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Empowering the Next Generation of Women in Audio

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VIVA LA MUXER – Volunteers Needed

VIVA LA MUXER 2018 will take place on March 10 at Plaza de la Raza, Los Angeles, CA.  SoundGirls has been invited to be involved – all positions are volunteer only. This is a great way to obtain work experience. Upon successful completion, SoundGirls will provide you a letter of recommendation.

If you would like to be involved – please email soundgirls@soundgirls.org and provide a cover letter, resume, and position you would like to apply. We look forward to working with VIVA LA MUXER to make this Festival a success.

4th Annual Viva La Muxer
A Benefit Event Presented by Las Fotos Project
March 10, 2018, 5-11 PM
Plaza de la Raza, Los Angeles, CA

Viva La Muxer is an annual International Women’s Day celebration uniting and empowering women artists, entrepreneurs, and changemakers from across Los Angeles. Presented by Las Fotos Project, the 4th annual arts and music benefit event features live performances, 100+ curated arts exhibits, family-friendly workshops, and more!

100% of Viva La Muxer proceeds will support Las Fotos Project, a nonprofit organization and brave space for teenage girls to collaborate, learn and inspire.

SoundGirls Launches SoundGirls Productions

SoundGirls was formed in 2013. Veteran live sound engineers, Karrie Keyes (Monitor engineer for Pearl Jam) and Michelle Sabolchick Pettinato (FOH engineer Gwen Stefani, Melissa Etheridge, amongst others) participated in a six women AES panel called “The Women of Professional Concert Sound”. Keyes remembers being amazed that in 2013 the industry was still hosting “Women” panels instead of simply showing the diverse talent that our industry has.

That being said, the panel was incredibly powerful for the panelists. “We had all been in the business for 20 years or more, yet most of us had never met before that day. Within minutes we bonded like long lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered how our careers would have been if our paths had crossed earlier and we had been there to support each other throughout the years. Each of us had been asked hundreds of times during our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound?” related Keyes.

Thus was the first step in creating SoundGirls. “We set up SoundGirls as an online community for primarily women, but we are not exclusive, welcoming all to come and share their experiences, ask questions and find a supportive community. Since that time SoundGirls has grown and moved in directions we could not have envisioned when we started. The support of our industry has been overwhelming, from both the level of the various manufacturer’s and other sound companies, through industry engineers and enthusiasts. Currently we have over 4,000 members worldwide with a member base of approximately 65% women and 35% men. SoundGirls features monthly engineer profiles, publishes weekly blogs, educational workshops and seminars for rookies and veterans alike of all genders. We offer scholarships, internships and mentors for those working in music production.”

“One of SoundGirls long-term goals has been to provide career advancement, real world training, and jobs for our members by establishing an intern program.” continued Keyes. “Daniella Peters a long term friend, colleague, and SoundGirls supporter was aware of our desire to start such a program and had herself produced a music production workshop for the at risk teen girls of “ Step Up Women’s Network.” She has been working in professional audio for over 17 years with Rat Sound Systems and had, in her spare time, been providing sound systems and engineers for fundraisers and charity benefits in the Los Angeles area. She thought maybe there was a way to enable the women and girls at SoundGirls to intern at these gigs bringing her two passions of women and audio production together. Thus SoundGirls Productions was born.”

The overall vision of SoundGirls Productions is to inspire and empower the young people starting their careers in the world of professional audio and music production. With a range of gear available for rent and a roster of experienced engineers, for every production we send out a professional audio engineer and, upon the client’s approval, a mentee will provide on-the-job support to the professional. This has a dual purpose of providing the opportunity to have hands-on training while offering invaluable support to the mentor on a real life show.”

For more information: SoundGirlsProductions.com

The Heart at the Beginning

How did you know you were a SoundGirl/Soundperson? How did that spark make you feel? Do you carry it with you still?

For some of us, our lives feel somewhat planned out. For others, spontaneity reigns. I fall into the latter! No matter how I try to decide the path to take, life loves to throw me as many curveballs as it can muster. (Most likely chuckling at me as it pitches) I used to fight it, but in the last few years, I’ve been able to get in the game and get excited about how I’m going to handle each new surprise as it explodes into my life. When it comes to sound, if I am completely honest, I had no idea it was even a thing until it was presented to me. Not even exaggerating! I’d never plugged in an electric guitar, rarely thought about music as being more than vocals, and never thought about the fact the there was a human at a booth making all my favourite shows possible.

