Unity During A Pandemic

As I write this, I have just watched the United States’ inauguration of Kamala Harris and Joe Biden. It was surprisingly moving for me. I was face-timing my sister, who lives back home in Sweden when her husband texted her to come downstairs. He was born in America and very eager to share this moment with her, besides, Lady Gaga was going to sing. So we said our goodbyes and I decided to check out the singer’s performance. It was good, and her belting made me stay on the channel. In addition to Gaga, Jennifer Lopez sang, and unfortunately, for I am damaged, her vocals were distorting, and it saddened me. Then in Spanish, she shouted “One nation under God, indivisible, with liberty and justice for all.” and I forgave the technicians…

Just before this pleasant interruption, in my otherwise busy day, I was lying on my sofa engulfed in a Swedish TV show called Fröken Frimans Krig (Miss Friman’s War). It’s a show about the fight for equality and the battle for women’s right to vote in early 20th century Stockholm. It deals with matters like women not being of legal authority. Because back then, her husband was her custodian and spoke for her. It brings forward the worryingly common fact, that many women died from giving birth. Finally, in Sweden, if you slept with someone you weren’t married to, you could be branded as a sex worker and had to report to an authority every week, where you were inspected for disease. It’s shocking to think how far we’ve come and it’s thanks to women like them. Nonetheless, let us not forget, these things are still happening in some countries.

Now, with the inauguration of Kamala Harris, I feel like I’m on the precipice of change once again. She is the first woman, the first black and south Asian to be sworn in as a vice president. This leaves me elevated and hopeful and I can see a brighter future. Concurrently I am ashamed for not fighting harder for our equality, maybe I am too comfortable to do so. If I was allowed to work and had a male artist say something inappropriate, would I say something back or hold my tongue? Or would my recent experiences, following these strong leading women, guide me to be bolder and confront any unkind words or actions.

Biden talked of unity. So far from what we all feel right now, as we are divided beyond our comprehension. Closed borders and further from our loved ones, even our neighbours. So even though we are all facing this pandemic together, we lack, from all world’s corners, unity. So my question to you, is how can we create unity beyond ourselves today? How can we as sisters, brothers, and non-binary unite in our differences in a global pandemic?

Well, today is historical indeed and a win for feminism and equality, but may it serve as a reminder of how far we have come and that it is up to each and every one of us to work towards it.

9 Ways To Prep For A Vocal Recording Session

Great vocal performance on a record does not happen by accident. Many factors contribute to making a recording session successful or not so successful. After 30 years of coaching singers and 15 years of recording them, I’ve gathered some tips that should help your next recording session go smoothly, giving you the result you are looking for; a killer record!

BEFORE SCHEDULING THE SESSION

Memorize the song

It’s true that you can hold lyrics in front of you while recording and no one would know. But after all these years of working with singers and being a professional vocalist myself, something magical can happen once you cross over from the “on-book” to “off-book” phase. You can focus more on the emotion, the subtle use of air and vibrato, scoops, straight tone, falls, attacks and releases, articulation, riffs, runs and so much more. If you have the time, get off-book so the song is really inside of you. Which leads us to #2…

Practice

Maybe this should be an obvious one but, I’ve definitely had vocal sessions where the singer was still figuring things out; timing, phrasing, notes, etc. Now, when I record YouTubers who literally try to produce, record, film and release a song in less than a week, there is no getting around this. I actually enjoy helping these recording artists work through the songs in this way because it is like a combined coaching AND recording session (which I LOVE!) If creating content quickly is your current strategy then that is the way it has to be. Just remember, it definitely doesn’t work for every recording session or with every recording engineer. If you have the time, putting in the same effort as if you were going to be performing the song live without lyrics in front of you will elevate your performance dramatically.

Verify key and tempo

Before putting in the time to rehearse the song, make sure that you are singing in a good, healthy key for your voice and a tempo that feels right. If you are using a karaoke/instrumental track then obviously, you are tied to the key and tempo of the track. While a karaoke track can be altered, the quality of the karaoke track will diminish ever so slightly the farther away from the original recording you go. So, a half step up, not too noticeable. Four half steps…noticeable. If you are creating your own instrumental with a producer (like I do for artists all the time) then take the time to find the right key and tempo before the producer starts working on it, if possible. That being said, it’s really easy to change the key and tempo of programmed instruments before anything is recorded. Don’t just sing through it once and call it good. Sing through it a few times in a row to make sure your voice does not tire after a few run-throughs. Double check that you aren’t rushing or dragging as you sing along, which could be a sign that the tempo isn’t quite right OR that you need to work on your timing 😉 If you are rehearsing the song, prepping for the session while using the track your producer has created for you and feel like the tempo or key needs to change, let them know ASAP so they have enough time to make a new track and you have enough time to rehearse with it before the session.

Record yourself even on your phone and listen critically

Equivalent to filming yourself perform a song prior to the actual performance, the benefits of listening to yourself are enormous. Simulate the actual recording session at home, even if you are just recording into your phone using an app. Going through the process of actually recording should highlight spots that need a bit more work or help you plan your session better. Do you need to record the low, soft verses first before the big, belty choruses? Or vice versa? Do you struggle with phlegm because you ate a cheese sandwich an hour before? Did you notice the overall emotional delivery falls a little flat and could use more thought? Invite a music buddy to listen back and provide feedback on this “scratch track” version.

Work with a coach

Even if it’s just one session with a coach prior to the recording session, this is a much safer, efficient and cost-effective way to record a song. Getting feedback after the recording session can be very discouraging. Forking out more money to re-record vocals was most likely not figured into your budget. Be sure to include funds in your budget for at least one coaching session prior to and if possible, during the session. It can relieve so much pressure to have a team member with you that is listening only to your vocal delivery, who knows your voice and what your goal for the song is. Totally worth the extra dough to have someone in your corner at the session.

DAY BEFORE/DAY OF SESSION

The next four pointers are specifically for the 24 hour period before the session:

Be well rested

Get a good night’s sleep the night before your session. Make sure the session isn’t scheduled for 10 am the day after a late-night gig or at the end of a long workday. Be as rested as you can.

Hydrate yourself

Do your best to stay hydrated hours before the session in addition to drinking water during the session. Bring plenty of water so you can stay hydrated during the session. Adding a lemon wedge to your water can help break up phlegm if that is an issue for you. Warm or room temperature will keep your vocal folds and all other tissues involved in singing nice and pliable. See #9 for more specifics about this.

