Join Us

Empowering the Next Generation of Women in Audio

Join Us

Production Communication

Comms, a necessary evil

Comms are, without a doubt, integral to a production’s success. Whether it’s over a radio or full-duplex communications, comms are a necessary beast. As a sound engineer, A1, A2, production manager, producer, etc. I have worked extensively with various versions of communications technology. I will focus on tech that is not brand new, mostly because that is far more common than shiny new systems. New comms systems are as rare and magical as unicorns.

Comms systems allow a production crew to speak to each other instantly. Many of my students question, especially after seeing how the equipment LOOKS, why don’t we just use phones and text? Aside from service issues inside buildings, battery life, distractions of other apps while working, etc., the main reason for me is that using a mobile just isn’t practical or professional. How many times have you had issues with a text going through? Depending on your network, this can be a frequent and annoying issue. Portable communication systems allow me to set up a reliable network of people within minutes. Hard lines ensure fewer problems than wireless (although I’ve had my fair share of bad cables and mini fires). TEST EVERY COMPONENT before the show. Seriously. Do it. These devices are MADE to take a beating, but they are not immune to damage. They are hardy little boxes, especially compared to my glass-covered iPhone.

 

Handbook of Intercom Systems Engineering

This PDF guide, The Handbook of Intercom Systems Engineering, first edition, Copyright© 2007 by Telex Communications, Inc is your magic textbook to all things comms. I frequently refer this to my students as a resource, and although it was published some time ago, I still find it to be completely relevant in the scope of existing installations. This document is my BEST advice to learning comms, troubleshooting, and designing systems based on your needs. Clear-Com and RTS have been around since the 1970s, and I believe some of that original equipment is probably still in circulation. While petitioning for new comms systems, most of the responses I have personally received involve “if it ain’t broke why fix it?” or some variation of that phrase. Most times, I am cobbling together a system from half-functioning components, which is frustrating and not the most helpful for such an important system. Comms aren’t sexy though, so many people aren’t eager to replace them.

Party Lines

Party lines sound way more fun than they actually are in real life. A party-line system is probably what most of you have encountered already. This system allows a group of people to communicate and have conversations. There is no limit to who is allowed to talk at a specific time, aside from etiquette, and there is generally no privacy.  A typical setup will include a power supply, XLR cables, belt pack user station, and a headset. RTS comms are a two-wire system, meaning that you can have the same path for talk and listen, and two separate party lines. These are more commonly found in TV production and sporting events. Most user stations will be connected in parallel, although having a splitter can help when you need to go separate ways.

Equipment

There are so many options for comms equipment, and this will vary based on the manufacturer and your production needs.

A Power Supply is necessary for most comms equipment unless it comes with its own PS. For RTS, the PS20 is a standard power option.

Belt Pack User Stations are individual, portable comms stations. These require power from a power supply.

A Main Station is rack-mounted user station, which will also require power from a PS.

Master stations are rack-mounted stations, combined with a power supply.

A Biscuit Box is a portable speaker station, which will require power from a PS.

Headset types: Single Muff, Double Muff, Phone Handset, Biscuit box.

 

Source Assignment Panel (SAP) is integral for larger productions. This allows up to 6 sources (Party Lines) and 12 selectable outputs (to people). Each user station can have two PLs. An SAP will give your production more selective communications so that each department isn’t talking over each other. If you have a video team, they need their own PL for the Director, Producers, TD, Cameras, Floor Manager, etc. They don’t need to hear about any issues from monitor land.

Who needs to be on a headset?

Paperwork and organization is a big part of the job of an A2. Anyone who needs to execute a cue at a specific moment needs to be on a headset. Who needs which type of equipment? Where are they located? Who do they need to speak with while on a headset? TV Broadcast gigs will have a lot more people on a headset than a concert or theatre event. For larger portable events, I will employ additional equipment, including a Source Assignment Panel. An input list for comms will help keep track of everyone. I will label the BP for each person; keeping organized is key! Using their names/titles for labeling is a good practice. If you don’t know, you can ask them. Communication is key. (Obviously.)

 

 

 

How Do You Go About Setting Up Your Console Workflow?

Once you start mixing more than a few shows, you’ll start to find that you have some preferences in how your console is laid out.

Everyone has a particular way of doing things, and it’s all a matter of what works for you. For instance: How you do your input patch will determine where things show up on the surface.  It doesn’t have to be 1 to 1 with the snake patch; you can patch inputs to come up in whatever channels you like.

If you are mixing on a digital console with a limited number of faders available on the surface, you’ll have to think about how you want your inputs to populate them.  If you have 42 inputs and only 16 input faders/layer, how do you want to build your layers?

It’s a good idea to have all of your drums on the same layer or page so you can easily make adjustments to the overall drum mix. Likewise, if you have numerous inputs for keyboards and tracks, keeping them on the same layer or page makes for easier control.

Something I like to do is keep my most important inputs on the channels closest to the master section. For most of what I mix, this is the lead vocal or vocals. I rely heavily on VCAs/DCAs and do most of my mixing from the master section where they are found so having my most important inputs right next to the VCAs; they are always where I need them.

When I was mixing the bands Styx and Mr. Big, the music was heavy with 4 part vocal harmonies.  I would always lay out my console to make sure that the four vocal channels were right next to the master section and able to be pulled to the surface in an instant. It wasn’t a set it and forget kind of mix; there was constant massaging and blending of the vocals.

Keeping important inputs near the master section stems from the days of large frame analog consoles where inputs could be spread out over quite a distance.  But I find it still works well with digital boards and tends to keep things that need lots of attention close to that area of the console.

Other things to think about are your effects returns. You might want your effects returned in channels rather than the FX returns.  Using open channels instead of dedicated FX returns for your Effects will generally give you more flexibility in routing and better EQ options.

All of these things will be determined by your input patch, so give it some thought ahead of time.

Next, consider how you will designate your VCAs/DCAs and/or Groups. Think about how you can group things to make it easier to mix.  It’s much easier to mix from the 8 or so VCA faders than all of your individual channels, especially on smaller consoles that only give you eight input faders on the surface.

If you’ve got 42 inputs, you don’t want to have everything just assigned to L and R and be mixing on 42 faders jumping through layers or pages all night.

Things can be double assigned.  What I like to do is have one VCA,  that I label BAND for all of my instruments. I tend to set up my VCAs along these lines:

Every input goes to its intended VCA- drums to drums, bass to bass, etc., but is also assigned to the band VCA, except for the vocal channels.  This way, I have control of the overall level of the band with one fader, which is incredibly useful if I am having trouble getting the lead vocal above the music.  I can just grab the band fader and bring everything but the vocal back a bit.

Now if you have a four-piece band with 16 inputs total, this isn’t such a big issue.  But still, it’s much easier to mix on 4 VCAs than 16 channels. The more involved your show gets the more thought you’ll need to put into it.

Think about what your needs are?  What will help you be as efficient as possible, and what will give you the control you need?

Groups are great for processing multiple inputs at once.  Smaller analog consoles may only have Sub Groups available and no VCAs.  You can assign all of your drum inputs to a stereo group and insert a couple of compressors across your drum mix for a little added punch to your drum mix.  You can send multiple background vocals to a group and compress them so sit together nicely.

You’ll also want to consider AUX buses.  If you are doing monitors from FOH you’ll want the aux buses to be Pre Fader and depending on the console; you may only have the option of certain aux buses being Pre Fader.

Which Auxes will be for monitor sends and which will be for effects?  How many effects do you need? If there are enough available, it’s a good idea to have separate effects for different inputs.  For example, have one for drums, a different one for vocals and yet another for instruments like keys and guitars if needed. This gives you more control and allows for more clarity in the mix.

These are just a couple of things to think about when you are setting up your workflow on the console.  For me, I build my workflow around control and efficiency, but you may have other ideas, and I’m curious to hear what works for you.

For more from Michelle, check out Mixing Music Live

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

August Feature Profile

https://soundgirls.org/rising-producer-engineer-lauren-deakin-davies/

Transitioning in the Music Industry

The Blogs

Audio Tips For The Top High School Musicals Of 2019

https://soundgirls.org/welcome-to-the-machine-the-story-of-pink-floyds-live-sound/

Getting Back in the Game

Especial Slang | Igualdad y representación

Slang Special | Equality and Representation

Internet Round-Up

Mackenzie Spear – Live Sound & Mix Engineer

 

https://youtu.be/UmSfDx7vJZg

So You Want To Kiss Her During a Songwriting or Recording Session

 

 

SoundGirls Events

Ableton Live for Anybody – 4 Session Online Course

An Evening with Lenise Bent

Bay Area Chapter Monthly Meetings

SoundGirls Opportunities

SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls

SoundGirls Resources

Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers

Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Audio Tips For The Top High School Musicals Of 2019

NPR Ed has just published a database of the most popular high school plays and musicals in the U.S. for 2019.  Upon reading this list, I realized that I have designed all but two of these musicals, so I thought I’d share a few experiences I encountered with each.  I’m only touching on the musicals, but here’s the link to the original article if you’d like to follow along at home, and also read about the most popular high school plays in 2019.