Now, you may be thinking, ‘Well that’s not cool, our honorable profession deserves musical aficionados, dedicated by many years of developing our trade and skills!’. To that I say, kill the elitist inside your head! We all start somewhere. Some are born so very lucky to be within a musical family or surrounded by people who teach and demonstrate the magic of music at an early age. Me, well I guess I am just a late bloomer! And this is exactly what my blog series is about. Do you ever see phenomenal natural talent, or technical genius and wonder how did I get here?! Is this really what I should be doing because I don’t feel like I can compare. Have you just started out and felt as though you are entering a race 12 years behind everyone else? Do you get overwhelmed at all there is to learn so intensely that it makes you feel like you know nothing, so you decline gigs and hide in bed? Me too. For real, me too. However, these thoughts are rarely helpful! I aim to reconnect you with the magic of it all. The passion that brought you here and the character that will make you persevere, so you can realize it’s not a race at all. It’s a marathon where you decide the start, control the pace, and have full reign to choose the finish line. Those competitors can be your best allies if you keep your head in the game, ignore the sour Sally’s, and push out that useless self-doubt. We all have skills that brought us here, and sometimes the subtle ones that seem small, are the ones that can get you ahead.

My moment came after a tumultuous spring. I was planning on hitching to the Yukon from the Kootenays in British Columbia. A friend offered a ride but had to make a stop because they were working a Festival, for which they offered me an ‘in.’ I went with the intention of slacking hard and partying to great music, but in true character, I took to my job of driving a box truck easily and quickly and ended up ditching parties to re-strategize the camper shuttle load in the parking lot. At the end of the weekend, I was considering moving to the states to work with this company full time. Thankfully a friend told me about a small-time bc festival in 100-mile house called Hootstock. I was unsure if I was taking the right course of direction as I nervously attended, and my life was forever changed.

I found the magic under the last night’s moonlight. We were meant to jam by the fire, but we weren’t finished our shift, so we started a song under the canopy of the artist’s kitchen. Musician after musician trickled in to join, and before we knew it we had nearly every instrument imaginable! An electric fiddle, upright bass, a saw, a whole brass section, a melodica, and no joke someone was playing the stove and cast iron pans with metal utensils. It was so monumental that the wood stove campfire was dragged to where we were, and we danced and played until we no longer could! We tried to take video, but it was futile. That moment can never be fully depicted. That moment was for us, that was our magic, our cosmic message telling us we were okay, that THIS is what life is about, and that we were all on the right path. From here I went on to volunteer at six more small-time festivals working every and any job they would give me. I was hooked, that music sang me a song I’d waited my life to hear. That magic was taking me somewhere, and I had to find out where!

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

Read Janna’s Blog 

Celebrating Women in Small Town America

Not often does a small southern town host a women’s event that stretches beyond wedding expos or Ladies’ Nights, so when I heard about the Carolina Lily Festival, I was intrigued.  Boasting an all-female line-up, the Festival serves as a fundraiser for the local non-profit women’s shelter (Coastal Women’s Shelter) in New Bern, NC.

The Coastal Women’s Shelter’s focus is on those who have suffered from domestic abuse.  As outlined on their website: “During the fiscal year 2015-16, we served 550 individuals in Craven, Jones, and Pamlico counties. One hundred women and 46 children lived in the safe house for an average stay of two months. We can house up to 19 individuals at any one time.

Bailey and Grant

The Carolina Lily Festival is celebrating its third year.  This year The Brown Pelican, a nautical-themed bar, is the venue.  On stage is Gabrielle Christie, playing guitar and singing a mix of covers and originals with a creamy voice that fills the room.  And the place is bursting at the seams with people of all ages and genders.  In the back is the raffle table where I find Bailey Evans and Grant Golden, key members in GEM productions, an event company hosting the festival.  They are the festival’s event coordinators.  I reached out to these three to find out why they chose to get involved.

Nicole Kirch (NK):  What is the Carolina Lily Festival and why is it important?

Gabrielle Christie (GC):  The Carolina Lily Fest is an event to raise money for the Coastal Women’s Shelter while supporting and celebrating local female artists. It’s important for several reasons. One, we need to continue raising awareness for CWS so that any woman in need knows that services exist and knows how to access them. Two, as a community we need to help financially support organizations like this. I think it’s our duty to make sure places like the CWS can continue operating. And three, I will always jump on the chance to support and cheer on local artists.

