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Baby Microphones and Self Production

Staying motivated and inspired as a female in a male-dominated industry can become incredibly daunting. Usually “I want to work with you” gets misconstrued as a dinner date or even worse, “I like you” might get taken as “I want to work with you.” Welcome to my world, where “little girl” usually precedes “what are you doing behind the console” and where my body of work is usually thought to be written and produced for me. I am a producer/engineer, that happens to be a woman.

Since I was very young, I always had an ear for sound, harmonies and things that made sense in my head as an arrangement. Not only one melody, but many contrasting melodies painted vivid colors and gave me different feelings. I started playing multiple instruments by applying the theory of piano to guitar, and that to violin, viola, etc. Before I knew it I was able to compose my own symphonic works and like a mini anvil falling from the sky… I realized I was a producer. When I started making music, I had one of those little tape recorders with the face and the microphone. I would tape over cassettes and hold the mic to my keyboard and put a split sound and a beat to it, essentially a live recording (JK, but in theory, I guess). I think that was my first take as an audio engineer — making the recording not clip and adjusting everything accordingly so that I could hear both sides through one incredibly unfortunate baby microphone. I think most of the time now, I keep that same sweat ethic with different gear. It took me so long to develop my crafts but I never lost an ounce of enthusiasm, that’s what keeps me mostly motivated. I live for production and writing.

13606623_10206842016993288_1134111027423738312_nI write daily, sometimes 4-5 songs in one day- depending on my level of inspiration/caffeine. There are certain beats or songs that have fermented in my head throughout the day or over a period of time that by the time I’m ready to give them life, they’re more or less done. Sometimes it’s a lyric, or a piano lick, or a melody in my head, or a feeling that feels like a color that feels like a certain emotion that will sound a certain way in my head and I paint that sonically, and develop from there. I think most music has an organic way of flowing from one point to the next. I don’t really stress about making music unless I’m producing for someone else and I’m on a crazy deadline and have other ideas in my head. (I get incredibly cranky and strange when I don’t make music o.0 ) Sometimes I have to throw the ideas for my own stuff on the side and concentrate on other things, or tying up loose ends and finishing touches on beats/lyrics that are for another person. Either way, there is no lack of inspiration or hard work on my end. I think since I love what I do, I’m able to do it 24 hours a day and it doesn’t feel like work or a chore. It’s just like breathing for me, it’s natural, and that’s what really helps my workflow, as does being my own producer.

Don’t get me wrong, I do have so many producers I love and would love to work with but self-production can sometimes be the best approach to a record if you can take yourself objectively out of your own head and not get married to certain sounds that may not complement that work or arrangement (easier said than done, I know that). There’s no better way to get your vision across than by producing yourself, it feels more real to me that way and I can connect with the music more and have a better vocal and musical performance and overall experience with a song or record. I have so many ideas and many times people want to play things safe, and I just don’t have time for that. I’m a risk-taker; life’s too short to play it safe. By producing and mixing things myself, I’m able to get every idea out of my head and not have to describe it or go through trial and error until it sounds how I thought it would sound. It’s a lot more work while composing a record, but I think it’s more rewarding and fulfilling. I’ll throw in a lot of hidden things sonically or musically that enhance my art, which had I not been so involved with my own material, I probably wouldn’t be able to do. I think most of all it’s empowering. I started off as a musician and writer to a producer from my natural curiosity, and studied audio out of a love for sonic art, then realized the ultimate perk; it was the best way to avoid the ever creepy “What are you going to do for me?” engineer. (I can feel the silent nods) I will leave it at that; be your own boss, be your own idol, be your own producer/engineer/writer and most importantly be yourself.

1380290_10202060927029027_2965347870082939655_nEve Minor is an up-and-coming artist based in New York, with origins in Southern California. While she formerly spent time as part of Universal Music Group’s songwriting team, the talented singer, songwriter, producer, and multi-instrumentalist is ready to break out on her own in 2016.

Minor has faced a multitude of trials and tribulations throughout her life, including a difficult childhood in foster care, toxic relationships, and a battle with cancer, all while never letting go of her ambitions within the music world. With all that she’s learned in her young life, she aims to inspire other artists with her writing and uses her personal struggles to inspire young women everywhere.

Her latest music endeavors feature the flavor of New York’s hip-hop scene with splashes of her own California roots. The production, largely developed by herself through her use of Reason, Logic, and Pro-tools, is inspired by late-night adventures and new friends, while also telling the story of making the most out of being dealt a tough hand in life. Minor cites that she was influenced by Miguel, Nina Simone, Amy Winehouse, as well as Alice In Chains, Phantogram, and Citizen Cope as major inspirations for her sound, and credits Mobb Deeps’ “Quiet Storm” as the song which made her enamored with hip hop. With various influences that range from pop to soul to hip hop, Minor has crafted an unique style and sound that is all of her own.

