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SoundGirls Intro to Soldering – Los Angeles

Soldering is a necessary skill for audio engineers and techs. Being able to make and repair your cables can get you out of a tight spot and save you money. We are going to go through the basics of soldering, and we will build mic and guitar cables. If you do not have a soldering kit – we have loaners.

Required Tools to Bring to Class

You can purchase an inexpensive soldering kits on Amazon.

This class will address the knowledge and techniques required to produce high-quality manually soldered joints and provide an overview of the basic manual soldering equipment and the proper safety precautions for soldering.

You will be able to take your finished mic and guitar cables home to continue practice soldering.

Instructor: Erika Earl is the Director of Hardware Engineering at Slate Digital where she directs teams and engineers in the technical development of hardware products from concept to launch.

 

What I Know Now

As a non-male* songwriter, performer, and producer, I am always grappling with the concept of ability and credibility. In press on artists that I admire and follow, I see unconscious sexism. Figures like Grimes base their entire brand and music around “doing it all” themselves, while powerhouses like Kendrick Lamar call their producer-artist relationships “collaborations” in spite of the fact that Lamar is decidedly unfamiliar with music technology, i.e., while he never touches a computer making a record.

Where is the line? When can non-male take ownership of what they have created? When can a non-male artist become a figure like Kendrick Lamar without being criticized for not doing everything, from writing to engineering to playing to producing to performing? It makes me angry. It makes me feel like I have a lot of teaching and showing to do. In an effort to do that, I have given some thought to what I know that I didn’t know before I was producing. Here are some of the most important things I have learned thus far that I would like to pass on to anyone who is just starting or needs a pick me up.

Your ears have to practice too

When I first started recording and producing myself, I thought that what I was making was sounding pretty good. I was always reading up on engineering and different production techniques. I even went against the wishes of my pride and would show other producers my sessions so they could give me feedback. Since I was aware of how to make something sound pretty good, I thought that I was already doing it. But there is no substitute for time and practice. Your ears will get better at their job the more that you use them. Engage with the sounds and arrangements you are working with. Ask other producers how they are hearing something. Get a perspective. Make decisions. Play. Wear earplugs for loud shows! You will find that your ears get better with practice.

Vocal production is extremely critical.

This point is related to the first one in some ways. I think that when I first started, I was so enamored with my voice just being recorded and effected that I didn’t think about all the ways to produce it even further. Eventually, I will do a whole post about vocal production, but beyond your chain (mic, preamp, compressor, etc.) being as good as your budget can afford, there is the physicality of vocal production as well. You have to ask yourself, what kind of record are we making? What kind of performance are we aiming to capture here from this vocalist? What are they capable of? Now how can I get that to come out of them and into the mic? Are they excited or turned off by the idea of being in a vocal booth?

Once the performance is done, then you get to work comping—the best bits of each take in a composite—though there are exceptions. Beyond the main vocal comp, you can also make use of doubles, harmonies, ad libs to create the perfect vocal for your record. The possibilities are endless. But it’s your job to make the decisions about how to get the best vocal audio into your DAW so you can continue to make it into an incredible record.

Silverlake kitchen studio – one of my many makeshift home studios

The more you make stuff, the more stuff you will make.

This one is pretty self-explanatory. If you haven’t experienced this firsthand, it may seem like an oxymoron. But it’s not. Trust me.

Working in groups can make you better, but isn’t the end all be all.

If you have the opportunity to write with other writers/producers, especially if they are more experienced than you, take it. If you don’t have that opportunity, seek it out. You will learn something, even if it doesn’t feel like it at the moment. Sometimes co-writing sessions can be tedious. Sometimes they feel like all you are learning is what you don’t like. But that’s very good to know! On the flip side, sometimes you make great new friends that blossom into much bigger relationships.

Co-writes are big in the music business right now. It’s an easy way for publishers, labels, and managers to make their clients feel like they are doing something for them, with minimal commitment and cost. At a certain point, it can start to feel like if you don’t do it a lot, then you’re doing something wrong. But that’s just the status quo that the big businesses created to have more control over their creative people. At the end of the day, YOU are the creator of the music, and it’s up to YOU to figure out how YOU make the best music YOU can make. If that means lots of co-writes and co-productions, then that’s awesome! If that means producing your friend’s bands out of your bedroom studio, alone, then that’s awesome! If that means making beats all day long in your friend’s studio that they let you use, then awesome! Your talent is your business, and you need to constantly be thinking about the things that affect your talent and business.