Bailey Evans (BE):  Coastal Women’s Shelter works to end domestic violence by providing women in our area with the skills, support, and confidence to live better lives.   It felt in keeping with the spirit of the organization to spotlight and support female artists during this event.  It’s been important to us to empower all artists to take the stage and follow their dreams, but Carolina Lily Fest is a celebration of women because empowering women is the reason we gather for this particular event.  Small towns like ours benefit from festivals dedicated to women for a number of reasons.  First and foremost, this specific festival highlights an organization that actively improves the lives of local women.  It reminds us of the challenges many women still face but also allows us to be part of the solution.  Additionally, it’s no secret that the entertainment industry is and has been rife with sexual harassment, so it’s important to give women some extra and exclusive opportunities to shine safely.

NK:  Is this your first time performing at the festival and why did you want to perform?

GC:  No, I had the honor of performing last year. I’ll always be happy to get involved. I think it is a cause worthy of our time and our donations.

NK:  What were your reasons behind a full female line-up?

BE:  We struggled with committing to the concept of an all-female line-up when we began planning the first Lily Fest.  We weren’t sure if that was the best way to develop an inclusive community-minded vibe.  However, we decided that there’s nothing problematic about celebrating a particular group and having an all-inclusive event.  This event focuses on women, but it welcomes everyone and invites all people to be involved in supporting a vital community organization.  This night is about encouraging the potential of women in our community, so it feels fitting to incorporate that concept into our line-up as well.

Grant Golden (GG):  We had a hard time deciding if we should do a full female lineup. Do we need to have an all-women lineup to empower female musicians, does it feel patronizing to make it feel like an entirely separate event? Ultimately we decided that an all-female lineup is the best way to ensure that the most female voices are heard, highlighted and praised. This seemed to be the best way to show that Carolina Lily Fest is here to serve as a safe-space for all attendees and a day to honor the strong women in our lives.

NK:  Have you ever performed in an all-female line-up before, what is your impression of it?

GC:  No actually, last year when I performed I did a solo set then got my band Bearfoot Monty to play as well which has male members. But I am so stoked for this year’s all female line up.

NK:  What made you interested in music and performance?

GC:  I’ve always loved music. And it’s been a long journey to performer. I was lucky to be brought up in a home where lots of different music was played. My sister bought me the album “Lungs” by Florence and the Machine when I was about 13, and from then on I knew I wanted to be a songwriter and performer. But I wasn’t until I was a junior in high school when I met an amazing music teacher did I get the push to pursue it. He made me learn the guitar so I could back myself up on stage. He told me I don’t ever want to have to rely on someone else for my music and I need to be able to do it myself. So I did. And over the years I just continuously get inspired by people and music and get encouraged to go further and further.

NK:  Define female empowerment.

GC:  Female empowerment… I think it’s the ability for a woman to be in charge of herself and not feel ashamed. It’s tough to truly get there though. I know I get put down a lot or condescended to and it can make you feel like you’re less. But being empowered means pushing past that and knowing your worth.

BE:  Encouraging women to determine their paths, assert their boundaries, and define themselves free from stereotypes or cultural expectations.  It’s such a hard thing for me to define eloquently because it includes so many concepts.  I just want everyone of all genders to be allowed to follow their paths and be treated as whole human beings on their journey.  Gender shouldn’t be allowed to define one’s personhood, limit one’s potential, or determine one’s role in the world.  In many places and for many people, being a woman still comes with restrictions and constraints that are unacceptable.  Female empowerment is encouraging women to break free from what they are told a woman is and become whatever they want to be.

GG:  As a male, I likely will have a slightly skewed definition of this, since it’s not necessarily a battle I have to fight on a regular basis, but to me, female empowerment is the act of empowering women to be the fearless leaders they indeed are. There’s always been an implicit disadvantage that women face in society, whether it be lower pay in the workforce, undermining of their thoughts and opinions in both career and social settings, or the constant sexual harassment they’re subject to. Female empowerment is how we can help to push past these struggles and work towards a mutual goal of development and sustainability for females in their communities.

NK:  Why is it important to have a festival dedicated to women and why should small town America have a festival dedicated to women?

