I’ll be right there to make sure it’s going to be heard. Ninety percent of it is about trust”.
Often interpreting an artist’s vision and translating it into the sound mix is a difficult task and Claudia spends a good deal of time talking with the artist to find out what they want to achieve sonically. When she was with David Byrne and his 55 piece orchestra, she found David to be incredibly articulate and able to convey how he wanted it to sound, working with her at FOH, making suggestions, she was able to get it closer to his vision. While on tour with Laurie Anderson she focused on the underlying sounds that might be overlooked or get lost in the mix. Establishing the trust for the artist to communicate with you is so vitally important. That trust allows room to experiment and get the best sound for that day, for that venue, that artist. While working with pianist Ryuichi Sakamoto on his solo piano tour, they experimented daily on the piano sound. Taking into account the venue sound, the piano, even the humidity. Microphone placement could change daily.
Sometimes less is more, as is the case with much of the music Claudia mixes.
The idea with Jazz and instrumental music is to let the band control their own dynamics as much as possible. In a Big Band situation, they have sections of instruments allowing them more control of their own volume as a whole. Smaller ensembles might be more dependent on the sound person. The term “reinforcement” really applies here – it’s about adding minimally what is missing – piano, acoustic bass, instruments that can get lost in the midst of the band, or follow a soloist to make sure they can be heard. There is a fine line to reinforcement and over amplifying that one has to be careful of. The acoustics in a venue play a considerable part in the performance; I try to use the room as much as possible to mix the band, and only add what I feel is missing. There is a lot left to interpretation, but in my experience less usually is more. A sound person can really make it difficult for a band to play if they are over amplifying them. The band no longer has control of their sound and dynamics. You really have to pay attention to the music, it is never a set it and leave it situation, even if you think you are not doing anything, small changes here and there can go a long way to making an acoustic band sound natural, amplified.
Monitors can play a huge role in how a musician plays their instrument. I work with a lot of bands that do not use monitors at all. They set up close together so they can hear each other naturally. If monitors are needed, usually they are very low volume, just enough to fill in what might be missing, not a whole band mix. Monitors can really determine how an acoustic band plays. If they are competing with loud sound onstage, they will have to play over that. It’s a very sensitive position to get a good monitor mix, and it can be very minimal. In this situation set it and leave it can apply. Letting the band
handle their own dynamics onstage is crucial to how they play. Remember though you always have to stay awake and pay attention to the band no matter how little mixing is going on in Monitor World! Things always change.
One Woman Crew! Claudia acts as road and production manager, FOH and Monitor engineer, and deals with backline equipment, lighting, and merch. Claudia says she pretty much “does everything except play onstage.” If she is on a tour that has a crew or road manager she is on vacation. She fell into road managing out of necessity as the acts did not have a budget for more than one crew person. She tries to do whatever is needed so the bands can focus on playing music. Her days are spent advancing shows, dealing with travel and transportation, driving the van, and finally getting to do what she loves mixing the show. The key to making this work is advance work, making sure all the bases are covered.
Even with all the advance work, there is often one variable that is out of her control; monitors and this can have a significant impact on the show. Claudia makes sure that the band and monitor engineer are introduced and that the band knows where monitor position is. She also takes time to explain to the ME what type of music they will be mixing and anything that is important to know about each musician. Communication is the key and so important. Sometimes the monitor mix is from the FOH console, and Claudia finds herself making several trips to the stage. She makes sure she eqs the wedges and determines the parameters she is dealing with. Is the sound on stage bright, dark, or mid-rangy, how will the sound of monitors affect the house mix, and getting the musicians confident for the show.
Claudia stresses that monitors are just as important as mixing FOH, and monitors often can make or break the performance. The ME needs to be on top of their game at all times, being sensitive to the needs of the band and FOH engineer, as well as taking into account the venue acoustics. When the ME knows what they are doing and giving their full attention to their job, Claudia knows she does not have to worry, and they will have a comfortable and fun day.
There are days though when the ME doesn’t understand the needs of the musicians, does not communicate or pay attention and forces Claudia into survival mode – getting the absolute minimum mixes going for the band so they can perform and get through the show. Hoping that the ME won’t change anything during the show. “SO MANY TIMES THE BAND HAS HEARD ME SAY, “DON’T TOUCH ANYTHING!”. SAD BUT TRUE”.
Claudia has many favorite venues but prefers the small theaters and intimate rooms where the audience is close to the band. The energy to audience brings to the band adds to the performance. She loves the festival circuit and has many favorites – Montreal-Newport-Umbria-San Francisco-London-Copenhagen Jazz Festivals. With sound technology continually changing, she does not get too attached to specific pieces of gear and finds that sound systems today are at such a high level that even the “bad” systems aren’t that bad. She does her best to make anything work, even if it’s not perfect. “I like the challenge! It’s a live performance – It’s Live.”