Be mentally “right”

Arrange your schedule so you’re not running late or in a hurry to finish. If you got in the biggest fight of your life the night before with your SO, see if you can reschedule without a penalty (I never charge people for rescheduling because what’s the point of forcing a session to happen?) Take some time before the session to unwind, meditate, calm down, whatever you need to do to get your mind focused and clear.

Know your body and your voice

There are hundreds of lists out there of what foods and beverages to avoid. For the majority of people, these lists are pretty accurate. But there are exceptions. Be sure to know your body and your voice and how it might react to certain foods, either positively or negatively. I always tell people my own story regarding typical “no-no” foods and my own voice. You will always see “caffeine”, “dairy” and “sugar” at the top of the lists of foods/beverages to avoid before singing, but I had one of my best vocal lessons ever when I was going through extreme stress in my life and was living off of Starbucks White Chocolate Mocha’s which are loaded with caffeine, dairy and sugar. I had had 2 that morning! But seriously, for me at that time, it worked. Keep a journal that connects what you eat, when you eat and when you sing with how your voice feels. You will start to see correlations between certain foods and how your voice performs.

I hope this has given you some tips that will help you rock your next record. Feel free to email or pm me on socials for specific questions!

Becky Willard is a Warm Audio featured artist, a music producer, recording engineer, songwriter, composer, vocalist and mentor. She began working with artists almost 30 years ago as a vocal and songwriting coach. It was a natural transition from coach to producer as she guided singers searching for their sound and began recording them in her home studio.

In 2010, Becky founded Vox Fox Studios and has become the go-to producer for many Utah artists as well as artists from all over the world. These artists go to Becky to produce their music because they know they will get their best vocal performances, modern production sounds and mixes that are “radio-ready”. As a songwriter herself and session vocalist, her songs and voice can be heard in dozens of TV shows and movies. As a woman in a male-dominated field, Becky is actively engaged in educating and inspiring young women in her community and worldwide to pursue music production and engineering.

Read Becky’s Blog

Audrey Martinovich – Studio Owner, Recording Engineer, & Producer

Audrey Martinovich is a recording engineer and producer that specializes in acoustic music such as classical, jazz, and folk. She co-owns & engineers at a recording studio in Madison, Wisconsin called Audio for the Arts and produces podcasts. She has been working in audio for eight years and has been a full-time studio owner & recording engineer for three years. She has recently worked with The Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and Wisconsin Youth Symphony Orchestra, and artists Johannes Wallman & Sam Ness. She produces the Big Wild Radio Show every week, which reaches over 100,000 listeners and has engineered remote guests for podcasts such as Alan Alda’s podcast, Pod Save America, NPR’s A1, & Terrible, Thanks for Asking.

Early Career – Opera, Experimenting with Mics, & Looking the Part

Audrey has always had an interest in music and signed up for every possible music class in school. In addition to vocal lessons, she also took classes on piano, guitar, and music theory. She discovered her interest in audio engineering while studying opera in high school. She and her teacher, Alisanne Apple, would record her vocal lessons to get an audience perspective on technique, ensuring diction and tone came across well. This was her first experience with microphones & experimenting with microphone placement. She then bought her own microphone and tried plugging it straight into the mic input on her computer, no mic pre, and when it didn’t work, she wanted to learn how to get it to work. At the same time, she began researching sound design and had an epiphany that she could create and manipulate sound as a career. From there, she attended Madison Media Institute for Recording and Music Technology, Entertainment, and Media Business and received a Bachelor of Science degree with flying colors.

A Crash Course in Audio

How did you get your start?

When I was about to graduate college I started looking up studios in my area and making some calls, trying to get my foot in the door. I actually saw Audio for the Arts and tried to call, but the phone number on the website didn’t work! The owners at the time, Buzz Kemper and Steve Gotcher happened to reach out to the career advisor at my school the same week and asked for a few students to come by and interview for an internship. They liked my classical music background since Audio for the Arts works with a lot of chamber groups and the fact that I showed up looking ready for a job interview (not in “a ripped Metallica t-shirt”) so they thought I would represent the studio well.

How did your early internships or jobs help build a foundation for where you are now?

Before the internship at Audio for the Arts, I shadowed a FOH engineer at another company for a Battle of the Bands event. That day was a crash course in live sound and troubleshooting quickly. Shortly after, I started interning at Audio for the Arts. At first, I did a lot of data archiving which really laid the foundation for data management. Then, I officially became an employee and assisted on PA gigs, mostly running cables and placing microphones. They saw that I was good in that environment and introduced me to remote recording.

Did you have a mentor or someone that helped you?

Buzz Kemper and Steve Gotcher taught me so much. Kevin Guarnieri was an instructor of mine in college and he introduced me to Pro Tools which is so vital for me.

Current Career – The Importance of Being Proactive & Meeting Deadlines

What is a typical day like for you on the job?

I usually get to the studio around 9 or 10 am. If I have any sessions happening at any point that day, I always set up and test gear first, even if the session isn’t for several hours and it’s a 10-minute setup. That way, I know I’m ready and can lose myself in whatever emailing I have to do until my client arrives. Typically, this includes scheduling and coming up with estimates for gigs. Earlier hours in the day are usually radio, podcast, or commercial production with voice talent and producer in the booth or connected remotely. Then, I either reset the studio for an afternoon music recording session or dive into some mixing, either alone or attended. One day a week I bring my son to the studio with me and he does schoolwork while I edit and mix the whole day.

How do you stay organized and focused?

I try to identify my pitfalls and trick myself into avoiding them. For example, if I get an email that needs a response, but not at that second, I have to mark it unread otherwise I will forget to come back to that email. It’s the same way with texts and messages. I just can’t open the message till I can actually tackle the to-do list or I will forget. As an added bonus, having unread messages in my inbox gives me a bit of urgency to cross items off my to-do list.

What do you enjoy the most about your job?

Getting to work on a variety of projects in a day and being exposed to all sorts of amazing music.

What do you like least?

The sometimes crazy hours and stress of deadlines. It makes it hard to spend much time at home.

What’s the hardest part about your job?

The coordination that leads up to a gig such as coordinating logistics and drafting estimates. Figuring out exactly what the client wants, how to deliver it, and then assigning a dollar amount to it is something a lot of creatives struggle with and I’m no different.

What is your favorite day off activity?

Going for a hike or walk with my son or working on house renovations.

What are your long-term goals?

To work on music that really resonates with people and to feel fulfilled. I’d be thrilled to ever win a Grammy for Producer of the Year since no woman has ever won that category, but I really don’t want to be the first. That honor belongs to someone like Linda Perry.

What are your short-term goals?

I look at my short-term goals as if they are a to-do list so there are things like “revamp the studio’s website” on there, but generally, I’d like to work more on albums than singles. I like seeing how a song’s meaning can change when it’s contextualized within an album and want that to be a bigger percentage of my work in the future.