Alright, here we go!  (I feel like David Letterman…digital high-five if you get the reference.

#10 Shrek, The Musical & The Wizard of Oz

No, this is not a weird mashup (but that would be hilarious, someone write this right now).  These two musicals have tied for 10th place. I’ll start with Shrek.  

I loved this musical, it was so much fun, and it’s a great option for high school casts.  The biggest hurdle I faced with this show was makeup. As you probably know, Shrek is green, Fiona turns green, and donkey is grey.  There’s also a giant dragon puppet. Shrek almost never leaves the stage. He also has a pretty complicated costume and heavy face makeup, so my first piece of advice is to double-mic Shrek.

Our Shrek wore a little beanie that was never removed, so I integrated microphone elements into that beanie. I asked the costumes department to sew a few small, elastic loops into the inside of the beanie, and threaded two microphone elements (which were Hellermaned together) through the inside of the beanie that popped out the front, landing in a nice little forehead position.  Shrek’s makeup was airbrushed on him each day, and our costume department was nice enough to give me a little bit of that green so that I could paint the elements in the same color.

This paint job had to be touched up about 2 times a week. Also, if your Shrek is wearing a fat suit, I recommend placing his transmitter on the outside of that rig. Depending on the transmitter and the fabric of the suit, they can have some difficulty cutting through all of those layers.  Fiona is a little easier, but has one very important scene to consider—her transformation scene. The transformation, including green makeup and prosthetics, needs to happen super quickly.

Since I could foresee green makeup flying all over that microphone element, I made the decision to have a second element prepped and ready for this quick change. This element was also painted in the Shrek green makeup. Human Fiona wore her element in a forehead position that ran under her wig (but not under the wig cap, which I would normally do), and during the quick change, the Human Fiona wig and element would come off, disconnect from the transmitter, her face was quickly painted green, and then the green element would replace the previous one and run under Ogre Fiona’s wig.  My A2 would handle all of the element work, including holding the capsule in place while the wig was being attached, and dressers took care of the rest of the change around the A2.

Our Donkey wore a head-to-toe bodysuit, so running his element under the hood of the bodysuit to the top of the forehead was my preferred method. Finally, the dragon. The dragon is a puppet that is manipulated by several operators. We had a separate actor voicing the dragon for her very fabulous song, Forever. Our vocalist was visible onstage, so I decided to match her R&B goodness with a gold-grilled handheld wireless mic.

#9 Into The Woods

I have never designed this show, but I really want to, so if you’re reading this blog and you are a producer, call me.

# 8 Seussical 

I designed this show over a decade ago, and it was for a high school company.  In fact, I’m willing to bet that 85% of the companies producing this show nowadays are middle and high school companies.  My biggest challenges on this show were the gear and personnel.

There are 12 principals, and an endless possibility for the ensemble.  I think my total cast size was between 50-60, plus we had an 18 piece orchestra. The school chose to provide their own gear as opposed to renting from my theater, so I had to work with what they had.

For the orchestra, I was given 5 pencil condenser microphones, 1 SM57, 1 SM58, and a handful of DI boxes. Luckily, I had enough DI boxes for guitars, keyboards, and bass. I ended up mic’ing sections instead of individual instruments, as would normally be my choice.  So, I put a condenser microphone on the reed section, brass section, string section, percussion section, and used one as overhead for the drumset. I used the 57 on the snare and the 58 on the kick. Some careful EQ really helped with this skimpy choice of mics.

For actor mics, I was given 12 wireless transmitters, 9 lavs, and 3 choir mics.  Yep, you read that right. Remember, this is a cast of about 55. I put all 12 transmitters on the principals, and 7 lavs permanently on those principals that had the most stage time. Now, I really, REALLY hate microphone swapping and avoid it whenever possible, but for this show, it just had to be done. Luckily we were only swapping 2 lavs between actors.  I put together a mic swap sheet and walked my high school student A2 through the process step by step.

Since I had 12 transmitters, the packs could all stay on their dedicated actor, and the A2 would just have to attach the lav as needed. For the ensemble, I had to bargain with the director a bit. The ensemble blocking was all over the place, and the director was hoping I would just hang those 3 choir mics evenly distributed over the stage, and they would produce the same sound as the principals in lavs.  I told her that one choice mic hanging 6 ft over the head of one tiny 13 year old was not going to give her the sound she was looking for, but 3 choir mics positioned in one area over a group of 40 13 years olds would get her closer. She was not willing to forfeit all of her blocking and make the ensemble completely stationary, so we chose 3 locations where large groups of the ensemble would land for musical numbers, and I hung a choir mic over each location. On the rare occasion that an ensemble member had a pop-out solo, we made sure they were standing next to a principal so that we could get a little more gain from that open mic.

I also had a high school student mixing at front of house, so I preprogrammed the show for him, made it as user-friendly as possible, and walked him through the scenes one by one. Designing this show was the first time that I realized student production does not necessarily equal easy. Given all of the constraints and restrictions, I’m happy with the way the show turned out, and I DEFINITELY learned a lot from that production.

#7 Little Shop of Horrors

Again, I have never designed this show, but it’s one of my FAVES, so if you need a sound designer for this, you know who to call!

#6 Newsies

I did this show a few years ago, and I absolutely loved it.  The cast was phenomenal, the music was great, my biggest and only enemy during this production was sweat.  If you don’t know the show, it basically features a group of stupidly talented dancing newsboys. If the show is done right, and I’d like to think ours was, they are dancing their little hearts out for the majority of the show.  That means lots and lots of sweat.

My regular transmitter protection protocol is to put the transmitter in a non-lubricated condom rolled all the way up with a cotton ball sitting between the connector and antenna. Most of the transmitters were in a neoprene mic belt, which is super protective against a sweaty body.  Because only a few of our mic belts had flaps on them for extra transmitter security, the excessive amount of dancing would sometimes cause my cotton balls to jump out of the mic belt, and onto the ground. I decided to add a rubber band around the length of the transmitter to hold the cotton ball in. In a few cases, I found that transmitters were still getting sweated out, despite the neoprene mic belt and latex protection.  For these few microphones, I added a layer of glad wrap around the transmitter. The sticky seal on this wrap really helps to keep the transmitter dry and happy. Remember to let the seal extend above the microphone connector and antenna. I then put the glad-wrapped transmitter in the un-lubricated condom and added the cotton ball.

I also had a few situations in which the microphone element that was rigged over the ear of the actors picked up an extreme amount of sweat regularly.  One of my favorite solutions for this issue is to add a tiny, rubber washer to the element that sits just above the capsule. The idea is that the washer will help distribute accumulated sweat out instead of down into the capsule. I got mine in a pack of 100 for less than $10 from McMaster-Carr.

#5 Mary Poppins

The most important thing to remember for this show is that Mary Poppins=FLYING!  This is important to remember because

#1:  In addition to her heavy costume, corset, and mic belt, Mary Poppins also wears a flying harness.

#2: Depending on where her take-off and landing zones are, you may not have as much off-stage access to Mary as you might like.

This becomes problematic when microphone troubleshooting becomes necessary. There are also very few moments that Mary Poppins is off stage, so I decided to double mic her.  I originally had her two transmitters on her mic belt under her corset, but I found that their antennas were having a difficult time cutting through all of the layers of heavy fabrics.  It was also quite uncomfortable for our Mary Poppins, given the extra belt of the fly harness.

I ended up moving one transmitter to inside her wig, and the other clipped to the front, outside of her corset.  The wigged transmitter was a Shure UR1M. I think this position would have been too uncomfortable with anything other than a micro-transmitter. The costume department helped by making a wig cap sandwich to help keep the transmitter secure, yet still accessible.  The actor playing Mary Poppins would pin curl her hair and wear a wig cap

#1 over the curls. On top of this wig cap was an added pocket for the transmitter. She then added a wig cap

#2, which was held on with 2 hairpins. The wig was then applied. There were many times throughout this run when we had to switch to the backup mic mid-show, so I’m glad we made the choice to double mic.

#4 Beauty and the Beast   

This is a BEAST of a show!  As we all know, there are many enchanted objects that live in the beasts castle.  If the mouth and/or majority of the face are obstructed by costumes, my advice is to build the microphone into the costume in such a way that it has better access to the mouth.

I chose a forehead microphone placement for our beast, but his hair/mane was worn so low on his forehead that it became necessary to place the capsule of his mic just above his brow line, which was fine, just required a bit of a different EQ.  Most productions, including ours, feature a Beast double for the final battle between Beast and Gaston. This is to facilitate the transformation of Beast to Prince.

