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Empowering the Next Generation of Women in Audio

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Lav Me Alone

Consent

I have been using RF microphones for 15 years. For half of my life, I have been putting mics on other people for theatre, tv, and film. When I worked at a children’s theatre, I was the go-to for micing up dozens of kids. I got really, really good at the under-shirt swoop because kids are wiggly and I can’t ask them to hold still for long. I’ve had other women tell me that they were relieved to see a female working backstage, so they didn’t have to worry about someone behaving inappropriately. The likelihood of me sexually harassing someone is apparently far less than many of my male counterparts (sorry guys?) It’s an issue that celebrities are even coming forward about in recent times.

For years I have run workshops and taught labs detailing proper RF usage and lav placement. More importantly, I discuss etiquette and “how to not be creepy.” I look each person in their eyes and say “Do not be creepy. Ask before doing. Check for understanding before reaching down someone’s shirt.” Perhaps you should begin with introducing yourself and asking their experience level, would they feel more comfortable putting it on themselves, or having help? In my experience, people are a lot more comfortable with you being in their personal space when they know your intent. The key here is to be cordial and talk it through.

DIY

As an actor or artist, your body is the focus of the show. Empower yourself and reclaim some personal space by learning some basic skills. For a lapel style mic, make a small loop and wrap it around the clip, this helps keep your mic in place even if the wire gets pulled. Run the cable under whichever layer you won’t take off. The transmitter/belt pack can go inside a safe pocket or mic belt.

If you’re wearing the other style, you may need to employ some extra tricks. I use a variety of supplies that are easily found in a grocery store or pharmacy. Moleskin is excellent when you need to secure a mic to skin or fabric. It is sticky on one side and flannel soft on the other. Make a moleskin sandwich for your lav, place it wherever is out of sight. I also like to use medical tape to secure lavs; it’s hypoallergenic and readily available. You can also use straight pins to secure, but I avoid making holes in costumes. I’ve run moleskin through the wash, and it held up without even leaving a residue once removed.

Enlist

If you are a female artist who needs to wear a body mic and feel uncomfortable with a guy reaching down your costume, have a female dresser, or someone else places it for you. Asking gives you more control, and it isn’t rude. Everyone has a right to feel safe in their workspace. If you’re an A1 and your talent wants to do it themselves, relinquish the need to invade their space. Check their work, but leave their bodies to themselves.

 

FOLEY 101: A Crash Course

In my journey to learn more about different jobs in audio, I have decided to share what I learn within these blog posts. My first topic is one that I am most familiar with: foley. As a foley mixer and editor, I am often asked: what exactly is foley?

If you’ve watched a film lately, you’ve heard Foley. Foley is the reproduction of sound for any visual medium. Foley is in film, television, video games, VR and digital media. The art of foley is named after Jack Foley, an early sound effects artist. Jack was a pioneering developer of performing sound effects live and in synchronization with pictures. We need to re-record these sound effects because often what is recorded on set is unusable. Microphones on set are focused on capturing the actors’ dialog as cleanly as possible; therefore all other sounds become neglected.  Everything you hear in a film – from footsteps to handshakes, kisses to puking – is created specifically for and in sync with a picture.

Foley, as we know it today, consists of a team of usually 2-3 people in a studio performing, recording and editing everything you hear on screen. Okay, maybe not everything… we leave the explosions to the sound effects editors. Each member of the team plays a different role in creating and capturing the sounds for a project. And those members are:

The Foley Artist

These are the people who begin to bring characters to life, sonically. They are tasked with recreating the sounds for anything the actors interact with and anything on screen that would make sound. The foley artist manipulates props to create these sounds as well as performing footsteps for the characters on screen.

The Foley Mixer

While the whole team has a role to play in the sonic quality, the mixer works with the microphones, preamps, and other gear that may be used to capture the foley. We generally use two microphones (a ‘close’ mic and a ‘far’ or ‘room’ mic) for interior locations on screen and one close mic for exterior locations. The mixer is in control of the balance of these microphones and uses the two in combination to create perspectives or distance in the sounds.

The Foley Editor

This is a fairly fluid role and is often varied depending on the foley studio. The editor may be part of the team before or after the recording stage. Sometimes the editor and mixer roles are combined. In general, though, the job of the foley editor is to ensure that all of the recorded sounds are in sync and without any artifacts or distortion. The foley editor uses software such as Pro Tools to perform these edits. The editor may also play a part in the creativity of the sounds; manipulating what was recorded into something different. For instance, they may pitch down a set of footsteps to give a character more weight.