Claudia’s advice to young women starting out:
I think you have to be passionate about doing live sound. It’s a lifestyle that may not be for everyone. It takes endurance, patience, selflessness, and love of music and musicians. You have to be ready for the longest days, hard travel, no sleep, and hard work. But it is very rewarding and fun. Remember the show isn’t about you, it’s a team effort. Don’t be afraid to ask for help; it’s the best way to learn. Trust your instincts
In 1974, America was caught up in Watergate, Robert Redford’s Great Gatsby was in theaters, bar code scanners were just being introduced in supermarkets, and Elton John was touring his recently released “Goodbye Yellow Brick Road” album. At 18, Kathy Sander accepted an invitation to join the tour which eventually led her to a career in live sound, touring with some of the world’s biggest acts and most memorable concerts.
While on vacation in England, Kathy found herself being introduced to Elton’s tour manager who offered her a position as the ‘tea girl’ (translation gopher). Not wanting to cut short her trip she declined but had second thoughts after returning home and decided to show up in Texas for the start of the tour a few months later. Rather than being the tea girl, Kathy ended up assisting the sound and lighting crew during set up, learning from the band’s crew how to set up and tune their instruments, even lending a hand in wardrobe when needed. After testing the waters in the various departments, she learned that sound was her true love.
Clair Bros. crew chief Randy Weitzel took note of Kathy’s hard work and taught her the basics- how to mic a stage, run power, do soundcheck and run the board, etc… He observed that Kathy worked harder and was doing a better job than the newly hired Clair employee on the tour and lobbied Gene Clair to hire her. When the tour ended Gene knew Kathy could handle the road but thought she needed more experience in sound and suggested a studio job since in those days, there was no formal education for this type of work. “Most engineers came from bands, studios or bar gigs, and systems people were trained by the company they worked for.” Her next step was to move to LA where she finally found a job at Conway Recorders and again jumped right in doing whatever was needed- assisting the engineers, being tape op, setting up the instruments, running sessions, answering phones, etc.. After attending many concerts, Kathy was sure that live sound was where she wanted to be, and when the studio was sold a year later she was ready to approach Clair Bros again for a job. “The excitement of one chance to get it right in concert contrasted sharply with listening to take after take in the studio.”
Persistence paid off. Kathy made her way to Lititz, PA and showed up at the Clair facility on a Friday in late June 1976. The shop foreman, Dave Hendel told her to come back after the weekend, and when she did they seemed surprised. “For most of the day, I sat on the lawn outside and talked to the other employees,” which became the start of many great friendships. “Later in the afternoon, Hendel came walking up and said what are you doing sitting around? Get to work.” That was it, and she was hired.
Yes tour sound system mid-70s
Turning 21 with Elvis and No Women Allowed
It was 1977, and I had my 21st birthday out on Elvis, which was my first real tour for Clair Bros. The tour was easy, two weeks on, two weeks off, we flew in a private plane from city to city, stayed in hotels had a leisurely 10 am call. “This tour was the first time I worked with Bruce Jackson. Bruce was Elvis’s monitor engineer and he EQ’d the FoH. He taught me many things including not to take myself so seriously. He was a great kidder, an excellent teacher, and his audio skills were beyond a simple compliment. He was the first of many that taught me how and what to listen for and what sounds meant and how the systems interacted.
” The thing about Elvis’s tour is they did not want women on the crew but Clair Bros. and Bruce talked them into it. One day Colonel Parker (Elvis’s manager) decides to ride on the crew plane, and he is talking to Bruce when I walked by. I had hair down to my butt back then; the Colonel looked surprised, he turns to Bruce and says “that is a girl.” Bruce gets this big grin on his face and tells him I have been on the crew for six months and he (the Colonel) had given permission. That was the end of that controversy. Bruce and I did several other tours together after Elvis died including a Carly Simon Tour where Bruce flew us from gig to gig in his private plane. He was such an irrepressible teacher that he would have taught me to fly if I had asked.
Elvis PA Hang
At the time, Clair Bros. was growing rapidly, and while they had women working in the office and in the electronics shop building the Clair console, there were no other women on the road. “They made me pay my dues. I worked in the shop, speaker repair, painting, learning to solder, testing and packing the equipment for tours, eventually getting to do shows on weekends and big stadium shows. I drove equipment and was an extra hand for big stadium shows in the summer of 1976. But let me be clear, I was doing what many rookies did at Clair at that time. I did ask to go out on tour, but they were worried about one woman on a tour bus with 11 guys, and if I could handle the physical demands of lifting speakers, etc. I remember some of the roadies told me I had to lift a double horn over my head, as a test. I later found out it was only partially a joke. After a while, I guess it became moot. I could and was lifting those horns in the shop anyway. They knew I could handle the demands of life on the road because Gene had seen me work that Elton tour. I think it just took some time for the idea to foment within the ranks.