There are several Beast lines that occur while the double is on stage, so as not to let on about our theatre magic, I chose to record those lines and have them played back.  There is a lot happening in this scene, and it should be pretty dark and scary, so there’s no need to worry about lip sync lining up. We had a second microphone element mounted on an ear rig for Beast’s transformation to the Prince, so during that costume change, we switched to the second element.

#3 The Little Mermaid

I am currently contracted to design this show, but will not begin the process for another few months.  So far, my biggest concern is, again, flying. While our production does not feature true flying, we will be using a few silks and ropes that actors will climb and swing on.  They will be harnessed, so I will be thinking of careful transmitter placement to guard against the actor or the equipment getting damaged.

# 2 Mamma Mia! 

Mamma Mia!  seems like it would be a pretty straightforward show, and it is.  The thing that required some extra thought for me was the large number of backup vocals.  We did not use pit or offstage singers, so I chose to record our ensemble singing all of the backup vocals.  Our production also features lots of dancing, so we did record some ensemble vocal overdubs to playback and sweeten those very heavy dance moments.

The curtain call of this show features what is basically an Abba concert. For this moment, I had originally planned on our music director and his assistant to be wheeled out on stage while playing live keyboards, but because of a personnel change very close to the opening of this show, we had to scrap that idea.  I’m telling everyone this tidbit because I’m hoping someone out there is able to up the stakes of this glimmering disco concert! I also insisted that the main six use handheld wireless microphones during the concert, and we even managed to add some blingy handle covers for good measure!

 

#1 The Addams Family   

 

It seems only right that this show is in the number one slot, it is definitely in my top three favorite designs.  If I’m being perfectly honest, I didn’t encounter too many issues I needed a creative solution for on this show.  I did get to play with a few fun effects, though. I don’t know if this is the typical casting, but our Cousin It also played the monster in Pugsley’s room.

Both of these characters featured a costume that completely covered the actor’s head. The monster costume was literally built on top of a motorcycle helmet worn by the actor.  As you can imagine, these are not ideal microphone situations. I chose to cover the echo chamber that these pieces created with effects. Since both characters made only sounds and not words, I was able to be pretty heavy-handed with the effects, as I was not worried about intelligibility or tedious balance.

For both characters, I used a dual pitch. I dialed both of It’s pitches extremely high, and both of the monster’s pitches extremely low. We gave the actor some time during tech to experiment with different sounds to see what could be produced through these effects. The outcome was very exciting, and a crowd favorite!

The opening number of the show features ensemble “ah’s,” which were sung offstage for our production. To give this an “other-worldly” feel, I basically drowned them in a large chamber reverb with a shockingly long 9-second decay. The same effect was applied to the women’s ensemble final “ah’s” in The Moon and Me.

Whatever musical you may be working on, remember that you do not always have to be beholden to budget, inventory, or personnel.  Creative solutions are out there, you just have to think outside the box. Also, remember your community if you get stuck! There is nothing wrong with reaching out to your hive, analog or digital, to discover just the right trick!     

Getting Back in the Game

 

I run a small freelance business called BackBeat365 Productions. During my time in school for audio, I built a list of clientele that I recorded and continued working with throughout my time there, as well as after I had graduated. Recently, I have taken a time-out from working with clients, as well as interning, because I was feeling very burnt out. To be clear, I was still recording, but only recording MY band’s music.

I feel most creatives are extremely hard on themselves, so taking this time out was a big decision for me, but I’m glad I did it. Why you ask? Because now I’m enjoying engineering again. It’s fulfilling that creative, yet technical side of my brain that was fried from doing it every day for four years. Since I let myself take a break, now I can come back at it- full force, but remember to take a step back (probably not as long as a few months ever again), but for a week or so. This way, I let myself, my ears recover, and remember why I love this craft.

Today, I’ll be talking about how to dive back in, stay relevant to your clientele, and meet new clients. The key to getting back into running a creative business is staying practiced in your craft. I may not have been working with clients or actively seeking new clients, but what I was doing (and still am doing), is recording my bands’ music, staying up to date (because in this industry, things are always changing), and continue learning.

So, that was a very general how-to for diving back into your creative business. Now, let’s talk about staying relevant to your clientele. For all of the bands and artists, I record and have recorded I like to create a comfortable, safe, and friendly space for them to be creative. I want to create that space because it gives the artist the opportunity to trust you. They are giving their art over to you in a sense, so it would make sense to provide them with a comfortable place to express themselves.

This has created a bond between many of my clients and me. I stay in touch through social media, and texting/calling to see how they are and vice versa. Also, a way to remain relevant in the engineering community even if you are taking a slight break is posting on your social media accounts what you are doing to stay practiced in your craft. It lets your clients, and future clients know that you are still in the game!

Last but not least is how to meet new clients. The way I’ll explain how to do that is short and sweet. You just have to practice approaching people, holding a conversation, and then following up with them after you’ve spoken to them through email or social media. Keep yourself on their radar. If it’s a band that you are seeking out, and you REALLY want to work with- maybe offer to one free song for them with one mix and one master revision (that way you are not drowning yourself in too much free work- trust me I know from experience). And do such a good job that they HAVE to come back and work with you for their next single, EP, album, or whatever it may be. They will tell their friends in bands, and then you’ll start building your client list once again! If your in a band this may be even easier for you!  You’re already playing with bands, and you’re on the same level- all you have to do is let them know you’re an engineer, give them your card, and follow up with them. Even send them your most recent work that’s been released.

I hope this helped you remember that it’s okay to take a break if you’re feeling mentally fried, or more stressed out than normal. Just know there are certain things you have to keep up while you’re taking a slight step back if you want diving back into your business with ease. Thank you for reading. You can always email me any questions you have at virginia@backbeat365.com, or follow me on my socials and talk to me/see what I’m up to musically there.

Instagram: virginial97

Instagram: happyhollowband

 

Especial Slang | Igualdad y representación

el Futuro de la industria musical

Arroba Nat, Moni Saldaña (NRMAL), Connie Fuentes, Moty y Carolina Antón (SoundGirls México). Fotos: Jesús Elizondo.
El Especial Slang es una mirada a fondo a uno de los tantos aspectos que suceden en el contexto de la industria musical.

En un festival de música solo hace falta echar un vistazo para darnos cuenta de que aproximadamente la mitad del público está conformado por mujeres, tal y como está configurada la población mexicana ―de acuerdo con datos del INEGI (2015), las mujeres representan el 51.4% de los habitantes de nuestro país―. Sin embargo, la participación de estas en los escenarios, así como en otros ámbitos de la industria musical, es minoritaria.

Con base en un análisis de Slang, en el que tomamos en cuenta los carteles de la edición 2019 de 32 festivales, la mitad de estos tenían más de 75% de participación masculina en los escenarios. Para nuestra evaluación incluimos a festivales realizados en territorio mexicano cuyo lineup, o parte de este, se había dado a conocer hasta el 5 de junio de este año ―se hubieran celebrado o no―.

De acuerdo con nuestro estudio, NRMAL (CDMX) es el festival con mayor balance de género en México, así como el encuentro con más porcentaje de actos mixtos (casi 67% de participación de proyectos mixtos y femeninos). “Para nosotros no se trata de una obligación de cumplir la cuota de género. Es lo que tenemos al alcance para generar un cambio”, nos explica Moni Saldaña, directora de NRMAL.

mujeres festivales musica mexico 2019

Al cierre de nuestro conteo (5 de junio), Hipnosis, Hellow Festival e Indio Catrina todavía no anunciaban su lineup completo, por lo que podría haber alguna variación en cuanto a los porcentajes actuales/definitivos. Infografía: Andrés de Miguel.

Cumbre Tajín también es uno de los encuentros de este año en el que los solistas masculinos y las bandas conformadas solo por hombres representan menos de la mitad del total del cartel. Por otra parte, Corona Capital, Hipnosis, Tecate Live Out, Akamba y Ceremonia GNP destacan como los encuentros con 40% o más de la suma de proyectos femeninos y mixtos. 

Entre las headliners mujeres de los festivales mexicanos de 2019 encontramos a Cardi B (Baja Beach Fest), Lauryn Hill (Solar GNP), Rosalía (Ceremonia GNP), Gwen Stefani (Machaca), Mon Laferte (Pulso GNP, Machaca), Kelela (Akamba), Lydia Lunch (Marvin) y Billie Eilish (Corona Capital).

niña dioz

“En los festivales sí veo que hay una representatividad femenina baja. Es verdad que si ves los headliners, hay mayoría de proyectos masculinos. Es una realidad, pero creo está cambiando también”, nos dice la cantautora Silvana Estrada.