The Process


An assortment of foley artist’s shoes
Photo by Jeremy Benning

First, we begin with the footsteps. The artist chooses a pair of shoes to suit the character and we go through scene-by-scene capturing footsteps. On our second pass-through, we cover all of the props. These are items that the actors interact with that would make sound. This includes simple things like putting down a glass or shaking someone’s hand to more complex sounds like swords unsheathing or a person skateboarding. The final pass is the cloth pass. This is where the artist manipulates different types of material to capture the sounds of characters’ clothing movements. The cloth pass adds another layer of subtle depth to the soundtrack; giving the characters even more life.

Once all passes have been completed, and everything has been edited and synced, we prepare the session for delivery to the final mix stage. There, our tracks will be combined with the sound effects, dialog, and music to create the complete, finished soundtrack.

When Foley is done well, you generally don’t hear it. That’s because it fits in so seamlessly with what you are visually seeing that you shouldn’t notice it. If something stands out, it can take the viewer out of the experience. That is what we aim for every day – our work to not be heard. It sounds bleak, but it is actually very rewarding. We often are so absorbed in what we are creating that it becomes almost a challenge to get a reaction out of each other. When the artist performs a perfectly in sync, great-sounding footstep pass, we all cheer. When we build a really gross sound, the usual indicator of where we’ve reached peak grossness is based on those reactions too. If the artist looks back and sees my face contorted in disgust, we know we’ve just made magic.  Ultimately, the natural human elements that foley can bring to a soundtrack are irreplaceable.

 

What’s In Your Go Bag?

A guide to building your audio tool stock

Picture this:  You’ve just gotten a call for a contract you can’t turn down, but the gig is tomorrow morning in a city three hours away at a company that is new to you.  What do you bring? What will they already have? Is it worth it to load your car with all of your worldly possessions? To ease the stress of staying prepared while still trying to not turn into that cute little junkyard monster from the Labyrinth (where my 80s babies at), I’ve prepared a list of my favorite tools of the trade.

This is my go-bag.  There are many like it, but this one is mine

Alright, so my go bag isn’t a bag at all, it’s a case.  My case of choice is the Pelican 1510 Case, and I purchased mine for half price on nalpak.com.  Because I am obsessed with Konmari Method organization, I also use a divider that is specifically made for this case.  I also have the mesh zipper lid storage attachment. What can I say? I love boxes, bags, and compartments. I prefer the Pelican to a soft tool bag because I can throw it around, leave it outside, dunk it in a pool, and my things will all stay safe inside this watertight, crushproof, dustproof, lockable case.  It’s also the FAA maximum carry on size and features a retractable extension handle. Plus, you can put rad stickers on it. That’s the mark of a real pro.

If you can’t duck it, you might as well…pony up and buy a real roll of tape.   

That tape is gaff tape, the tape we all know and love.  I regularly work with a few companies that always have a steady supply of gaff tape in all colors and sizes, so it threw me off the first time I took on a job at a company that had no gaff tape to offer!  In a pinch, I have been able to find gaff tape in local camera shops at a ridiculous marked-up price, but generally speaking, the best place to find gaff tape is on the interwebz. I order all of my tape from shop.bmisupply.com, and I’m able to curate my tape box with different colors, widths, and even different kinds of tape.  My standard gaff tape of choice is 2” black. I also always make sure I have a few colors of electrical tape and a roll of white console tape.  All of this can be purchased through the aforementioned vendor.

Testers, testers, one, two, one two…

When starting a new gig, you never know what kind of system you’re going to walk into. You would also be surprised at how often the house crew answers your questions with a shrug of the shoulders, so it’s probably going to be on you to test all that ails you.  I never leave home without my dbx CT3 Cable Tester. This is, hands down, the best cable tester I have ever had. It supports testing of DMX, Speaker Twist, XLR, DIN, RJ45, RJ11, TRS, 1/8”, Phono, and BNC.  I still haven’t told you the best part. This thing splits in half so that you can check connections that are on opposites sides of the building! If that’s not magic, I don’t know what is. I also carry my whirlwind Qbox everywhere I go.  This will satisfy all of your TS/XLR testing needs, but also features a wee little speaker so you can send signal through your line and hear it out of the QBox. This comes in really handy for running monitor lines ahead of receiving speakers or setting up a line out for a video live feed.  I got both of these little lifesavers from fullcompass.com.