#1 tool/piece of gear you can’t live without?

Pro Tools

What’s one mistake you’ve made/bad gig you’ve had and how did you learn from it/overcome it?

It’s hard, but there are certain types of people that you have to assert yourself around or they can be abusive. I had a client come in to record a backing track of a song they had written to pitch to a potential singer. This guy came in with an attitude, looking for any reason to throw a fit. We did a first piano take and he wanted to layer it and when we did, it turned out that the base take was too short. He screamed at me for “deleting part of his performance” when he had actually counted his rests incorrectly and came in too early, resulting in a shorter song. Had this happened really early in my career, I probably would have defaulted to the “the customer is always right” perspective and let it slide. Instead, I invited him into the control room, had him sit down at my computer, and asked him to point out where any edits had been made on the track. He couldn’t find any edits, because obviously there were no edits to be found. He definitely wasn’t sunshine and rainbows after that, but he was less quick to react after that. If you don’t correct abusive behavior like that, it will continue and nobody deserves that. It doesn’t matter who the artist is.

Advice you have for other womxn who wish to enter the field?

Listen to music constantly. Make music constantly. Even if it sucks, one day it won’t. You have to go through the sucky material to get to the good stuff first! See if any friends or local bands want to record so you can practice. Then you’ll have demo material and testimonials you can take to a studio or to whoever.

Must have skills?

A proactive attitude is a must. Even if you don’t know much about recording, if you have the ability to see a problem and address it before it becomes a bigger problem, or better yet, before anyone notices, I want you to assist me.

What other skills/hobbies do you have that you feel help you in your line of work?

Playing an instrument helps with being able to communicate with the artist. It’s good to be able to understand what to do when an artist says they want to “punch in the Bm7 chord in the bridge so give me an 8 count before that chord.”

Favorite gear?

I love good analog preamps and things with tubes, whether it’s a microphone, mic pre, compressor, whatever.

How has your career been affected by Covid-19, & how have you adapted to the current situation?

We normally record quite a few choral and orchestral concerts every spring and winter, however, all of the concerts have been canceled. Most of these large ensemble groups have switched to putting together virtual events so we have been doing a lot of video production and live streaming since lockdown.

More About Audrey

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Profiles of Women in Audio

2021 – Change, Hope, Possibility

Well, here we are. We made it to 2021, and at the time of my writing of this blog, I don’t know if it’s better. We are still drowning in a pandemic, unemployment insurance hit a big snag when the CARES Act expired in December of 2020, the President of the United States attempted to stage a coup by inciting his supporters to storm the Capitol, and yes, the entertainment industry is still shut down. It’s been almost a year. My youngest daughter, who is in the first grade now, has yet to have a school year where she did not have distance learning for at least part of the year. This is obviously not what I planned for my family. I didn’t really prepare to be out of work for months and months when I left my full-time residency in 2019, and none of us were prepared for the emotional/mental toll all of this would take. As dark and sometimes hopeless as it seems, there seems to be some light at the end of the tunnel.

We have a vaccine and have already begun distribution to those who need it the most. It seems that the President might finally be held accountable for his actions. By the time you read this, you will know more than me, but as of just a few minutes ago, House Democrats introduced their resolution of impeachment. States should be about finished ramping up their systems to support a new round of unemployment relief, and finally, there will be a very significant changing of the guard on January 20. I have all of my fingers and toes crossed that this means we will finally be getting down to the serious business of getting our country on track and ready to thrive. Please note that I did not say “back on track.” We need to move forward from all of this, not back. Actually, we need to launch forward, with fresh ideas and open minds.

When concerts and theatre come back, I hope we remember what we learned in the downtime. Pre-Covid there was an entire group of people that had never once been to a concert or to the theatre, and it wasn’t because they were afraid of the virus. I think we often forget that while performing arts is so important to humanity in so many ways, it’s also very much a luxury. Millions of people who had previously never experienced a live performance due to lack of funds, inaccessibility, or chronic illness experienced their first (almost) live performances during the pandemic. I have personally spoken with multiple people who told me, through tears, that watching some of the theatrical livestream events that have been available recently was the highlight of their year, and they truly never thought they would be able to afford a theatre or concert ticket. I don’t know how the ability to attend a live performance became a marker of elite status, but I hope that we are able to continue offering this kind of programming in a more accessible way long after we’re able to gather together in person. Why can’t we offer in-person ticketing as well as a livestream experience for any and all performances?

I also hope that this sense of community and camaraderie that has been overflowing in the entertainment industry will continue when we re-enter some kind of normalcy. We’ve all been doing a great job of lifting each other up, checking in, sharing jobs and projects, donating, and offering support in many manifestations during the pandemic. Let’s always remember how much that has meant. My fear is that once we are back, and working, and busy, we won’t remember to slow down and check-in. Some of us will fall into the old grind seamlessly. Some of us will not. I am used to having many plates spinning at all times, and I have always taken pride in my ability to stay focused, to remain detail-oriented, and to keep going no matter what happens.

I’ve already noticed that I haven’t been able to necessarily lock in to work the way I could pre-pandemic. I had a one-off event in October mixing one of three stages for a telethon, and of all things, I forgot to bring my headphones. There was no PA, and this event was being streamed directly to live tv, and I left my headphones at home 3 hours away from where I was working. That’s just not really like me. I don’t forget details, especially not big ones, and it made me wonder what else I would forget when I’m back to regular work. I’ve also been finding that when I’ve been lucky enough to work here are there, I am just filled with anxiety over it—before, during, and after the work is done. I really can’t even pinpoint the source of my anxiety in these moments. Maybe I’m worried I won’t have the stamina to make it through, I’m rusty, I’m making mistakes, employers are regretting having hired me…you name it. Whatever the unfounded reason is, the point I’m making is that if it’s there for me, it must be there for others, and I hope that we all just remember that safety net we built for each other as we continue trickling back into the industry.

Let’s also remember all of the work we’ve been doing to make our stages a more equitable place for all of our people. It is easy to sit behind a computer screen and say, “Yes, I will call out and call in inequities when I encounter them in the workplace. I will ask the hard questions. I will respond with grace when I am questioned, and I will keep working to level the playing field.” It’s harder to speak up when there’s a group of real live people staring back at you telling you to stop rocking the boat. I’m telling you right here and now that I am planning on rocking every boat I sit in, so if you’re riding with me, make sure you can swim.