Grrrl Noise es el único evento en México ―entre los de cierto tamaño y que incluyen tanto a talento nacional como internacional― en el que todo el cartel está planeado para tener participación femenina, ya sea con bandas de mujeres o proyectos mixtos liderados por mujeres. 

“El que una mujer sea la protagonista de un evento es un acto político que permite que los espacios que son principalmente habitados por hombres, por lo menos una noche, sean usados por mujeres y que los hombres que están ahí valoren el trabajo de las morras”, afirma Merarit Viera, profesora investigadora de la UAM Xochimilco, involucrada en la gestión de eventos enfocados en la participación de mujeres en la música, principalmente en el rock y el punk rock.

“En los noventa, las Riot Grrrls decían que poner el cuerpo en el escenario ya era un acto político”, agrega.

festivales musica mexico mujeres

Infografía: Andrés de Miguel.

El rezago de las mujeres en la historia

El bajo porcentaje de participación femenina en los festivales no es una mala intención específica de quienes programan los carteles, pero sí es una consecuencia de la inequidad de género durante los años, y quienes están a la cabeza de diversos aspectos de la industria musical pueden hacer una diferencia al menos en este rubro. 

“No es necesariamente a propósito, es que no había sido prioridad en la agenda como lo es ahora. Sigo diciendo a nuestros programadores mayores, quienes lo han estado haciendo por 30 años: ‘Vamos chicos, tienen que comprometerse con esto’. Es una nueva idea para muchos de ellos”, explica a MusicWeek Emily Eavis, hija del fundador del Festival Glastonbury y coorganizadora del encuentro.

Eavis recientemente declaró a la BBC que todavía hay hombres en la industria de la música que prefieren tratar con su padre ―de 83 años de edad― que con ella, a pesar de que ha estado enfocada en el booking del festival durante la mitad de su vida. “Voy a reuniones con mesas llenas de hombres. Algunos son geniales, otros se niegan a aceptar que tienen que tratar conmigo”, explicó la mujer de 40 años de edad.

La baja participación femenina en ámbitos escolares, creativos y laborales es una repercusión histórica. Por ejemplo, en la Constitución Política de la República Mexicana (1857), el derecho al voto solo estaba contemplado para los hombres. Las mujeres mexicanas pudieron participar en algunas elecciones locales hasta 1947 y hasta 1953 en las federales, prácticamente un siglo después.

Aparte, dos terceras partes de los analfabetos adultos en el ámbito mundial son mujeres, de acuerdo con cifras de la UNESCO: consecuencia directa de la exclusión histórica de las niñas y las mujeres a la educación. 

Tomando esto en cuenta, no es de extrañarse ―ni es el principal problema― que 70% de quienes forman parte de la industria de la música en el ámbito mundial sean hombres, que solo 6% de los productores reconocidos en Estados Unidos y Canadá sean mujeres, y que estas representen al 22% de los intérpretes de las 600 canciones más populares de 2012 a 2017, según estadísticas difundidas por la organización sin fines de lucro Women in Music. 

“Realmente no hay mucho balance en cuanto al talento femenino en festivales, ya sean de rock, hip hop o música electrónica. Es bastante la desproporción. Esto se debe a diferentes factores, yo creo el más importante es que no hay muchas mujeres en los puestos de poder desde donde puedan proponer este talento”, nos explica la rapera Niña Dioz. 

“Sigue habiendo mayoría de hombres en estos puestos de los festivales y entonces el resultado está desproporcionado”, sostiene la MC.

Loading video

Representación femenina en la vida profesional

Como indica la Iniciativa por el Derecho a la Educación (RTE por sus siglas en inglés), uno de los principales obstáculos que enfrentan las mujeres para tener derecho a la educación son los estereotipos de género. Por ejemplo, hay sectores en los que se considera que si una mujer “está destinada a dedicarse al hogar y ser madre”, no tiene por qué estudiar. 

Sin embargo, los estereotipos también afectan a quienes sí tienen acceso a la educación, e impactan tanto a hombres como a mujeres. 

“Los estereotipos de género son la práctica de atribuir a una mujer u hombre individual atributos, características o roles específicos por razón únicamente de su pertenencia en el grupo social de mujeres u hombres”, se indica en la página web de RTE.

LEE TAMBIÉN:

“Dónde están mis gitanas?”, la Mala Rodríguez llama a las mujeres a unirse contra la violencia

“El matrimonio y la maternidad tienen que ver con la condición de género, las mujeres somos construidas desde la familia. Una mujer joven es ‘una mujer casadera’, no una rockera, es un ‘cuerpo fértil’, no una rockera”, advierte Viera sobre la visión de diversos sectores de la sociedad.

Un ejemplo de cómo afectan los estereotipos de género a las mujeres en la música es el caso de la cantautora Leticia Servín, cuya expareja obtuvo la guardia y custodia de su hijo Dante ante las autoridades judiciales de Jalisco argumentando que por su actividad laboral “se ve obligada a descuidar al menor y no darle la seguridad que necesita”. 

Si el hombre fuera el que se dedica a la música no existiría semejante documento, ya que la sociedad mexicana tradicional esperaría que la mujer se quedara en casa a cargo del hogar. “Es irónico porque generalmente las mujeres se hacen cargo de los hijos, pero hay un castigo moral y social porque como ella es música, no es ‘apta’ para ser madre, anclado en que su práctica artística es su profesión”, apunta Viera. 

Otro estereotipo de género es la propagación de la idea de que los niños y hombres son más hábiles en cuestiones relacionadas con las matemáticas y la tecnología, lo que podría desalentar a algunas mujeres a desarrollarse en estos ámbitos y traducirse en menos representación femenina en ciertas carreras o disciplinas.  

“Creo que muchas mujeres jóvenes son renuentes a perseguir una carrera como productoras o DJs por supuestos sobre la falta de habilidades técnicas de las mujeres”, explica Jahan Yousaf, del dúo electrónico Krewella, a The Huffington Post.

LEE TAMBIÉN:

La Real Academia del Ripio: electrónica hecha por mujeres latinas

De acuerdo con cifras difundidas por el Centro de Investigación de Estudios de Género de la UNAM, hay carreras “masculinizadas”, como es el caso de las ingenierías, en las que los hombres representan más del 80% de la población total de los estudiantes. Para algunas niñas resulta “lógico”, aunque sea de manera subconsciente, no plantearse la posibilidad de desarrollarse en ciertas carreras si no ven a mujeres desarrollándose en estas. 

“Si yo tuviera 13 años, si fuera una chica joven, me gustaría ver a todas estas increíbles productoras en vivo o ingenieras de grabación que son mujeres”, asegura Karrie Keyes, cofundadora de SoundGirls e ingeniera de monitores de Pearl Jam y Eddie Vedder, durante su participación en Sound:check Xpo 2019. 

“Ella y otras mujeres con una gran trayectoria decidieron juntar a mujeres talentosas y ayudar a crecer a la nueva generación de ingenieras, que es básicamente en donde se puede hacer un cambio”, nos explica Carolina Antón, representante de SoundGirls en nuestro país. 

LEE TAMBIÉN:

Las 5 iniciativas más sobresalientes a favor de la equidad de género en la música

“Siempre estaremos apoyando el trabajar junto con los chicos y al movimiento en pro de la industria, apoyando a las mujeres que somos la minoría”, agrega la ingeniera, quien ha trabajado con Zoé, Café Tacvba, Natalia Lafourcade, León Larregui, Mon Laferte, Slash y Gloria Gaynor, y en festivales como Pa’l Norte, Vive Latino y Knot Fest. 

La intención original de la organización era hacer un sitio web para encontrar a otras mujeres en el mundo del audio y surgió después de que Keyes cruzara su camino por primera vez con Michelle Sabolchick, quien trabajó con Spin Doctors, después de que ambas llevaban más de 20 años en el rubro.

Loading video

Moty, baterista de Salmerón, MonteCoral, Silent Lune y Mint Parker, reconoce que para ella sí resulta inspirador ver a una mujer en donde a ella le gustaría estar. “Me hace ver que es posible, aunque no creo que sea necesario para todo mundo. Si quieres algo y te aferras, tú sabes que lo vas a lograr”, opina.

“Si tú no ves el ejemplo, si no te sientes representada, si en tu casa te dicen ‘no, esa carrera no es para las mujeres, ¿cuándo has visto a una mujer hacer eso?’, creces con esa programación y de cierta forma no te vas a atrever a soñar. O va a ser más difícil”, señala Niña Dioz. “Al final esto no es cuestión de sexos, si uno tiene el talento o la visión, puedes ser un astronauta si eso quieres, pero sí es importante que haya una representación”. 