Microphones, adapters, and cables, oh my!

Ok, it’s not up to you to provide all of the gear for a space unless that’s what you’ve been hired to do, but, again, you never know what little odds and ends they might be missing.  I learned the hard way that it’s a good idea to keep a little stash of adapters with me; XLR M-M and F-F, TRS, NL4, BNC, and RCA barrels, and BNC-RCA. I also keep and spare XLR and TRS cable, a DI Box, and a SM58….just in case.  Trust me on this; I have been the hero many times for having one of these available.

I hate labels, except when I need them.

The only things I love more than compartments are printed labels.  I love how uniform they look, and I love how easy it is to read them in low light situations.  I’ve been carrying around the Brother P-Touch I picked up from Office Depot 8 years ago, and it’s never led me astray.  #Protip on applying printed labels to anything: Always use a piece of electrical tape under the label. When you’re ready to change out that label, you’ll need a lot of time and patience to peel that thing off tiny piece by tiny piece unless there’s a hearty strip of electrical tape underneath holding it all together.  You know what else you can label? Your pelican.

Tools!  

This is where I sometimes go overboard.  I have packed and repacked my go bag so many times because I guess I think I’m solely responsible for building a mansion when I get called for a load-in.  Surprisingly enough, I’ve never been asked to do so! When I’m able to think logically about packing tools, I pack a cordless drill/driver (mine is a Milwaukee M12), a pack of various bits, a precision screwdriver set, an Allen set, a crescent wrench, a headlamp, and a soldering iron with all necessary accessories.  Also, never leave home without your multitool. Mine is the Leatherman Wave, and I love it with all my heart. I don’t know where it came from; I got mine from Santa several years ago.

Safety First

Again, I tend to go overboard because what if I end up on the Titanic and I’m the only one that has any medical experience from all of my viewed episodes of Grey’s Anatomy, and I don’t have a suture kit or a defibrillator with me?!!!  Y’all are learning so much about me today. So obviously none of those things are going to happen at your gig, so really, just make sure you have what you need to stay safe. A small first aid kit, your earplugs, sunblock, and some work gloves should do it.  Maybe a mobile CT Scanner. But that’s it.

All of the other things

Don’t forget the things that make your job go smoothly.  Do you need in-ears on this gig? What about headphones? Flash drives are always useful.  A snack? An emergency twenty-dollar bill? I like to be a problem solver, so if I have something I think will be useful to another department in a pinch, I might pack that too.  My go bag has a few shackles rolling around in there, a safety cable, a small mixed box of screws, various apple adapters, and an IEC.

At the end of the day, your go-bag inventory is entirely up to you, but this is what works well for me.  I got to the point where I had some things in my car, some things in my closet, some things I would leave at various sites I would frequently work, and that just was not doing it for me.  Having everything in one super stickered-up, the rad little case is definitely my aesthetic. Give it a try; you won’t regret it.

 

Kickstart Your Mentorship

Set Some Goals

Mentorship is a vital part of our industry in particular for the advancement of women. SoundGirls has a wonderful opportunity for mentorship relationships to develop and grow over time. A fulfilling mentorship can be challenging to get started:  Meeting someone new; trusting them with your problems and worries while seeking answers and support can be hard for anyone to do, it can be even more trying in the crazy, but fantastic industry of ours too!

An excellent way to start a mentorship relationship is to get to know each other a bit. Share where you’re at in life and career including what your hopes and dreams are for now and the future.  Don’t forget your mentor may be new at this as well. These conversations are opportunities for both of you to connect, share stories and opinions, to progress together. We will likely never know the full impact we have on people, so let’s live life together learning, sharing, and growing along the way!

Jumpstart this relationship by working together to create goals. As a mentor, I want to know what you want to achieve and help you get there. A great way to establish this is by setting goals together. Your goals help me understand where you are and where you’re headed. Back when I worked with student staff, I would always ask them to set 3-4 goals for their year — at least two work-oriented and one life-based goal. For me, life is part of work and work is part of life; it is essential to progress in both, and as a mentor, I want to see you achieve great things at work and home.