GC:  I love that this small town is doing something that even some big cities aren’t. It just shows how much character this town has. It’s important because we are a tight-knit community and we need to be here for one another. Support is everything.

GG:  The music industry itself has always been somewhat of a boy’s club. Females in the industry always seem to have to push a little harder and speak a little louder to gain some traction in their scene, and if you have the power to help change that then you 100% should be doing that. Small towns can sometimes exist within an echo chamber, and while by and large New Bern seems to do a great job of elevating women in the community to positions of power, there is always room for improvement and GEM Productions wants to further help the development of gender equality amongst our town.

NK:   How has the festival changed in it’s three years and where would you like to see it go?

BE:  Lily Fest, like most of our events, is always an evolving concept.  Our ultimate goal is raising money for the Coastal Women’s Shelter, so we’ve made adjustments   It went from a ticketed event to a free one.  Each year we’ve tweaked our raffle and auction idea to better serve our audience and see greater returns.  It’s also beginning to make itself known as an annual event, so we are gathering regular supporters and volunteers.  I’d like to see that support and participation continue to grow because it’s those connections that allow us to grow the event and reach new donation levels.  I’d love to see it grow into a more significant, full-day event with more interactive aspects like panels, creative workshops, and the like, that raises more and more money each year.

GG:  Carolina Lily Fest is an ever-changing event. We’ve moved venues since our first year and changed it from a ticketed event to a free night of music at The Brown Pelican. While we had a larger production scale for our first year, it seemed to be a bit more pomp than it needed to be. We’ve minimized our overhead costs, and almost all of the artists are donating their time and talents to the cause, which is a fantastic contribution that we can’t be thankful enough for. As for where we’d like to see it go, I think having more community involvement would be fantastic, more visual artists and businesses being highlighted and contributing their goods is a great way to show how much our community truly appreciates the females in our scene and our lives in general.

NK:  How is this year different than previous years for the festival?

BE: This year we’ve seen far more interest in the event in the weeks leading up to the festival.  People remember it or they’ve heard about it and have reached out about getting involved or helped spread the word.  The buzz is a bit bigger, and hopefully, that means the crowd and donations will be as well.  Our raffle prizes and silent auction items are more numerous than in previous years.  Overall the spirit and intentions of the festival are the same as they’ve been since the beginning, but our skill set has grown each year, and this year we’ve hit our stride and feel much more confident about being able to achieve or exceed our goals.

GG:  This year features our biggest headlining act yet, Laura Reed, which is someone we’ve wanted to bring to town for years now. Laura serves as a beacon of light amongst the North Carolina music scene in terms of female empowerment. She’s worked with Grammy winning producers, has performed the national anthem at several national sporting events, and has toured internationally with some immensely talented artists. Laura is without a doubt one of the most accomplished artists we’ve brought to New Bern and having her on board to help support this great cause is nothing short of fantastic.

We’ve also forgone the traditional array of “vendors” that we have at events and are instead having people donate their supplies so that all money raised goes straight to CWS.

NK:  Any closing thoughts.

GG:  Carolina Lily Fest is our most significant fundraiser throughout the year, and it’s continued to grow along with GEM Productions. We’re always thrilled to see the feedback and reaction from Lily Fest because so many of these folks may not be familiar with the breadth of local talent our community contains. We’re lucky to be a part of such a supportive and inviting community, and we can’t wait to share another evening of fantastic local art with New Bern!

BE:  It’s a privilege to answer these questions and share my opinion with you, thank you for the opportunity.  This area has an incredible network of women in the music industry, and it’s an honor to be a part of it.

“In You You Trust”

It’s the beginning of January which means it’s the beginning of a new year. Year-end lists and New Year’s resolutions abound. As corny as it sometimes feels, the end of a year and the beginning of a new one really is an excellent time to take a step back and reflect on yourself.

In this modern capitalist society, we are not taught to trust ourselves. Someone else is the expert on our happiness and success and how to get there, and there is always something missing that we need to purchase to become truly fulfilled.

But instead of thinking about how we can keep changing ourselves, let’s look at what we’ve already accomplished and how we have already grown. First, ask yourself: what is you? We sometimes forget that we are not defined by just our career, or only our relationships, or just our health. We can become so focused on one aspect of ourselves that we fall out of step in other areas. But each piece contributes to the whole. YOU are your current life, your goals (your future life), your relationship with yourself, and your relationships with others.