Por su parte, Moni Saldaña asegura que fomentar la presencia de mujeres en diferentes ámbitos es mucho más que dar un ejemplo a seguir a otras personas. “La visibilidad no solo impacta en que haya más gente que se anime a hacer este tipo de trabajos, sino también en la percepción que se tiene de la mujer”, sostiene la directora de NRMAL. 

Loading video

Contra el sexismo y los estereotipos de género

De acuerdo con ¿Y qué es la igualdad de género?, artículo de Amneris Chaparro para Debate feminista (revista editada por el Centro de Investigaciones y Estudios de Género de la UNAM), “el sexismo es una ideología que informa y perpetúa la desigualdad de género como una opresión natural e irremediable”. 

Quienes hemos sido discriminadas históricamente somos las mujeres, como lo reafirma el documento 10 recomendaciones para el uso no sexista del lenguaje, de Conapred (Consejo Nacional para Prevenir la Discriminación), y el ámbito de la música no es la excepción. 

“Me pasa mucho, por ejemplo, en pueblitos, que voy a hablar con el promotor y le contestan a cualquiera que esté a mi lado que sea hombre. No importa quién sea, puede ser el man de las aguas”, ejemplifica la tour manager Connie Fuentes, quien trabaja con bandas como Enjambre y en festivales como Akamba, Bahidorá y Vaivén.

Loading video

Como indica el artículo de Chaparro, el sexismo “involucra concepciones arraigadas de lo que son las mujeres y los hombres, de lo que son los valores femeninos y masculinos y su asignación jerárquica en la sociedad”.

De acuerdo con Viera ―quien también trabaja en el Seminario de Investigación en Juventud, de la UNAM― la dinámica del escenario en general es muy masculina, por lo que las mujeres desarrollan estrategias de aceptación para adquirir cierto respeto. “¿Cómo se adquiere el respeto? Generalmente demostrando que puedes tocar un instrumento igual o mejor que un vato”, explica sobre la ‘prueba’ a la que los hombres no se someten al subir a un escenario.

“Si sigues haciendo lo tuyo terminas por ganarte el respeto de quienes llegaron a decir ‘ah, está bien para ser mujer’. Ese es un comentario típico, pero tenemos que ser más inteligentes y trabajadoras que eso”, apunta Moty, parte del jurado nacional del concurso online de bateristas Hit Like a Girl. 

Loading video

Para Chaparro, una consecuencia del sexismo arraigado es que la desigualdad de poderes entre los sexos es aceptada en muchos sectores, sin ser cuestionada. 

“Incluso gente cercana te dice ‘oye, pero es que con eso no vas a ir a ningún lado, para qué haces música, nunca ha habido una mujer que haga hip hop y sea exitosa y gay’. A mí sí me decían cosas como esas, que no había una mujer como yo y que para qué perdía mi tiempo”, explica Niña Dioz, para quien mientras más energía femenina haya, estarán más balanceadas las relaciones en la industria de la música.

“Hasta hace cinco años, que alguien se pasara de lanza en alguna tocada era completamente normal e incluso la culpa caía sobre la chava por estar ahí”, recuerda Viera. “El escenario rockero es nocturno. Alguna mujer que está ahí se vulnera, está en un contexto en el que no ‘debería’ estar, y lo digo entre comillas”, explica sobre un espacio en el que ―aunque cada vez en menor medida― se siguen cuestionando la participación y la presencia femenina. 

Loading video

Para Viera, aunque ciertos géneros musicales considerados como alternativos rompen con la moral, las religiones y la familia tradicional, no lo hacen con los estereotipos de género. “Sí se convierte en un espacio de posibilidad para las mujeres, claro que las chicas se masculinizan, porque es una estrategia de supervivencia en el escenario, pero eso no significa que el escenario no tenga prácticas femeninas y masculinas”, agrega la también profesora de posgrado en Antropología Social en la ENAH.  

Como indica Merarit Viera, con base en la definición de tecnología de género de Teresa de Lauretis, los imaginarios de lo que significa ser una rockera y/o un rockero están basados en la masculinidad y en la feminidad. “Hay prácticas que producen la norma de género en el rock: las morras están pensadas como cuerpos bonitos en el escenario. Los hombres están pensados como los buenos ejecutantes”, apunta la autora de Jóvenes excéntricas: cuerpo, mujer y rock en Tijuana (2015).

“Si las mujeres fueran elogiadas más frecuentemente por su música, por su talento, o por lo que sea que no sea cómo se ven, muchas otras cosas en el mundo serían diferentes”, dijo la rapera Angel Haze a la BBC.

“Hay un machismo que va a estar vinculado con el estereotipo y la expectativa que se tiene de que las chavas en el escenario ‘no van a tocar tan bien’”, explica Viera, quien también reconoce que en la escena independiente hay modelos de feminidad. 

“El escenario del rock es una tecnología de género. Es decir, produce y reproduce relaciones de poder, representaciones que atraviesan el cuerpo de hombres y mujeres y que generan estereotipos y expectativas de lo que deben ser una mujer y un hombre en la música”, explica sobre la situación. 

Presente y futuro de la participación femenina en los festivales del mundo

El bajo porcentaje de participación femenina en los festivales ―y en la industria de la música en general― no es exclusivo de México. Como indica Ruidosa, de 7 a 8 de cada 10 números de los carteles de festivales latinos están conformados por hombres solistas o bandas formadas solo por hombres. Para esto se tomaron en cuenta 66 carteles de encuentros realizados en Argentina, Chile, Colombia y México, así como dos festivales con parrilla latina celebrados en Estados Unidos durante 2016, 2017 y parte de 2018.

En el Reino Unido, de los 9 festivales que BBC Reality Check midió en 2018, 77% de los 756 actos analizados eran completamente masculinos ―incluso sin contar al 9% de actos mixtos con mayoría masculina―. 

El mismo año en Estados Unidos, tres festivales (FYF, Pitchfork y Panorama) alcanzaron un balance de género en su cartel. Esto es una prueba de que con un compromiso extra, sí se puede alcanzar una mayor representación femenina en los escenarios.

“Estamos conscientes con respecto al balance de género y al equilibrio étnico. Es una de nuestras prioridades (entre otras como el público, la producción, la venta de boletos). Hay tantas mujeres talentosas en la música que no es precisamente nuestro mayor reto”, explica a Slang Adam Krefman, Director Ejecutivo de Festivales y Activaciones de Pitchfork. 

LEE TAMBIÉN:

La equidad de género en la industria de la música tiene que cambiar

El movimiento internacional Keychange ―parte de PRS Foundation― busca transformar el futuro de la música con una iniciativa firmada por representantes de 45 encuentros musicales de Estados Unidos, Canadá y Europa. Estos están comprometidos a lograr un balance de género 50/50 (mismo porcentaje de participación de hombres y mujeres) para 2022.

“Trabajamos en eso cada día. Cada contratación que Glastonbury hace es consciente, estamos tratando de solucionar el desequilibrio”, sostiene Eavis, a pesar de que este festival no es parte de la iniciativa. “Tenemos mucho por hacer, hay áreas del festival que ya tienen 50/50, como The Park el año pasado (2017). Pero The Pyramid obviamente no y estamos trabajando en ello”, reconoció en 2018 sobre el escenario más icónico del festival. 

Es en realidad necesario esperar tanto para tener mayor porcentaje de mujeres en los festivales? “Es una meta fácilmente alcanzable en 2019, nosotros lo hicimos y creo que es uno de nuestros lineups más fuertes. Me parece extraño que traten esto como si fuera el Acuerdo de París [creado para que los países fortalezcan su respuesta a la amenaza del cambio climático]”, advierte Krefman, de Pitchfork. 

“Hay muchas mujeres talentosas en la música y venden tantos o más boletos que los hombres”, reconoce. 

Moni Saldaña, de NRMAL, coincide con Krefman en que no es imprescindible esperar para tener mayor representación femenina en un encuentro musical. “Fue muy chistoso que hubiera una meta o un tiempo para empezar a hacer las cosas correctamente”, apunta. 

Loading video

Sin embargo, admite que es importante que haya un compromiso al respecto, sobre todo tomando en cuenta que la idea original de un cartel puede verse modificada debido a cuestiones de presupuesto, compromisos e intercambios y hasta a la agenda personal de los artistas. 

“Hay que ver el lado positivo de una acción que se está generando. Obviamente lo entiendo. El tipo de festival que hacemos nosotros nos permite jugar muchísimo y experimentar, y podemos programar lo que queramos”, reconoce Saldaña. 

“La representación en el cartel es más un reflejo de la industria como un todo que de festivales aislados”, dijo una vocera del festival británico BoomTown a la BBC, algo que evidentemente es cierto, pero no quita responsabilidad a quienes hacen booking de festivales. 