Setting these goals gives you something to strive for too. It doesn’t mean they can’t change or adapt, but it helps you move forward.  When setting your work-oriented goals consider setting a skills goal and a qualities goal. For example, a skills goal could be to master the new mixer your company just purchased.  A qualities goal could be learning to lead a team of 15 people confidently.

Each of these are large work-based goals that are achievable with time. They also can be broken down into smaller steps to help you achieve the larger overall goal. Your mentor can help you with this too! To break down the goal of learning a new mixer you can take steps such as reading the manual, shadowing someone who uses that mixer on a show, spending time practicing in the shop, and getting out on a show with the mixer yourself. Then before you know it you have conquered this goal, and it’s time to create a new one!

Your qualities goal can be broken down the same way. Have a conversation with your mentor and a leader you respect; ask questions about how they developed their style. Find resources to read and start putting it into practice with smaller groups, then work your way up to the larger group.  Breaking down your large goals into smaller steps can make any goal feel more achievable! It will help you see progress along the way as well.

Your life-based goal can be anything! This is the goal I like to have the most fun with. For example, I had a goal this year to take a trip to Ireland, and I did! It was a great trip. I broke down this goal by setting smaller goals like saving money each month to pay for the trip. I conserved vacation and comp time to be able to spend a good amount of time there, and I researched the places I wanted to go to make the best of the trip. It was a vacation of a lifetime for me, and I am so happy I achieved that goal! Other life-based goals can be things like trying every flavor of ice cream in the grocery store, developing your painting skills, crafting your own beer, or even starting a family.

Goals don’t always need to be serious; they just need to be things you want to achieve. Plus, in a mentorship relationship, you will have someone to discuss your ideas, trials, and triumphs with along the way! What are your work and life-based goals? Mine are to get better at rigging points and weight balances, to become more confident in my new position at work, and to purchase a townhouse

 

Excellence in Assistance

Learning how to be a great assistant is one of the best ways to put yourself on the path to mastery in commercial music production. As important as it is to know the technical and creative aspects of your craft, it’s equally important to understand how social and interpersonal dynamics function in the studio environment. Knowing how to operate equipment might get you in the room, but knowing how to deal with a multitude of needs, problems, and personalities will keep you there. No one cares whether or not you’ve got a degree in engineering if you don’t know basic, real-world studio etiquette.

Every studio and every recording session comes with its own culture. Make it a point to understand the culture of every session you’re involved. Being able to read the room is an invaluable skill. It imparts competency, attention to detail, pride in your work, and investment in your team.

Some sessions will be clear and to the point. There will likely be a professional team in place. Your job here is to help things run smoothly and make sure that everyone has what they need. In situations like this, you’ll defer directly to the lead engineer and probably won’t interact too much with the clients. This is the kind of session where you want to be “invisible”—wear basic clothing, try not to speak unless spoken to (with exception to polite greetings and the like), keep a low profile. Stay out of the way, but be hyper-present and ready to jump in when you’re needed to change out a mic or take a food order.  If you become aware of a technical issue that no one else seems to notice, find an expedient but non-disruptive way to make the issue known to your lead engineer. Be prepared to take action on a moment’s notice.

Whether you’re working in a large, commercial facility or a small project studio, hospitality should be a top priority. Keep coffee hot and fresh. Have a kettle ready to fire up when a singer needs tea. Make sure artists’ riders have been satisfied to the best of your ability. Keep beverages, pens, paper, and other basic items plentifully stocked. Personally, I try to bring extra items with me just in case. Candy, aux cables, guitar accessories, adapters, phone chargers, tampons, and other such items can be a great door opener. For example, I had the chance to get friendly with super producer Don Was during a session because I was the only one in the building who had dental floss. The better you can anticipate and facilitate the needs of others, the more of an asset you will be in any production.

Of course, there will be sessions that test the limits of your patience and professionalism. The producer may be inexperienced or unable to communicate effectively. They may get angry or throw you under the bus when they make a mistake or are not able to properly manage a session. They may have an ego issue and feel the need to assert dominance to feel like they’re in control. This may be a genuine personality trait, or it may be what they think they need to do to impress or intimidate their clients (yes, this is an actual production tactic and you’d be surprised at how often it works). They may be dealing with a difficult artist and funneling that frustration your way because they have to remain in service of their client. Perhaps the artists themselves are inexperienced, egotistical, or unprofessional, and the whole room is suffering for it. There may be substance abuse or behavior that isn’t necessarily conducive to productivity. It’s your job to be prepared to navigate these challenges with patience, composure, and effectiveness. Stay solutions-minded and try to keep your feelings and judgments in check. If things escalate to the point of being abusive or dangerous, extract yourself from the situation and speak to a supervisor.