Being one of the first women in what was considered a man’s field came with its own challenges. “Just getting my foot in the door was probably the biggest challenge. Getting them to send me on the road, that took a while.” “It took a while for me to prove I could do the job, and even after I was valued enough to be requested for tours, some clients still had reservations. Clair stood up for me with our clients, and other times decided it was not worth the fight. I understood it. One particular tour was with a new woman artist, and Roy Clair wanted me to start mixing FoH for her but, although she didn’t even know me, she insisted on a guy to mix FoH. That was a big disappointment being shot down by someone who should have understood.” During the 1970s, no other companies had women roadies. It was commonplace not to hire women for the road. At Clair Bros. Kathy was given the chance to make mistakes and learn and had the support of not just management but fellow roadies who taught her, stuck up for her, and at times looked out for her. But she notes there was no special treatment, all Clair employees were treated this way. Back then doing sound was much more a physical job than it is today, gear was heavy and not always on wheels. “I always believed I could do the job; they {fellow crew} helped me figure out how I could do it.” “For most challenges and/or barriers all it took was doing the job well, and my gender became less an issue.” Most clients were open-minded about her being on the crew although her presence was usually a surprise at first and random curiosity. The men were surprised at her strength and to see her tackling a dirty and challenging job, pulling cable and loading trucks with the best of them. “Occasionally but rarely, it took some time for them to get used to me. They learned that I knew what I was doing and I earned their trust. After a while, I was just another crew member. Some clients became friends; there was a real camaraderie between the crew and artist in those days.
“At the time, it was definitely a boys club where generally the only other women on tour were artists and groupies; even stagehands were all men. “In some ways, I had an easy time. I have seven brothers, all younger. I was used to being around guys all the time. There was nothing unfamiliar about living with all that testosterone for me.” “I was respected as a female by the crew, and I was never mistreated. They always managed to find a separate shower for me, but everything else was the same. My crew bosses cut me slack for any poor decisions/mistakes on my part and continued to have faith in my abilities just like anyone else.” She found herself routinely asked back by crews and clients that she had worked with. Mike Stahl, former president of ATK states, “She was one of the best, if not the best engineer that I have ever worked with.” “I took Kathy on every tour that I did for over five years knowing that with her help, it would sound as good as humanly possible.”
When she started out, with female live sound engineers being a rarity if not unheard of, Kathy’s mentors were all men. She learned from her colleagues but mostly any FOH engineer that would teach her. Once she gained their trust, they let her EQ the system or try new things to make it sound better. There were a few-Jo Ravitch, Mike Stahl, and Roy Clair who encouraged and pushed her, giving her opportunities to come into her own. “Kathy was one of the most conscientious employees that worked for Clair Bros. She always strived to do her best. She was an asset to the audio industry. Kathy made the industry realize that gender was not an issue and that people were the only thing that mattered. She proved that” recounts Roy Clair. For most of her career, Kathy was a system tech and FOH tech.
“I really enjoyed EQing the FOH system and running a complicated live show. I thrived on a challenge. From them, I learned that there was always a way to solve a problem, I was only limited by my ability to figure it out. A very useful lesson even now.”
During the 1983’s US festival with 34 different acts performing, Kathy’s job was handling the master stage chart list and making sure that each act’s inputs came up as needed and were mic’d as requested. In 1985, she was in charge of the U.S. half of Live Aid at JFK stadium. Keeping the rotation of the extensive number of acts running smoothly and on time while coordinating with the TV people in both Philadelphia and London was not an easy job to handle. The JFK show ran extremely well, sounded fantastic and is something she is very proud of. Kathy did her share of unique and memorable gigs from presidential inaugurations to the Moony wedding in MSG. From the Amnesty International tour to Jackson’s Victory tour where the audience, parents, and kids, were singing louder than the PA. Other highlights were being on a Queen tour in South America with 100,000 Brazilian fans singing in English, and sitting behind Elton John’s drummer in MSG on Thanksgiving night 1974 when John Lennon appeared on stage with Elton and sang ‘Lucy in the Sky with Diamonds.’ “Slowly and for the first time, people in the audience started to light matches and lighters. From the stage, it looked like a sky of stars; both Elton and John were visibly moved by the audience gesture.” One of the engineers Kathy frequently worked with was Mike Stahl who acknowledged Kathy’s skill with tuning the PA system during an interview with a leading industry magazine at the time. He relayed how on Jackson’s Victory tour she took a stadium system of recently changed components that sounded terrible and by physically changing the crossover points and EQ she made it sing. “I can’t say enough superlatives about her, her attitude and her ability.”- Mike Stahl.