If you have cultivated a healthy home life with yourself, a partner, a dog, a child, a friend, or a family member, this is something to be proud of.

If you are in a business or creative partnership with people or a person with whom you trust and are inspired by, this is something to be proud of.

If you meet new people who excite you and make you want to get better at what you do, this is something to feel good about.

If you actively engage with your creative process, you should be proud of the love and respect you are showing yourself.

If you actively support someone else’s creative journey, however deep into it they may be, you should be proud of the love and respect you are showing someone else.

If you actively engage in your professional skillset and continually work toward greater mastery and new perspectives, this is something to be proud of.

If you mentor those that can learn from you, in any capacity, this is something to be proud of.

If you have open and honest conversations about money, business practices, gender gaps, race, and the ways you can participate in change for good, this is something to be proud of.

If you have ever wanted to quit, but you didn’t, this is something to be proud of.

We have a lot of work ahead of us. We have songs to write, bands to form, sounds to record, albums to make, stages to mix, setups to design, decisions to make about futures we hope to have. We have girls wanting to learn the ins and outs of an industry we know is uncomfortable for women to work in, and fortunately, they can learn in an environment that is vastly more comfortable for them than it was for us. There are so many more steps forward we will make. But today, please take a moment to acknowledge all of the steps you have already taken to make this industry, this world, your life, and the lives of those around you, a kinder, more loving, and inclusive place. Let’s keep it up!

 

 

Vanessa Mering – Marketing Manager at HARMAN Professional

I pick up my phone and dial the west-coast number listed for Vanessa Mering. It rings a few times, and I am welcomed by a cheerful greeting. Vanessa and I share a few pleasantries as we talk a few details about everything we’ll get to discuss. I adjust my rudimentary phone-recorder that is carefully balancing on a large conference table. The small room I’m in has cables and papers thrown about with a small cleared area where my laptop cautiously sits. I set levels and begin recording our conversation.

To introduce her, Vanessa Mering is a marketing strategist with 15 years of experience at leading audio technology companies. Over the course of her career, she has played a key role in launching a variety of industry-shaping innovations—from democratizing music creation at M-Audio/Avid, to defining the future of live sound with HARMAN. In her current position as Marketing Manager at HARMAN Professional, Vanessa spends her days introducing new products and planning campaigns for ten world-class brands including JBL, AKG, and Soundcraft. Passionate about seeing other women succeed in the industry, Vanessa is also the leader of the HARMAN Women’s Network chapter in Northridge, California. In this role, she’s dedicated to supporting the professional and personal growth of women at HARMAN, as well as attracting new talent to the company. In her free time, she’s active in other groups dedicated to building community and expanding professional opportunities for women.

HPro Installs: JBL and other HARMAN brands installed in houses of worship, sports stadiums, and other prominent venues

“I know I sent you about 900 questions…” we both chuckled. “…but we’ll play it by ear.”

What was your first job in the audio industry?

“So, funnily enough, my first job in audio was a random temp job at Alesis while I was studying at UCLA. I was helping support administration within HR during a summer break. I do, however, remember distinctly sitting across the wall from the marketing department and hearing how much fun they were having. I got to witness them being creative and collaborative, and that was my first time thinking that marketing seemed like an awesome profession.”

I respond, “It’s actually kind of hilarious how you end up in these random positions that can change your life. You have an entire career in audio technology because of a fun group of individuals on another side of a wall at some temp job one time.”

“It is so interesting,” Vanessa says. As we both get further into the conversation, you can begin to hear the relaxation in our voices. “I admire people who have a specific vision for their career from an early age, but that just wasn’t me. All I knew was that I loved writing and being around creative people, so I let my curiosity and interests guide me. It was a total coincidence that I came right back to the audio industry by landing my first full-time job at M-Audio a couple of years later! But I quickly fell in love with the creativity of my coworkers and our customers. I’m so grateful to that team for supporting me as I discovered my passion and started building my career.”

I’ve read about some of your work with the HARMAN Women’s Network Northridge Chapter. Can you tell me more about the organization and your lead in it?

Absolutely! HARMAN has campuses all around the world, and each campus has its own Women’s Network leader. So there’s a lot of autonomy in the role. I can drive initiatives that are exciting for this campus, and at the same time learn from what other women are doing on other campuses. I’ve brought in a couple of guest speakers to help with personal and professional development. I’ve focused on a lot of soft skills, like having a mindfulness meditation instructor come in.