Some sessions will be relaxed, and you’ll become friendly with the artists and/or producer. In my experience, most artists prefer the kind of environment where they feel a sense of ease and camaraderie with the crew. The level of friendliness will depend on your ability to read the room and to adjust your personal levels accordingly.

Making a record can be an intensely bonding process. If you’re being invited to be a part of the bonding, you should participate! You just might forge relationships that will last throughout—or even advance your career!  However, don’t lose sight of how important it is to stay professional while you’re on session. Studio etiquette should always be your default setting when you’re on the clock, and the artists/producers should be handled with a clear sense of priority and deference.

Additionally, understand that your friendly relationship with clients might not extend past the sessions themselves. Sometimes the spirited nature of relaxed, friendly sessions is just what the artist needs to get through their process. Don’t take it personally if a producer asks for your card but never calls, or if an artist talks about wanting to hear what you’ve worked on but doesn’t offer a clear opportunity for you to present it, or if you don’t get a follow back on Instagram, or whatever.  Keep a sense of confidence and equanimity around you and stay centered on what’s most important—providing excellent service and doing what it takes to make a production successful.

 

Town Planning to Florence and The Machine

Annette Guilfoyle is a freelance monitor engineer. She has been working in the industry for over 23 years and is currently on tour as the monitor engineer for Florence and The Machine. She has worked for several sound companies, including Canegreen which became part of  SSE Audio.

Annette had initially been a town planner and as many engineers have, came to live sound in a roundabout way. In her spare time, she was always going to gigs and wrote for fanzines. She would often wonder about the varying sound quality at concerts and signed up for a part-time live sound course. The stars would align as Annette explains “ It was around this time that the current contract of work I was on was due to finish.  I had been applying for other positions but decided to give Live Sound a go. I took over from a friend who did publicity for a Melbourne venue, and this, combined with my course introduced me to a whole new world!”

It was during this time, that she would meet a great mentor, “ Whilst out mixing a band that I was also booking gigs for, I met a guy mixing a band on the same bill, and  he saw that I was struggling and he asked if I really wanted to learn how to do this?” She would say yes, and he took over the role of teaching her everything he knew. Annette would work gigs with him, and started to really learn the basics; how to roll cables, set up a stage, etc.  He also owned a mid-size PA and would do a lot of shows around town so she asked if I could assist on these. “This was all voluntary on my part, but it got to the point where he was paying me and I could set up and run his system and would often mix monitors. He was a fabulous mentor and now one of my closest friends.”

Annette would move onto the limited touring within Australia by working for local bands and travel the interstate with them for the one to two shows they had. Occasionally flying to Perth. Her first real touring gig was with an Australian Gypsy/Blue Grass band called the Blue Grassy Knoll.  They wrote and performed soundtracks to various Buster Keaton silent films. She mixed FOH and Monitors (monitors being mixed off the house board) and toured the world. Annette learned a lot while having fun “it was such fun, such great musicians and a fantastic show. It taught me a lot, especially about mixing non-traditional instruments and having “space” in a mix.”

Annette would eventually relocate to the U.K. in 2000 and toured mainly as a monitor tech, and occasionally as PA/Systems Tech for various sound companies. It was from this work that she was offered the monitor position for Paul Weller. Her work with Paul Weller led to working with other artists such as Ocean Colour Scene, Editors, Goldfrapp, Spiritualized and Marina and the Diamonds to name a few.  She also mixes FOH at the Southbank Centre in London where she works for the PA supplier; this is a good source of work for her between tours. Annette occasionally picks up FOH Gigs from her Australian contacts and has led to tours with the Go-Betweens and Mick Harvey (ex-Bad Seeds) when they’ve come to the UK/Europe.

Annette feels it is essential to give back and help the next generation of women in audio. She recently volunteered with Girls Rock Camp Brisbane teaching a workshop on sound, and she graciously allowed SoundGirls Members to shadow her Florence and The Machine European Dates.