You are strongly affected by the company you keep.

This statement is made so often I think we have stopped listening. But try listening to yourself say this out loud: You are strongly affected by the company you keep. If you are not genuinely challenged—creatively and professionally and personally—by the people around you, then go somewhere else.

I was surrounded by lifelong friends and some great musicians when I lived in New York City a few years ago. But when I wanted to take my music to the next level, I felt like there was nowhere for me to go. My immediate circle was too comfortable for me to feel like I could take chances, and as a result, I wasn’t meeting new people or trying new things. Eventually, I met ONE professional songwriter, and I decided to move to Los Angeles when they moved out there. I left all of my closest friends and collaborators on the east coast and hoped for the best out west. I almost immediately found myself surrounded by people who were similar to me, but 10, 20, 30 years into their careers. I had found the challenge I had been missing. This new perspective motivated me to try new things and start putting together my skillset in ways I’d never imagined. I also started to take better care of my mind and body, another essential habit to have.

Everything happens for a reason.

No matter where you are on your path, there are always going to be ups and downs. Always. And sometimes your path can feel especially winding and long. But if you keep your heart and your mind open, you will see that everything happens for a reason. Every dumb day job, every bad partnership, every mistake, every ditch you dig for yourself, every delay—there is something to be learned and built upon from each of these, and that is a beautiful thing. You will never stop having ups and downs. Ever. Get used to it. Learn from it. Build on it. See the beauty in it.

Don’t stop doing what got you started in the first place.

Unless you are extremely lucky, are going to be points in your career where you are limited on time and resources. During these times you might find yourself compromising and eliminating things that you maybe shouldn’t. For me, those things were producing and guitar playing.

When I first moved to Los Angeles to pursue music professionally, at some point along the way I stopped producing and playing guitar. Mostly it was because the settings I was in just didn’t call for it. I’d go into a session with a producer and another writer, and I would be the person to write and sing the demo. I had a day job as well, so with everything going on I wasn’t playing or producing much when I got home at night. I felt like maybe I was never really going to be that good anyway, and this negativity toward things I had previously loved made me feel very disconnected from myself. At the same time, I was gaining writing and singing chops. By putting down my guitar and taking a break from the computer, I was definitely opening my mind up to new techniques and genres that I had not previously delved into.

But boy did it feel good to pick them back up again!

Beatz By Girlz – some students in a Beats by Girlz class I subbed last year

I encourage you to find a way to keep in touch with yourself and the things that inspire you, no matter what seems to get in the way.

In conclusion: as my good friend Rob Caldwell always says to his guitar students when they ask him how much they should practice: you get good at what you do.

So let’s go and do it.

*I use the term “non-male” to include anyone that does not identify as male.  Gender is a social construct, and supported by science, and backed up in legal rulings. I believe sexism frequently oppresses people who identify as non-male, especially in tech-oriented industries.

 Gender Laws Are at Odds With Science

What’s the Difference Between Sex and Gender?

Too Queer for Your Binary: Everything You Need to Know and More About Non-Binary Identities

Time for a Change

Recently I decided to make a significant change to my business. From the end of this year, I have decided to limit my voice-over demo production services to character voice demo production only. I’ve worked hard to grow the voice demo side of my business for the past six years, so it wasn’t an easy decision.

When I decided to start offering voice demo services, it seemed perfect for a freelance sound designer/voice actor. Actors, broadcasters, and anyone else who wants to work professionally as a voice-over artist or voice actor need professional voice-over demos to showcase their voice-over work. I wrote scripts, directed and recorded the actors in my studio, and mixed their demos. As my voice-over career grew, I also offered advice about the industry.

For a few years, producing voice demos felt like a way I could creatively combine voice-over, sound engineering, and sound design skills. And because I managed all my bookings through my personal studio, it was also flexible enough to allow me to do other sound design and voice-over work. After a few years it made up 60% of my income and bookings were steady enough for me to fill all the available slots I had every month, without almost any marketing.

As I write this, I am booked up for voice demos until the end of October, with people on the waiting list for when I open bookings again for November/December. This is the closest I have come to a guaranteed income since I went freelance for the second time. Once I stop producing commercial and narrative demos, I don’t have work readily lined up to replace this. Until I do, I’ll be losing around 50% of my monthly income. So, yeah – not an easy decision.