This morning my horoscope said, “Geminis will never take anything a politician says at face value; they’re always going to do their own research and dig deeper. It’s not that Geminis are pessimistic-they believe that change can happen and that things can get better-they’re just not going to blindly believe it.” One hundred percent, internet astrologist, one hundred percent. In 2021, I’m inviting you to join me for some Gemini skepticism powdered with hope and possibility. We’re not beyond hope, but we do need to keep our eyes and ears open and remember the lessons we’ve been teaching each other, and ourselves, in the meantime.

Elisabeth Weidner is a Sound Designer and Composer for theatre. She served as the Sound Director/ Resident Sound Designer/Composer for 10 years at PCPA-Pacific Conservatory Theatre, before going full freelance in 2019. Elisabeth is also an adjunct professor at California Polytechnic State University SLO where she teaches Sound Design and Engineering for Theatre, and she sits on the USITT Sound Commission jury for the Current Practices and Research in Sound papers submissions. In 2020 she was elected to serve as Co-Vice Chair of the TSDCA )Theatrical Sound Designers and Composers Association). She is also the producer of the podcast: No One Likes Us. www.elisabethanneweidner.com

Read Elisabeth’s Blog

How I Got Started

When I was 13 or 14, I was reading the liner notes of some CD and saw that one track had been written, recorded, produced, and mixed by one of the band members. At the time I only had a loose grasp of what most of those things meant, but I knew one thing: I wanted to be able to do all of that. Someday I would have a liner note like that all to myself. (Ironically, nine years later I have stayed almost exclusively within live sound.)

A local DIY music venue I knew of offered both audio classes and volunteer opportunities. I quickly convinced a friend to take the first class with me: Live Sound 101, a primer on signal flow, miking techniques, and general day-of-show procedures. Live Sound 102: Mixing for Monitors soon followed. Before long, thanks to the open schedule of a high schooler and parents who would pick me up at midnight, I was volunteering at shows multiple times a week. Within six months I had gotten through all of the classes: Small PA Systems, Mixing for Front of House and Troubleshooting. Once I felt comfortable behind the monitor board I moved up to shadowing the front-of-house engineers.

Like a lot of people, my first gig was unplanned. Around a year and a half, after I first started volunteering, I found myself sitting in rush hour traffic on I-5 with another volunteer friend, worrying about whether we’d make our 5 PM call time. Before leaving my house, we had noticed that there still wasn’t anyone listed as the sound engineer that night, and we spent the drive speculating about who (if anyone) would be there when we showed up. Suddenly my phone rang – the venue was calling me. I picked up, and a voice on the other end told me that they still hadn’t found anyone to come in, but it was okay because I could just run sound, right? The interns were busy, but one could come after doors if we felt like we needed him. Surprised, and feeling nervous, I agreed.

That was that – suddenly, I was the sound engineer, and my friend who was signed up to shadow the sound engineer was now shadowing me. The show itself is a blur, and I don’t remember much, but I know that once I got over the initial anxiousness and we got to work, things went pretty smoothly. It was a hardcore show, and a few of the bands contained audio students I recognized from a local community college. I went in and filled out the hiring paperwork a few days later, and it was official. I had my first job as a sound engineer.

8 Habits that Help Me Keep My Sanity as a Freelance Entrepreneur

In the spirit of New Years Resolutions and all of that, I thought I would share with you some of the tips I’ve gathered as a freelance entrepreneur. If you are an “indie artist” or a songwriter, a producer or engineer, running a music teaching studio, or operating your own business in any way, this is for you.

The thought of not having a boss or working for a corporate entity sounds pretty sweet, right? Well, it is. But it’s also really REALLY hard sometimes. I worked for financial institutions for 18 years while I built my music business part-time so I fully understand both worlds. As a matter of fact, I still have days when the security of the day job lures me into pulling up the “careers” page of my local credit union. These tips and habits are things I’ve figured out over the 12 years I’ve been a full-time freelancer, all based on my own experience. I can’t say for sure that I have it all figured out yet. I’m still a work in progress However, I hope some of this will be helpful to someone. If you have other pointers or a different perspective, I’d love to hear about it.

Set a work schedule

It would be easy to sleep in, stay up late, wear PJ’s all day, show up at your computer whenever the heck you want, not take a lunch break, etc. Based on your current situation, set a time that is your “go to work” time, a “punch out for lunch” time and “leave work” time. For me, since I have a family and a husband who is a crazy morning person, I really had to adjust my work schedule to fit his (more on that in number 2).

So, I have my morning routine that includes a dog walk, meditation and scripture study and the gym (which I’ve learned in 2020 that those last two have to be a priority or my brain doesn’t function). After all of that, the soonest I can get to my computer for “work” realistically is 9:15-9:30 a.m. Then I have to take my dog on another walk in the afternoon (she is spoiled), which forces me to take a little breather and get some fresh air (very good for freelancers who are on a computer most of the time). Then I like to stop working when my husband gets home so I can make dinner and he can play the drums. My schedule follows that flow Monday through Friday with only an occasional exception. I also take the weekends off so I have time to clean my house, grocery shop, spend time with family and keep my life feeling balanced.

When we are not in a pandemic, my Sundays and Thursdays (and sometimes more) are busy with the Tabernacle Choir rehearsals and performances. It’s a volunteer part-time job and if I don’t properly balance it all, I start to feel overwhelmed very quickly.

Create boundaries

When I started my business I was single and basically had no life. I had also just moved to a new town and had to build my business and brand awareness from scratch. It felt like I had no choice but to work constantly, as late as I had to, on weekends (when I wasn’t out of town on a gig with the band No Limits) and holidays in order to turn projects over quickly. I also accepted every project that came my way at whatever budget the artist could afford. I was working constantly and barely making enough to stay afloat. Not a good strategy but at the time, it felt like the only way.

When I got married to my J-Dub in 2013, just a few months into our marriage, his teenagers started moving in with us. Quite suddenly I became a full-time mom with demands on my schedule I wasn’t used to. Driving kids places, parent-teacher conferences, dinner every freaking night (?!) Not only could I not handle the same work schedule but I needed to create a home that felt like a “home”. Family meals at a set time at the dinner table, being available to help with homework or just conversation with the kids, cleaning the house (OMG cleaning the house). I had to make changes. I had to create boundaries. It. Was. Hard. I had to learn to say “I’m sorry, I don’t record after 6 pm.” Or, “I’m sorry, I don’t work on the weekends.” I was sure all of my business would leave and I would have to start applying for jobs at neighborhood financial institutions. But, alas…my clients respected that and worked with my new schedule. Thankfully!!