Annette’s long-term goals are to keep getting better at her work and to keep learning. “And to be open to any opportunity. I certainly did not envisage I’d be doing what I’m doing today.  I don’t know where this will take me, but I am looking forward to finding out. I feel I’ve been lucky as I’ve mostly worked with hugely supportive people, be they my bosses, fellow crew, or band members.  Everyone has been/is willing to help the other out. The common goal of putting on a good show/event is fundamental to this over egos, and who’s right or wrong. Working towards that common goal, with a team as a whole, I find it very satisfying.”

What do you like best about touring?

Financially, the stability of steady income!  Socially, meeting new people, be it on the crew you are touring with, or at the venues, you are going to or the places you are visiting in general – and reconnecting with those people at later points.

From a mixing point of view, it also gives you the ability to really hone your craft/mixes. And learning to deal with the challenges of different rooms and venues, and the problems that they can create.  Oh, and of course getting to see so many places around the world I may never get to see working 9 to 5! Okay, so that’s quite a few things I like about touring.

What do you like least?

The repetition and the hours.  And living out of a suitcase.

What is your favorite day off activity?

Cycling.  I find that keeping very physically active when on tour helps me find an even keel.  I used to tour with a folding bike, or else I find a bike to hire – find a destination (preferably with cake) and set out.  It’s a great way to sightsee and burn energy. It makes me feel like I’ve had a real day off, and I’m all set to go back to work the next day.

What if any obstacles or barriers have you faced?

The biggest obstacles I’ve faced, to be honest, have all been self-imposed.  Lack of self-confidence, fear of failure. I’m my own worst enemy at times. But you learn to get over this and keep on going.

How have you dealt with them?

I put my head down and work hard.  Keep going. If I was not busy work-wise, I would get in contact with anyone/companies, looking for work.  I would do whatever training was available. Read up on equipment, techniques, etc. Anything to keep going – and stop dwelling on what is not happening, but what could happen.

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

Be prepared to work hard and always ask questions.  If you are not sure about something, ask!! And listen and learn from those around you.  Even as you gain experience, there is ALWAYS more to learn. Be open to new ways of doing things.  And of course, keep believing in yourself.

Must have skills?

Being able to get along/work with other people – and this also means being able to compromise and to respect all those around you.

Favorite gear?

A DiGiCo console.  I love their desks, so flexible and they sound great. But the pieces of equipment I never leave home without Whirlwind Q box, Rat sniffer/sender (both essential for troubleshooting), sharpies, leatherman, my IEM’s and/or headphones.

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

March Feature Profile

https://soundgirls.org/lillian-mcmurry-record-producer-owner-of-trumpet-record/

Mary Shipman Howard

Helen Oakley Dance

The Blogs

El SONIDO MÁS QUE MI PROFESIÓN, MI EXPERIENCIA DE VIDA

Sound More Than My Profession

The Importance of Saying Yes

Head of Sound for the First Time

 

Internet Round-Up

Women In The Recording Studio: Overdubbing History From Her Perspective

 

 

Mastering for Vinyl: Tips for Digital Mastering Engineers – Jett Galindo

 

 

SoundGirls Events

 

https://soundgirls.org/event/los-angeles-soundgirls-march-social/?instance_id=1474

Portland SoundGirls Chapter Social

https://soundgirls.org/event/producing-in-the-studio/?instance_id=1498

https://soundgirls.org/event/bay-area-chapter-1st-mondays-meetings/?instance_id=1452

https://soundgirls.org/event/detroit-soundgirls-spring-meet-greet/?instance_id=1477

https://soundgirls.org/event/glasgow-aes-soundgirls-theatre-sound-assembly/?instance_id=1472

JBL VTX A8 Workshop – May 9 @ Harman Northridge

 

SoundGirls News

Mix With the Masters Scholarships Available

Scholarships Available for Smaart Training

 

Travel Grant Awarded to Kaitie Sly

Volunteer for Sound Check Xpo 2019

SoundGirls and SoundGym

Shadowing/Mentoring/Internship Opportunities

Shadowing Opportunity w/ ME Aaron Foye

Shadow Gil Eva Craig – NZ & Australia

Monitor System Prep Internship

Viva La Muxer – SoundGirls Volunteers

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

El SONIDO MÁS QUE MI PROFESIÓN, MI EXPERIENCIA DE VIDA

Cuando comencé mi carrera no sabía con certeza en que área especializarme, los primeros años tuve la oportunidad de dedicarme al sonido en vivo y un poco al estudio de grabación, fue entonces cuando un día se me presentó la oportunidad de coordinar el departamento de sonido para la filmación de un cortometraje de ficción, y  es ahí donde descubrí que definitivamente para esto es para lo que estoy hecha. Sentí una conexión total con el sonido desde ese día que ha logrado transformarme por completo.