LEE TAMBIÉN:

“Hay realidades violentas e inaceptables”, Francisca Valenzuela sobre la inequidad de género

Hacia la equidad en la industria de la música

Es un hecho que hay minoría de mujeres en el mundo de la música. ¿Qué procede? Aparte de abrir la conversación con respecto a esto, es importante trabajar unidas, como es el caso de Mujeres en el Rock, encuentro organizado por Marcela Viejo; The Despeinadas, colectivo del que forman parte artistas como Paulina Goto, Cecy Leos, Sofía Macchi y Marissa Mur; She’s Got the Groove, iniciativa de Yamaha con la que Moty y Moni del Valle promueven la participación de mujeres bateristas; y SoundGirls.org, a cargo de la ingeniera Karrie Keyes.

“Hay muchísimas mujeres súper perronas que admiro mucho y la verdad me gusta que esté creciendo la escena femenina”, señala la cantautora Arroba Nat sobre el trabajo femenino en la actualidad.

Loading video

Para Merarit Viera es importante que las mujeres produzcamos una conciencia política de lo que significa estar en un escenario. “Ya hay más posicionamiento y más conciencia de lo que significa ser mujer en la escena, de las luchas que han tenido que derribar por estar en la escena”, explica la activista, quien suele organizar tocadas y conversatorios enfocados en la posición del talento femenino. 

“Creo que, sobre todo en la escena en la que estoy, la fuerza la tienen las mujeres. Está Natalia (Lafourcade), está Mon (Laferte), Daniela Spalla… quienes están al frente de sus proyectos, tienen un show increíble y venden muchísimos boletos. Se me hace muy chistoso que la gente quiera mantener el estereotipo de que las mujeres no podemos liderar nuestros proyectos o de que somos el sexo débil cuando está el ejemplo de que los proyectos más fuertes de este país los llevan mujeres”, apunta Silvana Estrada, quien este año lanzará el álbum Marchita.

Tras más de 20 años en la industria del audio, Keyes también percibe un panorama positivo en la actualidad. “Las industrias se lo están tomando bastante en serio para asegurarse de que no solo mujeres, sino todos los grupos marginados, estén incluidos. Es emocionante ver eso”, explicó la ingeniera de monitores de Pearl Jam durante su visita a México. 

Aparte de las acciones de artistas o de quienes tienen cierta capacidad de decisión en el mundo de la música, es importante que exijamos carteles representativos, así como acciones que fomenten la equidad y el balance en todos los ramos de la industria de la música. No subestimemos el poder del público, quienes a fin de cuentas hacemos crecer a los artistas y a los festivales.

“Nuestra audiencia es en general muy progresista, leen nuestro sitio y han llegado a esperar cierta conciencia cultural en nuestra programación, incluso más allá del lineup. Pero eso probablemente no es un asunto tan grande para muchos de los megafestivales, por un montón de razones”, asegura el Director Ejecutivo de Festivales y Activaciones de Pitchfork, publicación a cargo de uno de los pocos encuentros que han dado pasos importantes en lo que a balance de género se refiere. 

Es momento de pronunciarnos en favor de la equidad y dar un paso hacia la mejoría en favor de un cambio, así como tomarnos en serio ―como medios musicales― la responsabilidad que tenemos al momento de alzar la voz. “Para la industria en general, la relevancia del balance de género en 2019 debería ser obvia”, concluye Krefman.

PAMELA ESCAMILLA –Baterista helenófila que ha escrito de un montón de temas, pero siempre regresa a la música. También ha colaborado en TrackRecord, Revista Central, Excélsior, Time Out, FILTER, Frente, Merca 2.0 y Grita Radio.

Slang Special | Equality and Representation

The Future of the Music Industry

The low female percentage in Mexican festivals in 2019 is a consequence of historical inequality.

This Slang Special is a deep look at one of the many aspects that happen in the context of the music industry.

In a music festival, it only takes a glance to realize that approximately half of the audience is made up of women, the Mexican population according to INEGI data (2015), women represent 51.4 % of the inhabitants of our country. However, their participation on the stages, as well as in other areas of the music industry, they are a minority.

Based on an analysis of Slang, in which we consider the lineups of 32 festivals of 2019, half of these had more than 75% male participation in the stages. For our evaluation, we included festivals held in Mexican territory whose lineup, or part of it, had been announced by June 5, 2019.

According to our study, NRMAL (CDMX) is the festival with the highest gender balance in Mexico, as well as the meeting with the highest percentage of mixed events (almost 67% participation of mixed and female projects). “For us, it is not an obligation to fulfill the gender quota. It is what we have within reach to generate a change”, explains Moni Saldaña, director of NRMAL.

At the close of our count (June 5), Hypnosis, Hellow Festival, and Indio Catrina, still did not announce their full lineup, so there could be some variation in the current/final percentages.

Cumbre Tajín is also one of this year’s festivals in which male soloists and bands made up of men alone, represent less than half of the total of the lineup. On the other hand, Corona Capital, Hypnosis, Tecate Live Out, Akamba, and GNP Ceremony stand out as the festivals with 40% or more of the sum of female and mixed projects.

Among the female headliners of the 2019 Mexican festivals we can find: Cardi B (Baja Beach Fest), Lauryn Hill (Solar GNP), Rosalia (GNP Ceremony), Gwen Stefani (Machaca), Mon Laferte (GNP Pulse, Machaca), Kelela (Akamba), Lydia Lunch (Marvin) and Billie Eilish (Corona Capital).

                                                                             “I Only Say”

At festivals, I do see that there is a low female representation. It is true that if you see the headliners, there are a majority of male projects. It’s a reality, but I think it’s changing too, ”says singer-songwriter Silvana Estrada.

Grrrl Noise is the only event in Mexico – among those of a specific size, and that includes both national and international talent – in which the entire line up is planned to have female participation, either with women’s bands or mixed projects led by women.

“The fact that a woman is the protagonist of an event is a political act that allows the spaces that are mainly inhabited by men, at least one night, to be taken by women, and, that the men who are there can value the work of the girls”, Says Merarit Viera, a research professor at UAM Xochimilco. Viera is involved in the management of events which are focused on the participation of women in music, mainly rock and punk rock.

“Back in the nineties, the Riot Grrrls said that putting the body on stage was already a political act,” she adds.

Infographic: Andrés de Miguel

The Lag of Women in History

The low percentage of female participation in festivals is not caused by the bad intention for those who program the lineups, although it is a consequence of gender inequality over the years, and those, who are in charge of various aspects of the music industry, can make a difference at least in this area.

“It is not necessarily on purpose; it has not been a priority on the agenda as it is now. I keep telling our senior programmers, who have been doing it for 30 years: ‘Come on guys, you have to commit to this.’ It’s a new idea for many of them”, explains to MusicWeek, Emily Eavis, daughter of the Glastonbury Festival founder and co-organizer of the meeting.

Eavis recently told the BBC that there are men in the music industry who prefer to deal with his father – who is 83 years old – rather than her, although he has been focused on booking the festival for half of his lifetime. “I go to meetings with tables full of men. Some are great, others refuse to accept that they have to deal with me, ”explained the 40-year-old woman.

The low participation of women in school, creative, and work environments is a historical impact. For example, in the Political Constitution of Mexico (1857), the right to vote was only contemplated for men. Mexican women were able to participate in some local elections until 1947 and later until 1953, in the federal elections, almost a century later.

Besides, two-thirds of adult illiterates worldwide are women, according to UNESCO figures: a direct consequence of the historical exclusion of girls and women to proper education.

Taking this into account, it is not surprising – and not the main problem – that 70% of those who take part in the music industry worldwide are men, and that only 6% of recognized producers in the United States and Canada are women, and that women represent 22% of the performers of the 600 most popular songs from 2012 to 2017, according to statistics released by the non-profit organization Women in Music.

“There isn’t much balance in terms of female talent at festivals, whether it’s rock, hip hop, or electronic music. There is quite a disproportion. This is due to different factors. I think the most important is, there are not many women in key positions from where they can boost female talent”, explains rapper Niña Dioz.

“There is still a majority of men in these festival stalls, and then, the result is disproportionate,” says the MC.

Representation of Women in Professional Life

As indicated by the Right to Education Initiative (RTE), one of the main obstacles faced by women to be entitled to education is gender stereotypes. For example, there are sectors in which it is considered that if a woman “is destined to devote herself to the home and be a mother,” she does not have to study.

However, stereotypes also affect those who do have access to education and impact both men and women.

“Gender stereotypes are the practice of attributing specific attributes, characteristics or roles to an individual woman or man solely because of her membership in the social group of women or men,” is indicated on the RTE website.

“Marriage and motherhood have to do with the gender condition; women are built from the family. A young woman is ‘a married woman,’ not a rocker, she is a fertile body,’ not a rocker,” warns Viera about the vision of various sectors of society.