The equipment and technology of the 70s and 80s were quite different from what is being used today. “When I started the S-4 and the Clair console was relatively new. Many systems still had single component speaker boxes that were stacked or hung differently every gig to “splay” the sound specific to each venue. But in a matter of a few years the idea of stream-lining load in/out and set up, efficient use of truck space, consistency, and durability of equipment became driving factors in equipment change.” “The thinking in those days was that the system had to point at the entire venue. Now of course we have a different understanding of venue acoustics and the physics of sound projection, hence the line array…..etc. But in the infancy of this industry what we saw was a gradual increase in the sheer number of boxes as bands requested more and more gear. It was all about the volume, and quality even then. Monitors were small (and heavy for their size) wooden boxes that sat on the floor with a speaker and a horn. I loved EQing the house system, setting the delays, getting it just right. I always walked the venue with and without people. I used to dream about walking around with a pad to EQ from the stands instead of using walkie-talkies. Now it is common practice to use an iPad to do just that. I hoped the systems themselves would change as they have, although I have to admit I did not see fiber-optics, wireless ear monitors and digital coming quite so fast.”
Kathy worked at Clair Bros. from 1976 until 1989 during which time she was told repeatedly by the local crews that they didn’t see any other women on touring crews that came through. Toward the end of her touring career, she would occasionally hear about women in lighting or wardrobe but no other sound engineers. Things have improved since then, women engineers can be found on a wide variety of tours and at venues. Clair Bros now has a number of well-respected women engineers and even more women working in the shop. When asked what advice she would give to young women considering a career in live sound she replied, “One thing I might do is make sure she understands what life is really like on the road. Anyone wanting to work on the road should understand the pros and cons before committing. It may not be what they think. I would suggest she contact Clair or any other company she thinks is doing great work and ask the company what they would like to see from her by way of any formal training or experience. Today I’m sure it is different, there are degree programs and other opportunities to get a knowledge base and some experience. I have been told Clair now has a more formal training program for their road crews. And of course, there is always the tried and true method- Find a great band and work for them. Easier said than done, as always. It is my understanding this is still the way most FoH engineers will get to mix. ”
“For me, there has always been an underlying belief that you find the best people working in any field and lobby like crazy to work and learn from them. Clair Brothers were/are the best in the field.”
“In closing, most of your colleagues, crew, staff, and clients will not think twice about having a woman on their crew anymore. That is some small measure of progress. In any job where men have been the principals, it is doing a job well that changes attitudes. The music business was not as sexist as one might have thought or expected in those days. In many ways, it simply came as a complete surprise to everyone that I could do the job. Being surprised is not all bad. There are so many experiences and people that encouraged me. The list is very long, but I would most like to say thank you to the ones that never blinked when I turned up to work. They are the real heroes of any story about opening this door. I was lucky to have had all those opportunities, lucky to have made so many good friends. It is the people I miss when I think about those days.” After leaving Clair Bros. in 1989, Kathy made a complete career change and became a geologist. She is currently living in Denver and has recently retired. She encourages any of today’s women live sound engineers passing through town to contact her. “If you would like to show off your rig, I would very much welcome connecting with the women of live audio, visiting, seeing, and hearing the state-of-the-art in both monitors and FoH.”
We here at SoundGirls.Org would like to express our gratitude to Kathy for opening the door for the rest of us.
Claudia Engelhart is a professional live-sound engineer with over 25 years of experience. She began her career working live sound in the historic San Francisco jazz club Keystone Korner. In 1983 she moved to New York City and continued working in clubs such as CBGB’s, The Bitter End, and S.O.B.’s. In 1985 she began touring full-time, internationally, as a front of house engineer. Since 1989 Claudia has been touring with Bill Frisell. Claudia has also worked and toured extensively with other renowned artists such as Ryuichi Sakamoto, Wayne Shorter, Herbie Hancock, Michael Brecker, David Byrne, Laurie Anderson, David Sylvian, John Patitucci, Dave Holland, Grover Washington Jr., John Scofield, Medeski Martin & Wood, John Zorn, The Kronos Quartet, Don Cherry, Cecil Taylor, Fred Frith, Eddie Palmieri, Willie Colon, Airto Moreira and Flora Purim, among others. Check out the entire interview and Claudia’s tips for mixing here.
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