Ser sonidista es para mí algo más que solo una profesión, es toda una experiencia de vida que me ha llevado a enfrentar situaciones dentro de lo profesional que me impulsan a superarme, mueve todas mis emociones, me entusiasma, me intriga, me reta a ser mejor cada día, me ha llevado a conocer lugares insospechados e inaccesibles a los que solo hubiese podido llegar gracias a la filmación de cine documental.

El sonido para cine documental me ha regalado grandes retos, nunca sé exactamente a qué condiciones climáticas, espaciales, etc. me voy a enfrentar y es eso precisamente lo que me hace tener que estar muy bien preparada (no solo en la parte técnica) para poder capturar el mejor sonido posible.

Romper las barreras del miedo profesional y escuchar cada día con atención cada lugar al que voy, saber cómo suena mi casa, un espacio abierto o cerrado, etc., me ayuda a tomar mejores decisiones en los momentos de la filmación. El sonido no es algo aislado de nuestra experiencia diaria, a cada momento tenemos experiencias audiovisuales que nos conectan con el mundo exterior, todo el tiempo somos capaces de reconocer personas o lugares con solo escuchar unas cuantas notas y es nuestra tarea como sonidistas  poder capturarlo lo más claro, limpio y tranparente que se pueda para recrear esas experiencias de forma realista.

El sonido en un proyecto audiovisual es tan importante como la imagen, ya que  a través de el podemos comunicar una serie de mensajes que no sería posible transmitir de otra manera y es nuestra responsabilidad como sonidistas luchar por que esto se dignifique. ¿Cómo? Dando importancia a cada sonido que capturemos en locación, hacerlo siempre con la conciencia de cómo podemos beneficiar o perjudicar a las cadenas subsecuentes, distinguiendo desde la fuente si es un sonido que nos ayuda o no y siempre luchar por tener las mejores condiciones para grabar.

Una de mis más recientes experiencias fue la grabación para un documental sobre el Centro Penitenciario Santa Martha en la CDMX. Aquí tuvimos que trabajar con un equipo básico de sonido ya que no se puede ingresar con demasiado, asi que debe escogerse el equipo idóneo para lograr un buen registro; tuve la oportunidad de grabar varios testimonios los cuáles me han llevado a reflexionar muchas cosas, a romper tabúes y darme cuenta que a través del sonido puedo también hacer labor social y beneficiar a personas que es muy difícil tengan oportunidades. Fue una experiencia muy grata que me hizo crecer a nivel personal y profesional y confirma mi amor por lo que hago.

Así que yo te digo que si el sonido te apasiona, te compenetres con él, no te rindas, estúdialo, conócelo y sobre todo escucha y disfruta tener experiencias más allá de lo visible que te harán darte cuenta cuan valioso y único es este hermoso fenómeno físico.

El sonido nos acompaña día con día, así que ya no puedes sentirlo como algo aislado de tu experiencia de vida o como algo en lo que solo debes ocuparte únicamente cuando estas grabando, el sonido está contigo todo el tiempo, te conecta con personas y con situaciones sorprendentes y es a través del cine que yo (al menos) puedo desarrollarme y crecer no solo profesionalmente si no como ser humano y te invitó a que tú también hagas del sonido tú experiencia de vida, descúbrete a través de él, compenétrate para que puedas así dar un mejor resultado, porque no se puede transmitir un mensaje que no se conoce o no se comprende.

Recuerda. El sonido va más allá de la palabra, el sonido todo el tiempo te transmite un mensaje y somos nosotros los sonidistas quienes debemos saber como interpretarlo o plasmarlo.

Y como bien decía el Ing., Joselito Rodríguez en su libro la Imagen del sonido.

“Expresarse sin palabras, entrega su mensaje, cumple su función, aun cuando su significado escape a la conciencia… ¿Qué trascendencia adquiere entonces la palabra dicha…?