 

Bella Blasko – Creating a Safe & Supportive Environment in the Recording Studio

photo4Bella Blasko has only been working in professional audio for six years, yet she is making her mark working with artists such as The National and Natalie Merchant, and working at Dreamland Studios and The Clubhouse in New York. She works as an independent sound engineer and depending on the session demands, works as an assistant engineer, engineer, producer, and musician. Being flexible in the roles she takes on has given her valuable experience. Her passion is to work with female artists to help them make their art, get their voices heard, and offer an alternative to the male-dominated studio culture.

photo3Bella graduated from Bennington College with a degree in music, with a focus on Classical Piano Performance. While at Bennington she explored music production, signing up for recording classes with sound engineer Julie Last, who was a huge inspiration to Bella. Bella says, “Having an amazing female engineer as one of my first teachers and role models made it seem like a viable option to go into music production, and she helped me to get my first internship. She has such a careful and delicate way in the studio, it gave me an example from the beginning of what a feminine approach to audio could look like. I’ve adapted my own way of working in the studio since then, and I definitely find myself in a predominantly male environment most of the time, but having had Julie as an early role model helped me to feel comfortable and confident that I could become an engineer and exist in the studio world.” Julie was instrumental in Bella’s decision to pursue a career as a sound engineer.

While at Bennington College, Bella started an internship at Clubhouse Studio which eventually led to her working as an assistant engineer and gaining more contacts in the Hudson Valley. She was also experimenting with writing and recording her own songs and found it extremely fulfilling. Bella loves the whole recording process and enjoys helping other artists to produce and record their music. She says “at first I was intimidated by all of the gear, but now I’m so comfortable in the studio, and I want to help the musicians I work with to feel at ease in that environment as well.”

photo1Bella recently started the female-run independent record label Spirit House Records. She explains their mission is to “elevate female voices in a male-dominated industry and to empower each other to make and distribute art on our own terms”. Spirit House Records is based in Portland, OR, and is run collectively by Bella, Johanna Warren, and Monica Metzler. Bella and Johanna began collaborating in 2013 and Bella has engineered, mixed, and co-produced three albums for Johanna. Bella says they had many conversations about the role of women in the music industry, “how female artists are often overshadowed by the male producers, engineers, and musicians around them, and how completely different it can feel to work on an all-female team. We talked about how almost all music that we hear has at some point passed through a male lens, and how we know so many talented female musicians who don’t seem to be getting the recognition we think they deserve. We had thrown around different ideas about how we could contribute to empowering independent and upcoming female voices in the industry, and when Johanna came to me with the fully formed concept of Spirit House, I was immediately on board. We decided to start a label that would focus on releasing the work of female and non-binary artists. Our goal is to empower artists that we believe in and whose music we love by creating a safe and supportive network and dismantling self-doubt”. Spirit House is also a full resource for independent artists, providing expertise with music releases from start to finish; including recording, mixing, production, PR, album art, video editing, radio campaigns, booking a tour, etc.

Spirit House currently has four female artists on its roster who have written and produced their own albums. They have plans to expand to include at least four new artists in 2017. You can hear the Spirit House Sampler with a track from each of their current artists.

What if any obstacles or barriers have you faced?

One of the first obstacles that I quickly realized was needing to be strong enough to move a lot of heavy gear around in the studio! I started working out more and trying to build up my strength so that if someone asked me to move a heavy guitar amp, I could do it. I’m not saying I don’t need to ask for help sometimes, I definitely do. The other main obstacle I’ve faced is the combination of being a woman and looking young. I’ve often had bands or producers come into the studio and start talking to a male intern as if he were the assistant or engineer. I’m still working on this one, but I’ve found that introducing and identifying myself right away helps. The proof is once we start working or setting up a session, then people can see that I really know what I’m doing.

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

Be determined – it’s not always easy, but if you’re passionate, stick with it. It takes a lot of hard work. Be open to learning something new from every session or situation you find yourself in. Every engineer/producer/musician/band can have subtly (or drastically) different ways of making a record. I think it’s important to be able to adapt and to realize what you can learn from each one. Be yourself. Some situations seem to require a more neutral presence, but don’t lose sight of your own voice.

Be prepared to work long hours.

Must have skills?

The ability to work fast and anticipate people’s needs or what’s coming next. For me, I find that has to do with being sensitive and intuitive (which are often thought of as feminine traits), and knowing the process. Also, patience. Genuine patience.

Favorite gear?

LA3A, on so many things. Especially female vocals.

What do you like best about working in the studio?

I like being able to get sounds, to sculpt them and work with them. My favorite part is being there when a band does an incredible take of a song or someone lays down an amazing overdub. It can be a magical moment, and I feel lucky to be in the room to witness those moments that will be documented in the recording forever. What I also love about working in the studio is that no two sessions are ever the same. It changes so much depending on the music and all of the people involved. It keeps it interesting and constantly changing. Each session is a unique experience, and I think the vibe of that comes through in the music.