So why do it? Over the past year, I’ve felt it was time for a change for a number of reasons. Here are a few signs that you might recognise if you’re considering a similar change:

It stopped being challenging

Producing voice-over demos has taught me a lot. I learned how to write effective commercial, narrative and animation and gaming character scripts. My voice-over editing skills improved, and I discovered how to mix demo radio and TV commercials to sound like the real thing. I developed directing skills and eventually, an individual style and technique. But about 18 months ago, I realised I wasn’t learning anything new. I’d reached a point where I had all the skills and experience I needed to keep producing quality commercial and narrative voice demos, and I had no real drive to add to these. Which was compounded by….

I achieved all my goals

Once I was satisfied that producing voice demos would be commercially viable, I set goals for myself. Earlier this year, I ticked off the last of those goals. While there are other directions I could take this side of my business – expanding into commercial premises, hiring staff, offering different packages – none of these are appealing. I still want to produce character voice demos (for performers who want to showcase their voice acting skills for animation and gaming), but  I’ve reached my upper limit of what I want to do with commercial and narrative reels.

I wasn’t doing the work I really wanted to do

I am drowning in admin. Responding to emails, writing scripts, creating downloadable resources for clients, is overwhelming, and it’s taking time away from the sound design projects I want to do. One solution I considered was hiring an assistant or virtual assistant, but I’m uncomfortable with the idea of hiring staff. It’s time to do less of the work I currently do, to make time for the work I want to do.

I lost motivation

For almost my entire freelance career, earning money has been a pretty big motivator – if I don’t work, I don’t get paid. So I knew it was a big sign that I needed to make a change when even the thought of maybe not getting paid wasn’t enough to keep me on consistently on track and focused on my work.

I stopped looking forward to the work

You don’t have to love your job every single day. You do have to want to be there most days – otherwise, you’re doing the wrong job.

I’ll still be producing character voice demos for people who want to showcase their voice acting skills for cartoons and video games, so I haven’t cut the cord completely. And I admit I’m a tad nervous about what comes next when I don’t have a solid calendar of bookings on which to rely. Equally, I’m looking forward to what comes next – hopefully, more of the work I want to do and even, some time off! Here’s to new challenges.

 

Denmark – Sound System Optimization Training Seminar

Sound System Optimization Training

Come learn best practices for tuning sound systems with measurement and operational concepts through a FFT-based (dual-channel) acoustical analysis software platform. The seminar will be taught by

2016 Seminar

Theis Romme – Freelance engineer for several companies with Meyer Sound Inventory. Theis is a most appreciated member of the Meyer Sound family and is also considered an expert on SIM3 as well as Smaart V7 & V8.

Rasmus Rosenberg – Freelance sound engineer and a super user on Smaart, as well as beta tester for Smaart products before they hit the market.

We recommend participants to download ‘Smaart V8 User Guide’ and read before attending the training. Please bring PC/notebooks for both dates. Participants will learn  to measure and analyze the frequency content of audio signals, study timing and frequency response of electro-acoustic systems, and perform basic room acoustics analysis. Everybody regardless of experience are welcome to participate! This includes students and newcomer’s in the industry

The maximum number of attendees will be 20. Be sure to sign up early as our events tend to sell out. If you require financial aid please contact us at soundgirls@soundgirls.org

  Register Here

How to get to the venue:

Airport: Take the metro to ‘Lergravsparken’, walk 100 meters south of Østrigsgade, take a right turn on Øresundsgade. The venue will come up on your left hand side after 500 metres.

Centrale station: Use the exit to Tivoli. Take bus no. 5A towards Sundbyvester Plads/Airport. Get off after 9 stops at Øresundsvej. Continue 50 metres. on Amagerbrogade. Take a left turn at the intersection and Amager Bio will come up after 50 metres.

Accommodation:

For any practical questions on logistic or accommodation, please send an email to either mallekaas@gmail.com or aiste.baltraityte@gmail.com

This is an exclusive offer to members of SoundGirls. If you are not already a member, please visit our website to sign up.

 

The Songwriter’s Secret: The Circle of Fifths

The skills involved in producing and engineering music are different to the ones required to write and play it, but that does not say there is no overlap.  Even the simplest recording job requires you to be able to capture the feel of the music, and the vision of the musicians, on record.  All of the technical know-how in the world won’t matter if you have a tin-ear for the music, and so it’s helpful to make sure your knowledge of producing and engineering is backed up by an understanding of musical theory.