Así que aún queda mucho por transmitir.

I love sound.  Nina Guadarrama

Irina Guadarrama Olhovich

Sonidista y diseñadora sonora de diversas películas, documentales y cortometrajes
como “Todo por Amor” Kristof Rascinsky, “Penal Santa Martha” , “La Réplica” entre
otros. Trabaja como especialista de producto para la marca Tascam México, dando talleres de formación sobre sonido directo y realizando la grabación de diversos proyectos asignados por la marca. Conferencista en diversos festivales de cine como Shorts México y Oaxaca Film Fest. Integrante de soundgirls México.

Read SoundGirls en México’s Blog

 

Sound More Than My Profession

MY EXPERIENCE OF LIFE

When I began my career I did not know with certainty in what area to specialize, the first few years I had the opportunity to dedicate myself to the live sound and a little to the recording studio, that was when one day I was presented with the opportunity to coordinate with the sound department for the filming of a fiction short film, and that’s where I discovered that this is definitely what I’m made for. I felt a total connection with the sound and that day transformed me completely.

Being a sound engineer is for me something more than just a profession. It is a whole life experience that has led me to face situations within the profession that make me improve myself, move all my emotions, excite me, intrigue me, challenge me to be better every day, it has taken me to unsuspected and inaccessible places to which I could only have come thanks to the filming of documentary films.

The sound of documentary film has given me great challenges; I never know what climatic and spatial conditions, etc. I’m going to face, and that’s precisely what makes me be well prepared (not only in the technical part) to capture the best possible sound.

Breaking the barriers of the professional fear, and listening every day with attention to every place I go. Knowing the sound of my house, an open or closed space, etc., helps me make better decisions at the time of filming. Sound is not isolated from our daily experience, at every moment we have audio/visual experiences that connect us to the outside world, all the time we can recognize people or places just by listening to a few notes and it is our task as sound engineers to capture it in a more clear, clean and transparent way.  To recreate those experiences in a realistic way.

The sound in an audio/visual project is as important as the image because through it we can communicate a series of messages that would not be possible to transmit in any other way and it is our responsibility as sound engineers to fight for this.  How? Give importance to each sound that we capture in location, always doing it with the conscience of how we can benefit or harm the subsequent chains, distinguishing from the source if it is a sound that helps us or not and always strive to have the best conditions to record.

One of my most recent experiences was the recording for a documentary about the Santa Martha Penitentiary Center at the CDMX. Here we had to work with basic sound equipment since you can’t enter with too much, so I had to choose the right equipment to achieve a good recording. I had the opportunity to record several testimonies which have led me to reflect on many things, to break taboos and realize that through sound I can also do social work and benefit people who are difficult situations and lack of opportunities. It was a very pleasant experience that made me grow personally and professionally and confirms my love for what I do.

So, I can tell you, if sound is your passion, you will commit with it. Do not give up, study it, know it and above all listen and enjoy having experiences beyond the visible that will make you realize how valuable, unique, and beautiful this physical phenomenon is.

Sound accompanies us day by day, so you can no longer feel it as something that is isolated from your life experience or as something that you only have to occupy when you are recording. Sound is with you all the time, it connects you with people and with surprising situations, and it is through the cinema that I (at least) can develop and grow not only professionally but also as a human being and I invite you to make the sound your life experience, discover yourself through it.  Strive for better results, because you can not transmit a message that is not known or is not understood.

Remember. The sound goes beyond the word,  sound transmits a message, and we are the sound engineers who must know how to interpret or translate it.

And as the engineer Joselito Rodríguez  said, in his book Image of sound:

“Express yourself without words, deliver your message, and fulfill its function, even when its meaning escapes the conscience … What transcendence then acquires the word said …?

So there is still much to be transmitted.

I love sound. Nina Guadarrama

Irina Guadarrama Olhovich

Sound designer and sound designer of several films, documentaries and short films such as “Todo por Amor” Kristof Rascinsky, “Penal Santa Martha,” “La Replica” among others. She works as a product specialist for Tascam Mexico, giving direct sound training workshops and recording various projects assigned by the brand. Lecturer at various film festivals such as Shorts Mexico, and Oaxaca Film Fest. Member of SoundGirls Mexico. Read SoundGirls en México’s Blog

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