“Ooohh!” I interject.

“She talked about the brain science behind mindfulness and how it can reduce stress and increase cognitive function, and all kinds of other health benefits. One of my favorite things I learned is that practicing mindfulness enables you to appreciate music even more. I’ve gotten to grow so much from this initiative, and have really enjoyed the opportunity to connect with women across different divisions, departments, and campuses. And men too! It’s awesome to bring everyone together to drive change.”

Tell me about your early days at M-Audio when recording really started to change.

I came into M-Audio at a really exciting time when high-quality recording gear could finally be produced at an affordable price point, and that was changing how music was being made. It was all about mobility. You could be on the road, be on the tour bus, be in a hotel room, be in your bedroom studio, and make really good quality music. So, it democratized the whole process. You didn’t have to have this massive budget to be heard. It was a really fun, exciting time to start in the industry and that’s a lot of what I fell in love with. We were enabling people to express themselves without a huge budget.

I was curious, other than democratizing music-making, were there any other projects that were super memorable for you? Projects that really stick out in your mind.

Vanessa chuckles a bit before listing off a myriad of amazing projects she’s been a part of, but one in particular stuck out…

There was a time when I transitioned from running the M-Audio content marketing team to acting as marketing program manager for several different brands at Avid. The Eleven Rack guitar recording and signal-processing system was the first launch that I did in my new role. This is where I was looking at the entire marketing plan and program and putting it together from top to bottom, overseeing a whole launch. The experience was really gratifying for me on a lot of levels. Professionally, I got to stretch into a more significant leadership position than ever before, and collaborate with a ton of different teammates to make everything happen. And personally, I’ve always loved guitar-driven music, so getting to reach guitarists was really fun for me.

Are you a musician? Do you play any instruments or anything?

“A few years after that project, during my time working at Line 6, I finally picked up a guitar. It was really cool, they had free guitar lessons on campus, so I would get to jam with my coworkers once a week. It gave me a much deeper appreciation for my customers’ and colleagues’ dedication and skill… it wasn’t easy for me! But I’m so glad I got a chance to learn.”

If you had a few pieces of advice for your younger self or young women in the field, what would they be?

“I often see women, myself sometimes included, hesitating or apologizing for asking questions. It’s important to put yourself out there, ask questions without apology, and get the information that is going to help you grow. Earlier in my career, I felt a lot of pressure to know all the answers or figure everything out on my own. Having the freedom and confidence to reach out is important. It builds community and team. And connecting with others is what makes life a lot more fun, so go for it!”

We thank each other for the time and conversation, some 40 minutes deep into discussions. We share a few more laughs, thank each other again, and hang up. I take a few minutes to simply digest everything we’ve gotten to chat about. I walk away realizing just how far-reaching audio technology goes. Before this interview, I never considered a marketing management position, but now it seems so obvious. There are a lot of ways to take part in music and audio. Never think you’re stuck in a certain position. There are women out there blazing trails and helping make monumental differences in this industry. And, It’s so great to hear that HARMAN and Line 6 are trying to not only be inclusive for women and personal and professional growth, but they also offer ways to connect to customers even more.

 

 

GIRLSCHOOL 2018

 GIRLSCHOOL is a Celebration of Women Challenging the Status Quo.

 

A few years ago Anna Bullbrook, (Airborne Toxic Event and The Bulls) volunteered at the Los Angeles Girls Rock Camp and had a “ mind-bending experience of seeing women use rock’n’roll to encourage young girls to take risks, grow, and be more themselves in a really utopic, positive, and very thoughtful all-female environment. The experience changed my brain. The relief of connecting to a community of positive and pro-active musical women hit me like a wave”. Once Anna got a taste of what she calls “Utopia” she knew she had to do something to keep that feeling of community alive and continue to grow it, and so she started GIRLSCHOOL (This is why SoundGirls was founded).

GIRLSCHOOL is a music festival that celebrates women-identified-fronted bands and women artists. After spending a decade as a “sideman” in the alternative rock world, where you don’t see a lot of other women around—onstage or on your crew—I started to miss and crave the camaraderie of women. I mean, growing up in classical land, I saw women players everywhere and had a million girlfriends who also played instruments. It wasn’t this segregated thing.

With GIRLSCHOOL 2017 Anna did create a weekend of “Utopia.”