An example of how gender stereotypes affect women in music is the case of singer-songwriter Leticia Servín, whose ex-wife obtained the guard and custody of her son Dante before the judicial authorities of Jalisco arguing that by her work activity “she sees forced to neglect the child and not give him the security he needs.”

If the man were the one who dedicates himself to music, there would be no such document, since traditional Mexican society would expect the woman to remain at home in charge of the home. “It’s ironic because women generally take care of their children, but there is moral and social punishment because since she is music, she is not‘ apt ‘to be a mother, anchored in that her artistic practice is her profession, “says Viera.

See Leticia Servin Post

Another gender stereotype is the spread of the idea that boys and men are more skilled in matters related to mathematics and technology, which could discourage some women from developing in these areas and resulting in less female representation in certain careers or disciplines.

“I think many young women are reluctant to pursue a career as producers or DJs for assumptions about women’s lack of technical skills,” explains Jahan Yousaf, of the electronic duo Krewella, to The Huffington Post.

According to figures released by the Center for Gender Studies Research of the UNAM, there are “masculinized” careers, as is the case of engineering, in which men represent more than 80% of the total population of students. For some girls, it is “logical,” even if subconsciously, not to consider the possibility of developing in certain careers if they do not see women growing in them.

“If I were 13, if I were a young girl, I would like to see all these amazing live producers or recording engineers who are women,” says Karrie Keyes, co-founder of SoundGirls and monitor engineer at Pearl Jam and Eddie Vedder, during your participation in Sound: check Xpo 2019.

“She and other women with a great career decided to bring together talented women and help the new generation of women engineers grow, which is basically where a change can be made,” explains Carolina Antón, SoundGirls representative in our country.

“We will always be supporting the work together with the boys and the movement for the industry, supporting the women that we are the minority”, adds the engineer, who has worked with Zoé, Café Tacvba, Natalia Lafourcade, León Larregui, Mon Laferte , Slash and Gloria Gaynor, and at festivals such as Pa’l Norte, Vive Latino and Knot Fest.

The original intention of the organization was to make a website to find other women in the world of audio, and it emerged after Keyes crossed his path for the first time with Michelle Sabolchick, who worked with Spin Doctors after they both had more than 20 years in the field.

Carolina Anton Interview

Moty, drummer of Salmerón, MonteCoral, Silent Lune and Mint Parker, recognizes that it is inspiring for her to see a woman where she would like to be. “It makes me see that it is possible, although I don’t think it is necessary for everyone. If you want something and you hold on, you know you are going to achieve it, ”he says.

“If you do not see the example if you do not feel represented if in your house they say ‘no, that career is not for women, when have you seen a woman do that?’, You grow up with that programming, and of certain, you will not dare to dream. Or it will be more difficult, ”says Niña Dioz. “In the end, this is not a matter of sexes, if one has the talent or vision, you can be an astronaut if you want, but there must be a representation.”

For his part, Moni Saldaña says that promoting the presence of women in different fields is much more than giving an example to follow other people. “Visibility not only impacts more people who are encouraged to do this type of work, but also in the perception of women,” says the director of NRMAL.

Against Sexism and Gender Stereotypes

According to And what is gender equality ?, article by Amneris Chaparro for Feminist Debate (magazine edited by the Center for Gender Research and Studies), “sexism is an ideology that informs and perpetuates the inequality of gender as natural and irremediable oppression. ”

Those of us who have historically been discriminated against are women, as document 10 recommendations for the non-sexist use of language reaffirms, Conapred (National Council to Prevent Discrimination), and the field of music is no exception.

“It happens to me a lot, for example, in small towns, that I am going to talk to the promoter and they answer anyone next to me who is a man. No matter who it is, it may be the man of the waters, ”exemplifies tour manager Connie Fuentes, who works with bands like Enjambre and at festivals such as Akamba, Bahidorá, and Vaivén.

As Chaparro’s article indicates, sexism “involves deep-rooted conceptions of what women and men are, what feminine and masculine values are and their hierarchical assignment in society.”

According to Viera – who also works at the Youth Research Seminar at UNAM -, the dynamics of the scenario, in general, are very masculine, so women develop acceptance strategies to gain some respect. “How do you get respect? Generally demonstrating that you can play an instrument equal to or better than a vato, ”he explains about the‘ test ’that men do not undergo on stage.

“If you keep doing your thing, you end up earning the respect of those who came to say‘ ah, it’s fine to be a woman. ” That is a typical comment, but we have to be more intelligent and hardworking than that, ”says Moty, part of the national jury of the online drummer contest Hit Like a Girl.

For Chaparro, a consequence of entrenched sexism is that inequality of power between the sexes is accepted in many sectors, without being questioned.

“Even close people tell you‘ hey, but with that, you are not going anywhere, why do you make music, there has never been a woman who does hip hop and is successful and gay. ” They told me things like that, that there wasn’t a woman like me and why I was wasting my time, ”explains Niña Dioz, for whom the more feminine energy there is, the more balanced relations in the music industry will be.

“Until five years ago, that someone passed a spear in a play was completely normal, and even the fault fell on the girl for being there,” Viera recalls. “The rock scene is nocturnal. Some woman who is there is violated, she is in a context in which she should not ‘be,’ and I say it in quotation marks, ”she explains about a space in which – although each time to a lesser extent – participation and female presence

For Viera, although certain musical genres considered as alternatives break with morals, religions, and the traditional family, they do not do so with gender stereotypes. “Yes, it becomes a space for women, of course, girls become masculinized, because it is a survival strategy on stage, but that does not mean that the stage does not have female and male practices,” adds the professor of Postgraduate in Social Anthropology at ENAH.

As Merarit Viera indicates, based on Teresa de Lauretis’ definition of gender technology, the imaginary of what it means to be a rocker and/or a rocker is based on masculinity and femininity. “There are practices that produce the gender norm in rock: the “morras” (slang for girls in Spanish) are thought of as beautiful bodies on stage. Men are thought of as good performers, ”says the author of Eccentric Youth: Body, Woman, and Rock in Tijuana (2015).

“If women were praised more frequently for their music, for their talent, or for anything other than how they look, many other things in the world would be different,” rapper Angel Haze told the BBC.

“There is a machismo that is going to be linked to the stereotype and the expectation that the girls on stage“ are not going to play so well, ”explains Viera, who also acknowledges that in the independent scene there are models of femininity.

“The rock scenario is a genre technology. That is to say, it produces and reproduces power relations, representations that cross the body of men and women and that generate stereotypes and expectations of what a woman and a man should be in music, ”he explains about the situation.

Present and Future of Women’s Participation in World Festivals

The low percentage of female participation in festivals – and in the music industry in general – is not exclusive to Mexico. As Ruidosa indicates, 7 to 8 out of 10 numbers of Latino festival posters are made up of solo men or bands formed only by men. For this, 66 posters of meetings held in Argentina, Chile, Colombia, and Mexico were taken into account, as well as two festivals with Latin grill held in the United States during 2016, 2017 and part of 2018.

In the United Kingdom, of the nine festivals that BBC Reality Check measured in 2018, 77% of the 756 events analyzed were completely masculine – even not counting 9% of mixed acts with a male majority.

The same year in the United States, three festivals (FYF, Pitchfork, and Panorama) reached a gender balance in their line ups. This is proof that with an extra commitment, you can achieve greater female representation on stage.

“We are aware of gender balance and ethnic balance. It is one of our priorities (among others such as the public, production, ticket sales). There are so many talented women in music that it is not precisely our biggest challenge,” explains Adam Kaufman, Executive Director of Festivals and Activations of Pitchfork, to Slang.

The international Keychange movement – part of the PRS Foundation – seeks to transform the future of music with an initiative signed by representatives of 45 musical meetings in the United States, Canada, and Europe. These are committed to achieving a 50/50 gender balance (same percentage of participation of men and women) by 2022.

“We work on that every day. Booking Glastonbury makes us conscious, we are trying to solve the imbalance, ”says Eavis, although this festival is not part of the initiative. “We have a lot to do; there are areas of the festival that already have 50/50, like The Park last year (2017). But The Pyramid is not, and we are working on it, ”he acknowledged in 2018 about the most iconic stage of the festival.

Is it really necessary to wait so long to have a higher percentage of women at festivals? “It is an easily attainable goal in 2019, we did it, and I think it is one of our strongest lineups. I find it strange that they treat this as if it were the Paris Agreement [created so that countries strengthen their response to the threat of climate change], ”warns Krefman of Pitchfork.

“There are many talented women in music, and they sell as many or more tickets than men,” he acknowledges.

Moni Saldaña, from NRMAL, agrees with Krefman that it is not essential to wait to have more female representation in a musical encounter. “It was very funny that there was a goal or a time to start doing things correctly,” he says.

However, he admits that it is important that there is a commitment in this regard, especially taking into account that the original idea of a poster can be modified due to budget issues, commitments, and exchanges and even the personal agenda of the artists.