One of the most common examples of musical theory that is crucial to the creation of music is the circle of fifths.  You may have read, or heard, someone say of a song: ‘It uses the classic I-IV-V-I progression.’ Unless you are already familiar with intermediate musical theory, this may well have baffled you; after all, you know that the scale runs from ‘A’ to ‘G’, and you know that between the notes are ‘sharps’ and ‘flats’, but that’s it.  The answer to this is that ‘I-IV-V-I’ is a progression, not from one specific note or chord to another, but a pattern that repeats in terms of spacing, whatever the ‘root’ note or chord of the sequence. This progression can be explained by the concept of the circle of fifths, and in a recording situation, this could be vital knowledge.  The reason is that music is written to evoke or elicit certain feelings and emotions, and there are methods for doing so, compositionally speaking; an engineer’s job is to ensure that the recording matches the vision, and an understanding of how the music works makes that job easier.

I-IV-V-I

Music is basically maths- that’s the first thing to remember.  Notes sound pleasant, or consonant, together because of the mathematical ratios between them.  A ‘fifth’ is the term for a specific interval between notes.  To stay with the example of ‘I-IV-V-I’- mainly because it is the most common progression in popular western music, with literally thousands of songs based up in it- imagine that the starting chord of your song is a C-major; that is ‘I,’ your ‘root’ chord.  ‘IV,’ your next chord, is F-major and ‘V’ is G-major.  If however, the key of ‘C’ is not right for your voice, be it either too low or too high for you to sing comfortably, the ‘I-IV-V-I’ pattern can be easily transposed.  If you want to sing in the key of E-major (I), then the next chord will be A-major (IV), followed by B-major (V).  The progression will sound the same, only in a higher or lower key; this is because the intervals between the notes are the same.  The same goes for other common progressions, such as I-V-VI-IV; if it is denoted by Roman numerals, then it is all about the intervals and can be transposed into any key.

 

The circle of fifths is so called because the nature of the musical scale, running from A to G, means that you can start on one note and run through a sequence of ‘perfect fifths’ which will take you through each note and back to the beginning, in a circular motion, without experiencing any dissonance.  It is also because this relationship can place, visually, on a circle; this diagram makes it easy to locate both the relative minor chords as well as the ‘IV’ and ‘V’ of any root note or chord. A simple trick to remember is that, on the circle of fifths diagram, the ‘IV’ of any root note is one step anti-clockwise, and the ‘V’ is one step clockwise.

There’s a great deal more theory behind this, and it becomes increasingly complex and esoteric, but if you want to understand how songs have been put together,- an important part of the recording process- then a basic understanding of the circle of fifths will be beneficial.  The diagram, in particular, will show you consonant choices about chord progression, whilst also showing you the relative minor chord, which is always a favorite option for a middle-8 or B-section.  As you better understand how the music works, your abilities to successfully capture its spirit will also increase.

By Sally Perkins

Tour Manager Cheat Sheet

Cheat Sheet for Tour Managers

Feel Free to Post Your Tips and Advice and we will add them.

Venues:

Call or text the Production Manager and let them know when you’re 10min away. If you don’t get a response, no big deal. Load-in details should be advanced.

When you arrive, run in and tell them you’ve arrived. Ask them for some hands to help you unload. After getting all the gear in and locating the dressing rooms have them direct you to your parking spot.

Introduce yourself to everyone inside – find your key people – PM, house FOH, house MON, house LD, promoter rep, head of security, merch person and whoever is responsible for stocking the dressing rooms. Make best friends with this person! Merch person and promoter rep sometimes arrive at the venue later than everyone else. Attend the security meeting (if applicable.)

Once the band has a minute to get settled in the dressing room, have them get their gear pre-set off stage (ask the PM where to do this). This way they’ll be almost ready when (the headliner) finishes their check, and they can just move their gear into place. Otherwise, you’ll waste all your soundcheck time doing

Setup.

Ask them if soundcheck is running on time, and what time you should have your band ready to move onto the stage.

Check that the rider is in the dressing room, or on its way (everything you agreed during the advance). If you are an opener, you probably won’t get your full rider, but you should at least have what was agreed during the advance. At a bare minimum, make sure you have:

Show Schedule:

Make sure there is a schedule for the day printed and hung on the wall by the door in the dressing room. The venue or headlining act usually handles this, but in case they don’t – do it yourself. Just the basics: day, date, venue name, address, doors, set times and length, changeover times and length, curfew and wifi info. In big type that’s easy to read. If your band has a logo, include it at the top and keep a template going.