With a production crew of all-women sound engineers, production designers, and lighting designers GIRLSCHOOL 2017 Festival featured; Chelsea Wolfe, The Bird and the Bee, Francisca Valenzuela (acoustic), Deap Vally, The Regrettes, Rituals of Mine, Summer Twins, Vox, Luna Shadows, KONA, Boyfriend, Pearl Charles, The Wild Reeds, Winter, Liphemra, Trace, Caroline Smith, Kid Wave, Starcrawler, Soto Voce, and DJ sets from Tamaryn, Mereki’s Club House, Bleached, Honey Power, Val Fleury, Linafornia, and Play Like A Girl.

The festival also included afternoon panels discussions and workshops with; Ruidosa, SoundGirls, Music for Pictures (Alicen Schneider, NBCUniversal), Own Your Own Voice (Kiran Gandhi), Women in Media (Andrea Domanick, Noisey), Women in Music (Jasmine Lywen-Dill, GIRLSCHOOL Co-Founder/WBR), Queer & Trans* Women Discussion on Sexualization and Media (Dannielle Owens-Reid), Radical Aliveness (Jennifer Huang), Ableton Controllerism (Laura “Alluxe” Escudé), Intersectional Feminism in Music (Mukta Mohan, MTV/KXLU), and Rock’n’Roll Camp for Girls LA.

Anna has big plans for GIRLSCHOOL in 2018 with plans to bring the festival to other cities (stay tuned) and providing year-round programming. SoundGirls had such a great time being involved with GIRLSCHOOL last year, and we are eagerly looking forward to 2018. Check out last year’s scene report.

Finding the Gems – Grace Banks

photo credit: Artemis Evlogimenou

Grace Banks is an independent studio engineer based in London, UK.  She has worn many hats in the field including recording engineer, mix engineer, musician, producer, and composer.  She is a multi-instrumentalist and has toured as a session musician in many bands.  She plays keys, guitar, electric bass, percussion, and sings.  She has also worked for the music label, Nonclassical, and Help Musicians UK, a charity that researches musicians’ needs, gives grants, and organizes competitions.

Banks grew up with a musical ear.  She started studying classical piano at the age of four, classical violin at the age of ten, and taught herself guitar.  She studied music theory through grade 8, too.

When I was a kid, I would make my dad play the piano so that I could record it on my tape machine, or I would get my toddler brother to perform into the mic.  I was fascinated by music and by capturing performance.

As she grew older, Grace would record guitar and vocal harmonies on a four-track tape recorder.  She began to perform at seventeen and was offered a place to study music production at eighteen.  Although she had the passion to succeed and her mentors recognized her gift, the adults in her life steered her away from pursuing a career in music. And like many aspiring musicians, Grace was encouraged to try a different field.  Grace began to work at an engineering firm having won a place to study Civil Engineering at university.

I figured, if I didn’t make music I would always feel envious of those who did.  And I couldn’t justify not trying, at least.

So, a month before Grace was supposed to begin university, she persuaded the music department to offer her a place.  She concentrated on composition, orchestration, and theory and graduated with first-class honours.

From Musician to Audio Engineer

She wanted to pursue studio work or a Masters’s in Composition after graduation but was unable to afford the education.  So she moved to London where she thought there might be more opportunities.

I wrote to recording studios but got zero responses.  I played gigs but, while the gigs I had done outside of London paid half a week’s rent, the ones in London wouldn’t give a free drink, let alone a fee.  I busked on the underground until, one day, a man stole my money.  I did a plethora of bitty jobs, before finding an office-based nine-to-five.

While working in an office by day, Grace was seeking out and studying with mentors in the evenings.

At gigs, I would head to the sound desk and ask to shadow the engineer.  A couple of them agreed, and I am indebted to them for their patience and encouragement.  At this stage, I was too terrified to touch the desk – so I would just watch and offer endless bar runs in the hope that they would invite me back. A year or so later, I got hired to tour as an instrumentalist.  I would hover behind the sound engineer and pester him with questions.  On my return, I set up a residency, booking singer-songwriters for a small basement bar – partly because I wanted a ‘safe’ place to get my hands on a PA and try mixing.