Planner

Create a schedule for yourself; daily, weekly, monthly and annual. An exercise I have started doing and am now having my artists do is create a daily and weekly schedule. First, determine your priorities in each of these categories:

Mental health – What needs to be part of your daily routine to keep you sane? Meditation in the morning? Turn your phone off an hour before bed?

Spiritual health – Set aside a day to turn it all off and connect with whatever it is you connect within the universe. Nature, family, God, whatever. Disconnect from technology at least one day a week if you can and be sure to schedule it so that it will happen.

Physical health – If you need to adjust your schedule to fit in 30 minutes at the gym or a walk with the dog or whatever, do it. Getting the blood pumping, eating right and taking care of your body will spill into every other category. Remember, as a vocalist your body is your instrument. Just like you wouldn’t leave your acoustic guitar in the trunk of your car overnight, you should feel protective of your health in the same way. And if you smoke, I strongly suggest trying to quit.

Creative health – As an artist, developing the necessary skills won’t just happen. Be sure to carve out the time you need for vocal work, songwriting/creative writing exercises, collaborating and co-writing sessions with other artists, work on your instrument, practicing your setlist, etc.

Now create a daily and weekly schedule that you will follow. Adjust as needed!

Here’s a free printable to An Artist’s Weekly Schedule for you.

Create goals as projects

It’s easy to write those goals down on January 1st but I found a “project worksheet” and started to use it for all of my goals this year and I actually love it. It helps me keep track of the steps needed to accomplish the goals and create checkpoints along the way. I extracted what I loved from that worksheet and made my own. Here’s another free printable for you! Project Worksheet

One “bold” action a week/month This is a new action for me that I started taking in 2020. Business was good but the vision I had in my mind wasn’t quite there yet. It began to feel that if I didn’t make a drastic move once in a while, things would stay the same. Was it ok if things stayed the same? Yes, but that was the problem. The safe zone wasn’t the goal aka the dream I had in my mind, but it was safe. Even as unpredictable as it feels as a freelance creative, I had found my groove and was scared to disrupt that groove. Therefore it was tempting to stay there. So I set the goal of making one bold action once a month. I picked once a month to start, but you can try once a week or even once a quarter.

Whatever feels right for you. A bold action for me might be messaging an artist that I’ve always wanted to work with but has never reached out to me (Big time limiting belief voices in my head are always telling me that I’m not good enough so why would so and so artist reach out to me, right? So this is also a way for me to battle against those limiting beliefs.) Another big move I made this year was doing a total rebrand so that my business actually looked like what I wanted it to be rather than waiting for it to gradually happen. This included hiring TEA Creative on a continual basis to handle graphic design, website design and some social media work instead of trying to just do it all myself (and not very well, I might add).

That big move includes actual money going out the door to pay professionals to do something that will elevate what my business looks like online. I don’t know why that one was scary for me, but it was. It’s as if the statement “yes, I have a graphic designer” felt like I thought I was thinking I was a bigger deal than I actually was. ANOTHER LIMITING BELIEF WHAT THE HECK??? Another reason why this step is such a good one.

What is a BOLD action for you? Could that be finally finishing that song you’ve been sitting on that’s half done? Or actually, jumping in with both feet and working with a mentor (like me!) to help you build your business? Reaching out to an artist you admire to see about a collab writing session? Taking a mixing course or a songwriting course? DO IT!

Expand your network

Freelance generally means working with a variety of people but also working very much alone. It can feel isolating and overwhelming. Networking is often thought of when we’re trying to “build our business” or “make connections” to climb up our own entrepreneurial ladder. But what I am talking about here is expanding your network so that you can work with others who can do some of what you do, maybe even better. What if you outsourced one element of the project? If you are a producer, what if you had someone else mix it? What if you regularly hired musicians instead of trying to shoulder the load all yourself project after project?

This leads us to the next one…

Create processes

If you have been in your “freelance groove” for a year or two, think about what some of your tasks are that you do regularly, especially tasks that feel mundane or like an interruption to your “real” work. Is it something you can take 30 minutes to explain to someone with basic computer skills? Then it might be something you can train someone on and outsource. There are high school students or even virtual assistants who can do this work for you. It might mean taking an hour to type up a step-by-step guide or an afternoon to put together a tutorial video. But if it removes a task that someone else can do for you so that you can do the “meat and potatoes” work, then it’s worth that small investment.

Set financial goals and boundaries

One of the downsides of being a freelancer can definitely be the fluctuating income. Not to mention, an annual tax bill if you aren’t careful, more expensive healthcare, etc. It definitely took me a while to wrangle all of the craziness into something that didn’t feel like a wild roller coaster ride financially. It requires saving a percentage each month for taxes, medical expenses, unexpected expenses and regular savings. If you aren’t disciplined with money, then find an accountability partner (perhaps an accountant) that will hold you to these goals.

Creative brains at times have a difficult time staying on course. So for me, putting bumper pads on the lane of my life has helped me stay focused. Then knowing when to move them, expand them, or completely obliterate them has taken years of trial and error. I hope these guidelines can be helpful to you.

Christa Giammattei – Bridging Audio and Apparel with CMD+S

“Each celestial body, in fact each and every atom, produces a particular sound on account of its movement, its rhythm or vibration. All these sounds and vibrations form a universal harmony in which each element while having its own function and character, contributes to the whole.”

— PYTHAGORAS

Christa Giammattei is an audio engineer, sound designer, and musician. She provides both mixing and editing post-production sound services including dialog editing, cleanup, sound mixing, sound design, music editing, and music composition.

While completing several internships, Christa was able to create and mix sound for many top TV shows, documentaries, and advertisements. Now, she freelances those services across the nation while based out of the triangle area of North Carolina. She draws inspiration from her favorite video games and TV shows, which are what originally pushed her to seek out music and sound as a career. Her mission is to create the same sense of wonder and imagination in others that she felt when she first experienced those stories through sound.

She recently created Command + S Apparel was created with one goal in mind: design interesting, wearable clothing for audio engineers and musicians that isn’t just a black tee and “SOUND GUY” written in block print white letters.

How did you first become interested in audio?

Growing up, I was always fascinated by the sound in movies and video games. I would watch scenes over and over, just listening and appreciating how sound impacted the story. One Christmas, my mom bought me a beginner Yamaha keyboard, and I started to play along with songs I loved and wanted to learn more about. That was sort of the foundation of my interest in audio and music.

What music were you first attracted to as a kid?

This sounds kind of crazy, but I was brought up in a house that very much appreciated some 80’s rock and roll. So, for many years I went through a Journey/Def Leppard phase. Also, of course, lots and lots of video game music. I played tons of Final Fantasy and other rpgs [role playing games], which have a definite classical sound to them. It was a balance in polar opposites.