Set List:

Try to get a jump on the setlist right after soundcheck. Keep all setlists in an accessible and sharable place (Dropbox for example) saved under their dates. You will often get asked for them after-the-fact for press, and sometimes the band will say ‘we want to do the same setlist we did in Portland.’ Once you have it, type it up as big as possible on one page, and print needed copies. Possible positions that need setlists will be: (modify as needed)

Next up is the guest list:

Check with everyone (band, crew, press, management) and type it up, then give to contact that is handling the guest list (per advance.) If you need more than your allotted spots, charm the promoter. Make sure this is done before doors.

Merch:

Count-in, the merch with the merch person. Merch %s should be listed in the deal memos. If touring with a headline act see if their merch person is willing to take your remaining merch at the end of the night and bring it to the next city. (For example – If you are going to do this, get a large Tupperware container or something easy for them to travel with.)

Always give the band a heads up when:

Before you head to FOH or MON:

Make sure the stage is all ready, (lead vocals) knows where their mic is, and that each person has the following at their station on stage: (modify as needed)

After the show:

Help get the gear off the stage, packed up, and loaded out – the next band or headliner’s people will want you off their stage

Check in with the band backstage right after the gear is handled. See if they need anything, then tell them you’re going to settle, and what time they should be ready to leave. Only leave early if you have to leave to the next city. Otherwise, stick around to deal with merch.

Find the promoter rep and settle. Make sure they have the W9, and that you get a copy of the settlement.

Check in on merch:

When it’s getting time to leave:

Give the band a 15 min heads up before departure time.

Load any dressing room hospitality into the van/sprinter/bus (typically unopened only). Ask the venue for a box or bags for this.

Hotels

When you arrive:

Go to the front desk and give them your group name (or everyone’s names if it’s not registered as a group).

Offer to take band’s credit cards for incidentals (if required), so they can get their bags out of the vehicle while you get their keys.

Make sure there is a copy of your rooming list and hotel information sheet in each envelope. This can be advanced with the hotel, so it is ready on arrival.

On checkout:

Leave extra time to deal with the front desk. It always takes longer than you think. Make sure everyone has paid their incidentals and has a copy of their ‘zero balance receipt.’

Ask for a copy of the master folio, and make sure that nothing except Rooms, Tax, and Internet has been charged to the tour cc.

If for some reason it’s taking too long at the desk, and it’s going to make you late, just leave. It can be sorted it out later.

Helpful Resources

GeniusScan – A PDF scanner app

Square – Accept credit card payments:

Waze GPS app –

Master Tour is the premier software solution for tour management and logistics. With Master Tour, you can organize your itinerary, travel, production, accounting and more in one application. Work on or offline and share critical information with your crew in real-time. Master Tour will help keep your entire organization in sync.

Cudasign app – E-sign electronic documents

Foursquare – Find local businesses and attractions:

Yelp – Find businesses with reviews everywhere

Another TM with more experience on speed dial

Global Access – Visa and Immigration:  Global Access Immigration Services, Inc. has been providing worldwide entertainment visa services, consulate assistance and coordination for the Live Touring Industry for travel both inside and outside the United States.

Tour Supply  Tour Supply Inc is THE One Stop Shop for Touring Professionals Worldwide.

Smart and Savvy Travel Agency – Owner/Operator Molly Brickson Williams:

Lock Travel Management – Owner/Operator Amber Lock:

Plaza Travel – Production travel agents

Cube Passes – Laminates, wristbands, luggage tags:

Dropbox – Cloud-based file storage and management:

 

Australian SoundGirls Lunch – Sydney

The SoundGirls Sydney Chapter will be hosting a lunch to meet New Zealand SoundGirl Gil Eva Craig.  Details below. Hope to see you there.

Thai Pothong in Newtown. Great food and it caters for everyone.

Menu

RSVP to Toni Venditti at toniandgab@gmail.com

 

Touring – A Tribute to our Strengths in Times of Darkness

‘Darkness cannot drive out darkness- only light can do that. Hate cannot drive out hate – only love can do that.’

Dr. Martin Luther King

The horrific recent event in Manchester shocked the world, and hit the industry many of us call home, the touring music business. This murderer targeted not only human lives, but joy, happiness, and community. People – kids – who loved music, having fun at a gig. Coming together to celebrate life and enjoy that transcendent sense of uniting in the excitement of a great show.