Then, one day in a rehearsal studio, a member of staff saw that Grace knew how to setup and troubleshoot audio gear and offered her a job. After a few months at the studio, Grace moved house and heard rumors about a recording studio on the same street.  She sent a curriculum vitae (C.V), otherwise known as a resume, and coincidentally, the studio was looking to hire staff.  The recording studio was interested in her background in classical music mainly, her ability to read scores and experience as a multi-instrumentalist – had stood out and impressed them.  However, her primary asset was proximity to the studio, which meant she could (and did) come in at five minutes’ notice and lock up at any hour of the night.

Having begun applying for studio runner positions at 21, Grace finally got her foot in the door at 28.

The Challenges of a Studio Engineer

People starting out in studios are often expected to work for free

One of the studios I first applied to wanted someone who could be available, unpaid, seven days a week – in London, especially, that is not an option for some.  This kind of expectation precludes many from entry into this career

While dealing with these financial challenges, Grace often forfeited stability, relationships, comfort, and safety and she learnt to live on a shoestring budget.

I was homeless for a while – mostly couch-surfing with friends; government benefits tided me over.  There can be a lot of shame attached to benefits, but they are essential for social mobility and are the unofficial arts grants.

When I eventually got work at a recording studio, the pay was about half of the living wage; also, the work was piecemeal, and there were no contracts.  I found part-time, flexible jobs that I could fit around the studio.  Needless to say, I had almost no social life for a couple of years.

Grace took responsibility for her education, writing regular ‘study’ periods into her diary, using books, YouTube tutorials, online articles, and real-life mentors.  She made a list of skills she wanted to prioritize, such as drum-teching, guitar-teching, and mixing, with a sub-list of people who could help her improve each of them.  Once she figured out her game plan, she would introduce herself to those on the list and ask if she could shadow them.

Love for the Job

Grace has experienced both the touring artist and the studio engineering lifestyle and said that she loves both.  With touring, she enjoys the sense of camaraderie, the excitement of seeing new places and not knowing what’s going to happen from day to day.  On the technical side, she enjoys logical thinking and the goal-based nature of the work.  Unpredictability can be exciting, too; she could be called to Manchester one week, Portugal the week after.  She also loves how she is continuously learning.

Every session I do and everyone I work with teaches me something.

Best of all, she loves working with amazing artists and having the opportunity to capture their performances so that the magic can be witnessed by others.

It feels like finding a beautiful gem and holding it up to the light.

Gear

I have just acquired a MoogerFooger 12-stage phaser which I am really excited about. The UA 6176 is my home workhorse.  I have been doing a series of vocal mic shoot-outs with a friend who is also an engineer, which has been fun.  Also, the Roland RE-501 Chorus Echo: it’s another world, and you can get lost in it.

A Freelancer’s Survival Guide

In order to survive as a freelancer, Grace attends networking, technological, and industry events.  She has also built good relationships with studios that give her regular work. Additionally, Grace pursues engineering along with other jobs.  She still works as a session guitarist, which helps her recording work in many ways:

such as meeting musicians who might want a studio or engineer down the line, and improving my understanding of what musicians go through under pressure, how they communicate, and so on.

We asked Grace for tips for those SoundGirls and SoundWomen who wish to enter the field:

Grace’s long-term goals include more writing for and with other artists.

More on Grace – SoundGirls Spotlight Series

Find More Profiles on The Five Percent

Profiles of Women in Audio

Profile By: Michelle Naziri (“Miche”) is a Liberal Arts-Engineering Studies student at California Polytechnic State University, concentrating in Electrical Engineering and Sound Design. Over the summer Michelle worked as an intern for VUE Audiotechnik under VP Operations and SoundGirl, Sara Elliott. As an intern, she got to help with prototype experiments, reverse engineer speakers, fix amplifiers, and help assemble and test loudspeakers and subs for the Kendrick Lamar, DAMN tour. Most recently, Michelle received an internship with RagHouse Radio as an audio technician for SoundGirl April Duran for her show on Authentic Culture Network in Sunset Gower Studios. RagHouse Radio, empowering women in music, sports, and entertainment.

In the future, Michelle hopes to continue working in radio, speaker production, and live mix for bands at concerts and festivals.

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November Feature Profile

 

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SoundGirls News

SoundGirls Colorado Chapter Launch

Monitor Mixing Workshop

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She Rocks at NAMM Ticket Orders

SoundGirls NAMM Events

SoundGirls UK Chapter Winter Party

SoundGirls FOH Workshop – Los Angeles

Letter to Pro Audio Community

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