When did you first think about audio as a career?

I was an avid musician throughout middle and high school (classical percussion and marching band for the win!), but audio engineering never truly clicked in my brain as something I wanted to do until a couple of years into college. I was planning to get a degree in business, but when I stepped away from music after high school, I realized something was missing. I started to Google ‘jobs in music that weren’t teaching or performance.’ Eventually, I stumbled onto music production. I literally had no idea audio engineering was even an option: no one had told me this was a career path that I could take. Once I read about it, there was like this weird inner light bulb that went off; I knew I had found the thing I needed to do. From that moment on, my path was audio engineering, and nothing else.

You work a lot in TV and games; how does sound work specifically in these genres?

I always tell people how awesome it is to work in audio post, because you’re helping to tell a story, and that’s really true! When doing sound for TV or a game, it’s all about furthering that overall narrative. In music, there are a lot of different genres: rap, rock and roll, classical, etc. Similarly, in TV and games, there’s a bunch of distinct styles and ways to do things. The sound can make it mysterious, or playful, or upbeat, or gloomy. There are a million possible options, with plenty of room for creativity.

You attended Appalachian State University. How do you feel this program prepared you for your field?

I was incredibly lucky. Not everyone can say that their college experience was worth the money, time, and effort. But mine absolutely was. I had a great professor who pushed everybody to work hard and learn from their mistakes (Shout Out to Scott Wynne at App State!). We had access to multiple recording studios 24/7 and could head in anytime it wasn’t booked to work on our own sessions, class projects, or just fiddle with the equipment. I spent hours sitting at the various desks and preamps and synthesizers just figuring them out. We were also required to pass an audition on the musical instrument we were most proficient on. Having that musical background supporting audio education was enormously advantageous.

The community of musicians and audio engineers I met there was invaluable as well. App State is like the hidden audio gem; alumni have gone on to work on shows like Outlander or at gaming companies like Epic Games. So, there’s a great network of us that can ask for advice or help when we need it.

What gear do you currently use? Any favorite pieces?

Most of my gear is “in the box,” since I work in post. Izotope RX7 advanced is my saving grace and the best $800 I have ever spent. I use it on every single session I work on, without fail. Dialog Isolate, De-Rustle, and De-Reverb have saved many a zoom recording this year for me, and I honestly don’t think my workflow would be complete without it. Recently I have been loving Oeksound’s Soothe 2, and also the API-2500. I have this really specific Yamaha piano that I adore called the P-115 as well.

Have you ever experienced any sexism as a woman in the industry?

Oh, absolutely. I could probably write an entire saga of instances where I’ve experienced sexism in the industry. “Where’s the sound guy?” is my personal favorite (haha). Over time, I’ve learned who to work with and who to avoid, so it’s definitely gotten better. I think women have to create a harder shell for comments to bounce off of in the audio field, and a stronger technical foundation to stand on. The worst experiences involving sexism for me were the more subtle ones- situations where I noticed I was being treated very differently in the workplace by people I thought I respected. It took a long time for me to understand that certain behaviors were not acceptable and to stick up for myself. But I’ve made it part of my personal goal to make it known that women are here in this field, we are growing, and we’re damn good at audio.

Your apparel CMD + S seeks to redefine apparel in the audio field that usually depicts stereotypical gendered images on it. As you say on your website: the aim of CMD +S is “[…] to design interesting, wearable clothing for audio engineers and musicians that isn’t just a black tee and ‘SOUND GUY’ written in block print white letters.” What inspired you to manifest your feelings about such apparel into your own clothing line? How has the journey been?

I wanted to buy myself an audio shirt one day and searched sound engineering t-shirts online. I browsed for hours, trying to find any clothing that an audio engineer would want to wear. There was this growing sense of disbelief as I saw there were maybe 20 versions of very similar tees, and most of them had some iteration of sound guy or sound dude or something like that. I was like “Is there not one single shirt that a woman could wear?!” And not only that, even the sound guy shirts were so generic and non-inclusive. It was embarrassing. And just another small example of how womxn are so often excluded in this industry. I realized there was a market here that was missing- there are millions of people out there who love sound and music, either for their career or just a hobby or casual interest. The more I thought about apparel for audio engineers, I realized I had ideas for designs that could be worn by anyone in the industry, regardless of gender, and inclusive for everyone.

It’s been a learning experience for sure, so far. Having to figure out websites, shipping, pricing, wholesale, social media, and everything else has been a challenge. But every person who buys a shirt is one more person that I know feels like I do. Even though I just started Command +S Apparel this year, it already means so much to me. It’s helped me network with people I never would have otherwise, and I can’t wait to keep going.

I love the myth and was elated to see her hair have cables. Her story is often misunderstood, I think, in that she was punished for a sexual assault and turned into a monster whose eyes could turn man to stone, with snakes as hair. Perseus beheaded her, popular with the Perseus movies lately. To reclaim this image in a field that is dominated by men was just incredible to see; I bought a shirt right away. How did you pick Medusa for the icon on one of your CMD + S shirts?

THANK YOU. Yes, I totally agree. Parallel to what you said, I was reading an article about how the story of Medusa is misunderstood; that she wasn’t a monster and was instead punished for being a powerful woman. The story stuck in my brain, and as the idea for Command +S started to form, the snakes in her hair turned to cables in my mind. I decided we needed some more powerful women on shirts, and knew that I needed to include her, but in all her audio glory.

What’s the difference between working in sound for music and working in sound for TV?

In music, the audio production is (obviously) the core focus, but in post, sound is more of a supporting act. That’s really the key difference. I’ve heard a lot of people in post-production say that if the audience doesn’t notice the sound then you did a good job. What they mean is that if the audience leaves that experience remembering the story and the characters and the emotion behind it, and not like “Oh, that one song,” or “Yeah that explosion was something,” then you did what you set out to do. You supported the narrative, whatever that was, and that’s what it’s all about.

Do you approach sound for TV and film documentaries differently?

I think I approach sound for documentaries as a whole pretty differently than say, a commercial or something based on fiction. Docs tend to be more reflective and linear, mostly because you are telling a very real story of someone’s life. It’s important to them, and so I try to honor the vision that is presented to me and uplift it the best I can. I don’t use quite as many unconventional effects, and I focus more on the dialog to make it as upfront as possible.

If you could talk to yourself from ten years ago, what one piece of advice would you tell yourself?

Don’t be afraid to experiment and jump outside of your comfort zone. That’s how you’re going to find your own unique sound, and that’s what’s going to make you stand out. Stay true to yourself, remain humble and willing to learn. Arrogance doesn’t get you super far in audio, and people will eventually recognize the individuals who work hard, support their friends, and love the industry.