The attack happened a few days before my current tour was scheduled for its Manchester gig. Our show went ahead and was one of the first to happen after the attack. While there were a significant number of people who had bought tickets but understandably decided not to come out that night, there were also a great many who felt brave enough to defy the hate-filled cowards who try to scare a free society into submission.

I won’t begin to try to make sense of what happened at Ariana’s show – we call it senseless violence for a reason, and there can be no justification for such appalling actions. Instead, I’d like to pay tribute to all of those who have been affected by this real-life horror story and remember everything that is so wonderful about the music industry and our touring family.

The whole reason that a music industry exists is because of how music makes us feel. Whether we’re feeling elated, melancholy, misunderstood or angry, music is there to help us ride that wave of emotion, process it, or shift out of it. It touches the deepest, truest part of us. It makes us stronger. It unites us. Nothing else has a power quite like it – music is unbreakable. While the industry which has grown up around it certainly has its dark side, the fact remains that it only exists in the first place because of joy. For all its downsides, it’s a fabulous way to make a living – it’s pretty great to look at a jubilant crowd during a gig and know that, in some infinitesimal way, you have contributed to the sum total of human happiness. Those fans deserve our gratitude and respect because they are the music-lovers who make our touring industry possible.

I’ve written before about the strengths of roadie-dom and the way we pull together to make shows happen in the most unlikely and challenging of circumstances. I can think of no better folk to be amongst when you need to pull off the seemingly impossible, and whilst we may not go in for deep and meaningful heart-to-hearts (at least not until the wine is flowing), we become very attuned to each other and quickly sense when someone isn’t ‘right’. I’ve lost count of the ‘is he/she ok? Will you have a chat or shall I?’ conversations I’ve had over the years. Even when it’s just a case of the tour blues and you’re missing home, it’s good to know that you’re surrounded by friends who have been there too and who get it. Friends who will let you get it off your chest and then jolly you along.

We have each other’s backs in a way that more formal industries can only dream of. Because we literally live together for months at a time, strong bonds are quickly formed, and this motley bunch becomes your touring brothers and sisters, your family away from home.

So what are those shared qualities which make our industry so special?

1 – We are resourceful. Rock concert up a mountain in a blizzard? We’re your gang.

2 – We are determined. Blizzard or not, that concert has to happen. The fans have paid, and there WILL be a show.

3 – We are practical. We roll up our sleeves and get stuck in.

4 – We are logical. Things happen in a certain order for a very good reason.

5 – We are adaptable. If that order can’t happen (lighting truck falling down a ditch is one that springs to mind), we find ways around it. Because see 2.

6 – We are responsible. Yes, we might like to party on our downtime. But don’t let that fool you – when we’re dealing with large amounts of electricity, hanging tons of gear in a roof, and lifting heavy, cumbersome flight cases, we’d better have our heads on straight, or someone’s going to get hurt.

7 – We are efficient. Non-touring folk are amazed at the speed at which we can set up and pull down a spectacular show. Especially after the 100th time, we do it!

8 – We are hard-working. There are no sick days in our world – I’ve mixed shows with a bucket next to me when I’ve had a vomiting bug, and most of us can relate similar tales. But if you are seriously ill, get to a hospital.

9 – We are there for each other. If one of us is truly too ill to do the show, we pull together our collective skills and make it happen. It might not be perfect, but the audience will be none the wiser.

10 – We are friends. We laugh and joke and share truths, we fall out and make up and put it behind us. We take the piss out of each other mercilessly but stick up for each other when it matters. We don’t see each other for months and years and then pick up right where we left off.

We are family.

Honing Your Sound Skills in Your Own Home

By: Sally Perkins

Getting into the audio industry can be tough – especially if you’re caught in the cycle of ‘no experience = no job = no experience.’ Many schools and technical colleges offer programs in music production and sound engineering. Obtaining an internship or volunteering with a local band can be a great first step on the ladder – but if you’re looking for a way to build up your skillset in your spare time and can’t do either of those, setting up a studio at home could be the way to go.

The acoustics of your average bedroom or living room aren’t fantastic but experiment with the placement of equipment around the room to see what works best

Build up your familiarity with different software and hardware – lookout for second-hand items advertised in music shops.

Make sure that, like with any music practice room, you’re free from distractions and able to concentrate on the most important thing: the sound. This guide provides further details on building a productive music environment. 

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