“You have to see the positive side of an action that is being generated. I understand. The type of festival we do allows us to play a lot and experience, and we can program what we want, ”Saldaña acknowledges.

“The representation on the poster is more a reflection of the industry as a whole than of isolated festivals,” a spokeswoman for the British BoomTown festival told the BBC, something that is true but does not take away responsibility for those who book festivals.

Towards Equity in the Music Industry

It is a fact that there is a minority of women in the world of music. What is coming? Apart from opening the conversation, it is important to work together, as is the case of Women in Rock, a meeting organized by Marcela Viejo. The Despeinadas, a group of artists such as Paulina Goto, Cecy Leos, Sofía Macchi, and Marissa Mur. She’s Got the Groove, a Yamaha initiative with which Moty and Moni del Valle promote the participation of drummer women; and SoundGirls, started by engineers Karrie Keyes and Michelle Sabolchick Pettinato.

“There are a lot of super-perronic women that I admire a lot, and I like that the female scene is growing,” says singer-songwriter Arroba Nat about female work today.

For Merarit Viera women must produce a political awareness of what it means to be on stage. “There is already more positioning and more awareness of what it means to be a woman on the scene, of the struggles that have had to be demolished to be on the scene,” explains the activist, who usually organizes headdresses and conversations focused on the position of female talent.

“I think that especially in the scene I am in, women have the strength. There is Natalia (Lafourcade), there is Mon (Laferte), Daniela Spalla who are in charge of their projects, have an incredible show, and sell many tickets. I find it very funny that people want to maintain the stereotype that women cannot lead our projects or that we are weak sex when there is an example that the strongest projects in this country are carried by women, ”says Silvana Estrada, who this year will release the album Marchita.

After more than 30 years in the audio industry, Keyes also perceives a positive outlook today. “Industries are taking it seriously enough to make sure that not only women but all marginalized groups are included. It’s exciting to see that, ”explained Pearl Jam monitor engineer during her visit to Mexico.

Apart from the actions of artists or those who have a certain capacity for decision in the world of music, we must demand representative posters, as well as actions that promote equity and balance in all branches of the music industry. Do not underestimate the power of the public, who ultimately grow artists and festivals.

“Our audience is generally very progressive; they read our site and have come to expect some cultural awareness in our programming, even beyond the lineup. But that is probably not such a big issue for many of the mega festivals, for a lot of reasons, ”says the Executive Director of Festivals and Activations of Pitchfork, a publication by one of the few meetings that have taken important steps in what A gender balance refers.

It is time to pronounce ourselves in favor of equity and take a step towards improvement in favor of a change, as well as taking seriously – as musical means – the responsibility we have when raising our voice. “For the industry in general, the relevance of the gender balance in 2019 should be obvious,” concludes Krefman.

PAMELA ESCAMILLA  – Hellenophilic drummer who has written a lot of songs, but always returns to music. She has also collaborated on TrackRecord, Central Magazine, Excelsior, Time Out, FILTER, Frente, Merca 2.0 and Grita Radio.

Missed this Week’s Top Stories? Read our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

August Feature Profile

https://soundgirls.org/rising-producer-engineer-lauren-deakin-davies/

The Blogs

Drop the Beat – Analysis of Katy Perry’s Copyright Lawsuit

The History of Sound Design

The Rise of Audio Branding 

Internet Round-Up

Rena Nicole Kozak featured on Roadie Free Radio. Rena is a freelance audio engineer and tour manager based out of Montreal, Quebec, Canada.

 

SoundGirls Turn Up The Volume For Women in Audio

 

 

Sara Carter talked about engineering at the BBC, acoustic treatment and monitoring for her home studio, the power of polarity, mixing on faders, building the perfect website, and even brewing beer!

 

 

Becky Pell and Tana Douglas featured on BBC World Service radio program and podcast The Conversation. They discuss their experiences as two of the few women on the road.

SoundGirls News

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls

SoundGirls Events

In Conversation with Daniela Seggewiss

Ableton Live for Anybody – 4 Session Online Course

An Evening with Lenise Bent

SoundGirls Opportunities

SoundGirls and SoundGym

SoundGirls Resources

Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers

Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Drop the Beat – Analysis of Katy Perry’s Copyright Lawsuit

 

July 2019 has seen a “guilty” verdict passed on the latest high profile copyright case in music: Katy Perry’s entire musical team were ordered to pay damages to Christian rapper Flame for copying his 2008 track “Joyful Noise” in her US No one hit “Dark Horse.” The most interesting thing to me, in this case, is that the musical elements in question are not part of a complex or distinctive melody, a musical progression or harmonic sequence, but a 4 bar beat that includes an eight-note synthesiser ostinato loop. The notes in question and the nature of them under any kind of musical scrutiny highlight a few potentially significant implications for the future of music.

There is no “magic number” of notes or hard and fast, black and white rule of what copyright infringement is in a purely general sense, so each case is always a unique comparison to be argued. When a copyright case is brought to court, the comparing of lead sheets (consisting of melody, chord progression, and lyrics) is the general method of analysing whether a song has been copied for legal purposes. Musicologists are often called in to explain in layman’s terms how these line up and compare, and it is common for both sides to bring instruments into court to practically demonstrate points to the jury in context.

Analysing the lead sheets, in this case, is interesting because of the section this case is looking at – the beat. The drumbeat in both tracks is traditional where the main kicks and snares fall, although Flame’s kick has more variations and additions on extra off-beats than Perry, and he also shifts from claps to snares in the voicing. As such, Joyful Noise is the more complex beat musically.

Looking at the synthesiser ostinato melody is more realistic in where the similarities lie. The instrumentation is vastly different – Joyful Noise uses a sawtooth wave sound with a heavy glide or portamento at the start of each pitch change, while Dark Horse uses an airy artificial vocal sound, giving them completely distinct tones and timbres. Charlie Harding’s transcription of the sheet music shows the real song keys used, however, if we mentally transpose either track one semitone to look at them both in the same key, we can see obvious duplication. The first four notes are the same, and the pattern of intervals then falls one semitone for the notes 6 and 7. The 8th note lines up again only on the second repetition of the eight-note phrase. This is a typical descending minor scale pattern as shown in Adam Neely’s transcription, which he has transposed for clarity.

While the similarities in the synth parts are apparent, the reality of them musically must be emphasised – what Perry’s team and most musicians would argue in this case is that they are excerpts of a minor scale. Rhythmically it is difficult to factor in an argument as every note falls on the beat. While nobody can deny that the two synth parts are similar, it needs to be understood that the reason they are similar is the simplicity and genericity of the line, found in nursery rhymes, esteemed classical works, folk songs, and instructional book 1 of almost every pitched instrument the world over. The literary equivalent would be something such as “I would like a glass of water” – a phrase so necessary and well-used that it could not possibly be assigned as being an original creation of the 21st century.

Perry’s lawyer Christine Lepera argued the prosecution was “trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” If we are not careful, we run the risk of copyrighting musical necessities, the letters of the musical alphabet Lepera references, most likely not understood by the non-musicians who ruled in this case, which raises the question of whether a musically illiterate jury should be involved in the decision making process?

Of course, there’s likely an element of PR dumbing down for media purposes with the umbrella phrasing of “the beat” being found at fault in this case, yet my analytical side is deeply dissatisfied with it. Looking at the argument from Flame’s expert; however, it makes a little more sense. The prosecution’s musicologist Todd Decker stated the ostinatos had “five or six points of similarity including pitch, rhythm, texture, pattern of repetition, melodic shape and timbre. The descending melodies of both ostinatos are unique. I have not seen another piece that descends in the way these two do.” He also said, “the synthesised sounds create a pingy, artificial sound in the beat.” If the entire “beat” (and all of the rhythms, variations, and scales this includes as previously mentioned) is now copyrighted by Flame, what does this mean for music, other than us all running home to spice up our drum tracks?

Another worrying part of this ruling is the fact that all six songwriters and the four corporations involved in the release were found liable, making this an extreme verdict, no matter how removed from “the beat” or synth line the individual or company may have been.

It feels like there have been significant copyright cases every few years in recent times, and while intentional plagiarism is, of course, a wrong to be avoided, it’s worth remembering that we are all the product of what has come before us, whether unconsciously, through education, or out of love or rebellion. Under real musical analysis, it feels quite wrong in principle to be marred with the label of stealing someone’s “vibe” (see the much-discussed Pharrell & Robin Thicke case) or for obeying the long-standing rules and traditions of Western music, as is my view on the Perry case. Hopefully, creativity will continue to thrive among all of us sharing this somewhat limited 12 note system, and terms such as influence, tradition, and vibe will evolve to their more logical meanings rather than being worrying words within the industry.

X