Thank you for your time!

Thank you so much for having me!

Follow Christa/CMD+S Apparel

Instagram @cgiammatteisound @command_s_apparel

Facebook @commandsapparel

Twitter @izzy_marizee

Rachael Moser System Engineer for Clair Global

Rachael Moser has worked for Clair Global in Nashville for over ten years as a PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, and most recently System Engineer/Crew Chief. She has worked in audio for over 15 years and attended Belmont University, graduating from their Audio Engineering Technology program with a BS and minor in business.

Rachael grew up surrounded by music. Her dad was a bass player in a local band and had a full-scale recording studio in his advertising agency. She would spend time in the studio when school was canceled for snow days and other holidays. She would tag along with her parents to concerts and asked to see Tina Turner. Rachael remembers “being in awe of everything I was witnessing; the lights, the dancers, everything. I also remember whining because it was too loud and being too stubborn to put in earplugs. I find that fact to be quite funny given my current profession. Even though I may have complained, it sparked something inside of me that never burnt out. I can still get that feeling of wonder and awe going to a concert.”

Rachael played the oboe and alto saxophone in band throughout middle and high school and described herself as a band nerd. “I was what you would call a self-certified “band nerd.” I was a member of the marching band and was named drum major my senior year. I performed in the backing band for our school’s competitive show choirs, played in the pep band for at-home basketball games, and played in the orchestra for the school musicals. If I wasn’t in class or working on a video project, I was probably in the band room. I enjoyed playing music, but I didn’t LOVE performing. When I found a way to combine my love for music and technology, my passion for playing began to take a backseat.”

Being exposed to both technology and music in school and Rachael developed a love for playing music and working on the student television team. She became an assistant for her video communications teacher, where she could work on editing segments for the daily news and short films that students had put together. Rachael would be introduced to audio while taking a Digital Media Class, where she learned Pro Tools and recording. “It was there that I learned that I could combine my technology background with my love for music and never looked back.”

During her junior year in high school, she realized she wanted to pursue an audio career, although, at the time, she was not thinking about live sound. “I wanted to be a producer and own my own independent record label at the same time. I started looking at various colleges and universities that offered music business degrees along with audio programs. I visited a few different colleges, but none felt like the right fit. One day my dad ran into my middle school band director while out shopping. He suggested I check out Belmont University in Nashville. After my first campus visit, I knew it was where I could get a practical, hands-on education while in a small university environment. I would also have access to top-quality internships and job opportunities by being in Nashville, with Music Row just down the road. I knew it was where I needed to be.”

She would enroll at Belmont University in the Music Business program with a production emphasis. It was during her 3rd semester of college that she was introduced to live sound and when she realized that “I had a totally different audio passion. It didn’t come as much of a surprise seeing how much of a connection I felt going to concerts. I switched my major to Audio Engineering Technology but kept a minor in music business. I knew there was value in understanding how this industry and the music business works.”

At Belmont, Rachael was provided a lot of opportunities to work on and off-campus. One of her first jobs in the industry was working for the student-run live sound company, Clear as A Bell. The students were responsible for advancing, prepping, and working all shows they booked under the faculty advisor’s supervision. “It was a great introduction to knowing what it takes to work a show from start to finish.”

As part of the live sound curriculum, they worked on a series of showcases, which were full-scale productions six times a year in the campus arena. It was during one of these showcases that Rachael was introduced to Clair. Rachael would gain experience working alongside the Clair system engineer and monitor tech, flying the PA, ringing out wedges, mixing FOH and monitors. She says this experience solidified her career path in live sound, and she would set a goal to work at Clair and move her way up to system engineer.

Rachael has achieved her goal of becoming a system engineer for Clair Global, and while it was not an easy path, it is one that she says was worth it. She now finds herself thinking, “deeply about where this path takes me next. I know at some point, my husband and I hope to start a family. That will be a big change and potentially impact the next steps in my career. For now, I will continue to grow and educate myself to become an even better system engineer.”

Career Start

I have worked for Clair Global since January 2010. I first started working at Clair in their Nashville shop my last semester at Belmont as part of a student work partnership. I would work two days a week testing cables or assist in whatever department needed help that day. One day it could be the speaker department, getting PA systems tested and ready for a tour. Another day could be in tour prep, packing caddies, and helping the touring staff get their stage and console packages together. During this time, I learned how each department worked and saw how each tour came together. After graduation, I was offered a full-time position in the electronics department, assembling racks. I would spend the next three years working in the electronics shop, specializing in wireless and intercom systems. I moved to Lititz, PA, in 2013 to complete the road staff training program. After training, I moved back to Nashville and have been touring in various roles since, from PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, to most recently System Engineer/Crew Chief.

How did your first internships or jobs help build a foundation for where you are now?

In my early years, I learned a lot about myself and who I wanted to be. Starting out, I was so shy and intimidated by everyone else in my classes. It seemed everyone else was further along in their knowledge of audio or had already been working in audio for a few years. I felt behind the curve, and like I would never catch up. I knew the only way to overcome any of that doubt was to put my head down and learn. I took every job and internship as an opportunity to advance further. Not every internship I had was fulfilling from the technical standpoint, but I learned where I wanted to end up and what I wanted to achieve.

When I was first starting out at Clair after college, I was offered the opportunity to run sound for a new worship service starting at a local church. It was an entirely new system that was installed, and I was walking into it about a week before the first service. I was doing it all, setting up the tech cart (the console was a Yamaha LS9 that was on a cart with the lighting console that rolled out of a storage closet and patched into a column in the center of the room), patching the stage, running monitors from front of house, etc. This job taught me a lot about self-sufficiency and time management. I absolutely loved my job running sound at the church and continued to do so for several years until I started touring. I’ll still occasionally fill in if I’m home on a Sunday morning.

What did you learn interning and on your early gigs?

In my early gigs, I was able to develop the confidence I needed to make it in this industry. I remember the very first show I ever had to mix on campus; I was so nervous that I passed out while mixing. Everything was going along fine, but my adrenaline bottomed out, and I may have locked my knees, and I went face-first into the console. I was mortified and wanted nothing more than to run back to my dorm and never come back. But I remembered the few moments right before I left a small dent in that Midas Venice console; I felt so alive. I felt like I was right where I belong. Sure, I could run away and be too embarrassed to mix a show again. Or I could take a beat, remember to breathe, and move on. And move on is what I chose to do. Every show after that, I found myself becoming more confident until I genuinely believed that I belonged.

Did you have a mentor or someone that helped you?

There have been many people who have been big influences throughout my career. However, a few people really stand out as ones who have helped or mentored me along the way.

One of those people would be Jeff Briggette. Jeff was one of the first people to see potential in me as an RF tech when I started building wireless systems. He helped push for me to go on my first broadcast gig to gain real experience. Every time I have worked with him since he has continued to offer knowledge and experience that I continue to use throughout any RF work I do.

Another one who has been a mentor to me is Robert Bull. I have had the privilege to work with and learn from him for several years now. Whether I’m needing guidance through a tough moment in my career or celebrating even the smallest of victories, Bull has been someone who I can go to for advice or help. If I’m struggling with my monitor mixes and have dug myself into a hole I can’t get out of, Bull is the first person who is there to not only help get it sorted but teach along the way.

Career Now

What is a typical day like?

A typical day starts out with me walking into the venue and looking around to see what we can look forward to for the day. I usually have a checklist of questions that I try to get the answers to before load-in begins. I will also determine how will be hanging the PA that day. Once my pre-load in tasks are done, I head off to catering to grab some breakfast.

The first thing we see off the trucks is our rigging and power package. We will run feeder and get motors prepped to be hung, all before PA starts coming in the door. Once we have PA sorted on the floor, we will see the console and stage packages shortly after.

Once all audio gear is in the building, our stage manager gives us eight stagehands to assist with tipping consoles, hanging PA, and setting the stage. Once the PA is at trim, I head to front of house to assist our front of house engineer with the system’s tuning. Once all fine-tuning is complete, and we verify coverage, the audio team heads off to lunch.

Typically, we will have a band soundcheck each day. During soundcheck, I will walk the room again and verify that we are covering properly and everything we have done to the system is translating well. Once soundcheck is over, it’s time for the opening acts.

Some opening acts carry their own audio packages, while others will utilize a package that we carry with our PA. We will assist the openers to get set up on stage and provide front of house/monitor mixing if requested. Once all soundchecks are done, it’s just about time for doors to open.

With just enough time to take a quick breather and grab some dinner, it’s time to head back out for the start of the show. I sit out front for the remainder of the night, making sure everything is working properly with the system. I will occasionally walk the room to make sure we are still covering well now that the venue is full of people.

Before loadout begins, I’ll get with our PA tech to meet with our stagehands and go over the load-out game plan. I start my loadout at front of house, then move over stage right to begin bringing in PA. Once everything is out and loaded onto the trucks, I shower up, grab some after-show food, and try to get as much sleep as I can.

How do you stay organized and focused?

One of the first things I do in the morning is to make sure I know where our gear is coming in from and where it will end up. I also have a plan with the rest of the crew to stage our cases in an easily accessible area for load out. I always keep a little notebook on me as well to write down any notes or pertinent information that may arise during the day.

What do you enjoy the most about your job?

I was asked recently by someone what is my “why” for doing this job. The best way I could describe it was knowing that I am a part of something that is bigger than myself. I love being able to be a part of a team that brings to life an artist’s vision and help them present it to their fans every night. Being able to look out and know everyone in the crowd is there feeling a connection in their own way to the artist on stage; it brings a feeling that is indescribable. Even after having toured for several years, I still get that feeling when I go to concerts. I love knowing that I can help bring that feeling to other people.

What part of touring do you like best?

I like the challenge of doing the same thing every day but in a completely different place. Sure, the venues all kind of look the same, and after a while, begin to blur together. However, each place has its own uniqueness that you must learn to work with. I feel like that’s what keeps this job from feeling too monotonous. It’s easy to look at touring as doing the same thing day in and day out; load in, do a show, load out. However, every day provides its own set of challenges that keep you on your toes. At the moment, I may be upset at the fact I’m having to do a parking lot party loadout while it’s snowing or that my points took an extra hour because rigging in the building is difficult. I wouldn’t change it for the world.

What do you like least?

Being away from loved ones for so long. It’s easy to feel like I’m missing out on big life events or even the simple joys of normal home life. My husband and I both toured and were even lucky enough to tour together for three years. Before that time, though, he was gone nearly 300 days a year, and I was usually on the road when he was home on a break. It was incredibly tough. Not to mention, with both of us on the road, it made having a dog next to impossible, something we both want very much.

What is your favorite day off activity?

I love finding a day spa in whatever city we are in and booking a self-care treatment for myself. Whether it’s a massage, facial, or pedicure, I enjoy being able to break away from the tour bubble for just a couple of hours and unwind. We work these intense jobs with long hours, constantly on our feet with little sleep. I make sure to take time to relax and decompress.

I also enjoy finding great places to eat. I will remember a city based on places I have eaten on previous tours. Some places have left such an impact that I make a point to return whenever possible. Fun fact, my husband and I planned a vacation to Vancouver based around an oyster bar I found on a day off. I knew from the minute I sat down that I wanted to share it with him, so we booked the trip.

What if any obstacles or barriers have you faced?

I’ve had teachers in the past try to discourage me from pursuing a career in audio because “even though it may seem glamorous, most people don’t make it.” In college, I had fellow students openly discuss how they didn’t understand why women would want to be in this business. I had an internship interviewer ask me, “well, what are we supposed to do if a tour doesn’t want a woman on their crew? How would you feel about that?”. In my current job, while, for the most part, rare, I’ll run across the occasional stagehand who seems to have a major issue with me right from the start. Sometimes they are subtle; the eye rolls when giving directions or refusing to listen, then getting an attitude when my voice gets elevated. Others are more direct, making statements of “I don’t work with women” then trying to play it off as a joke while standing right in front of me (yes, this really happened).

How have you dealt with them?

The best way I’ve found to deal with it is to tune it all out and realize that it’s all just noise. Any person who doubts my abilities and refuses to look beyond my gender is not worth my time or worry. I have chosen to surround myself with incredible people and work for a company that supports and lifts me up rather than tear me down.

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

Never compare your path to somebody else’s. It’s so easy to get caught up in how much more knowledgeable another person may be or how many other tours that person has done. There may be times where you feel stuck, but use that feeling and forage your own way. Never stop learning and never stop growing.

Must have skills?

Troubleshooting is an absolute must skill for me. Being able to locate and solve problems is key, especially if you are under a time crunch or have a dozen other tasks still on your plate. I also believe that continuing education goes together with being able to troubleshoot problems on the road. Further advances in technology require us as techs to stay up to date on the latest equipment that is being sent out on tours.

Favorite gear?

Whirlwind QBox. It may not be flashy, but it will be a lifesaver when you need it most.

More on Rachael Moser

‘Work smart, not hard’: Getting to know the next generation of pro audio

Rachael Moser on Roadie Free Radio