What do you like least?

Sometimes working long hours for days or weeks on end can be kind of brutal. It can be hard to keep up with normal life stuff like doing your laundry or going grocery shopping. But it’s worth it.

What is your favorite day off activity?

Going for a hike or just getting outside. After being in a control room all the time, I’m always craving some fresh air.

Spirit House goals for 2017:

We are working to promote independent and upcoming female artists to get their music out and their voices heard. We have had 4 releases so far this fall – Johanna Warren’s LP Gemini I, Lola Kirke’s debut EP, Forest Veil’s LP Zoolights, and Indira Valey’s LP Recordar. My own debut album (under the moniker Vellum) is the next release scheduled to come out on Spirit House, so I’m currently working on gearing up for that release in February. I wrote all the songs, played and sang all the parts, recorded and mixed the whole album on my own in the studio after hours, or when it wasn’t booked, so creating it was a very internal and isolated process, and I’m really looking forward to releasing it with Spirit House to share the music that came out of that experience.

I’m glad to have the support of Spirit House in this release, and it gives me a glimpse into the experience of being a new artist on the label. In a way, I can get to experience the label from both sides, which can help me to figure out what to work on in terms of the kind of support artists want from the label, what support we can provide, and just generally how to tailor the experience for each artist. It makes me think of a similar experience that I’ve had existing on both sides of the glass in the studio – from recording my own music or being hired as a vocalist, to being the engineer on a session. Both can be totally different experiences but they completely inform one another. My work as a musician has greatly helped my engineering skills – being able to communicate with musicians, knowing where to punch in, what kind of edits they want or how to do the edits so they sound natural and musical, being able to follow along on a score or a chart – have all really helped me.

photo2We are already working on exciting new plans for Spirit House Records in 2017. As I mentioned before, my debut album Vellum Not So Far will be released on Spirit House in February. We are also in negotiations and expecting to add 4 new artists to our roster with upcoming releases in 2017. The artists we’ve been talking to are all incredible female musicians and songwriters who we really believe in and are looking forward to working with. I’m particularly looking forward to these new additions to the Spirit House team because several of the artists are in the phase of getting ready to record their new albums, which I’ve been talking with them about engineering and starting to plan when and where we will record these new bodies of work. I think it will be great to be able to work with an artist all the way from recording to mixing to promoting and releasing an album. At Spirit House, we aim to be a full-service label for independent artists, able to facilitate every step of the process in creating and releasing an album.

What is the Fair Labor Standards Act?

Fair Labor Standards Act – Know the changes and how they might affect you.

Effective December 1, 2016, the Fair Labor Standards Act (FLSA) will create a change in salary base pay for many people working throughout the US.  FLSA increases the weekly base pay requirement for salaried employees from $455 a week to $913 a week or $47,476 a year. You can find more specific and direct details here.  As a bit of an overview with this new act if you make less than the $913 per week as a salary for a 40-hour work week, and you end up working more than 40 hours within that week, you are entitled to either compensation time or overtime pay; both at time and a half.  Compensation time (comp time for short) means paid time off for 1.5 times the amount you worked over 40 hours during that week. Let’s use for example a situation where you work 42 hours in one payroll week.  With the changes in the FLSA, you would get that 2 hours in either comp time or overtime pay plus half equaling 3 hours of overtime for that week.  Your employer gets to decide if they will give you comp time or overtime pay when you work any extra time.

You’ve maybe run into this in the past and just altered time the next week so that it all balances out.  With the new rules, it doesn’t work like that any longer.  Overtime is based on a “per payroll week” schedule which is 40 hours within one 7-day period. That 7-day period can be determined by the employer.  Mine has set it up as the workweek is Sunday through Saturday. So if I work 42 hours one week and 38 the next I would end up with 3 hours of comp time or extra pay from the first week and 2 hours missing from work or being taken as vacation time from the second week.

This FSLA policy is another layer on top of an earlier act that does not allow you to volunteer for your employer doing the work that they already pay you to do.  As a result, volunteering for work is also not an option. You can read up on the rules regarding volunteering at your workplace for the work you are already paid to do here.

At this time, I am unable to speak about or clarify any rules regarding what FSLA looks like for anyone who freelances or works solely for themselves so I recommend that you take a look at the ruling so you know if there are any changes for you or your workplace. I do know FLSA does not affect those who are already paid hourly and already have overtime opportunities.

What does it looks like when applied to the workplace?

For many of us, this change is big as our work weeks are often very full, loaded with non-standard hours, and rarely ever 40-hours a week. I have been asking what other people are doing and many people have said they weren’t sure or are going to figure it out later. The system that I work in adopted these new rules almost immediately, so I thought I would share what has been happening for me in hopes others might be able to learn more and work out their own plan.

Personally, FLSA is causing a lot of change for me and many others in my organization. My salary is less than $47,476 a year and the organization I work for is not prepared to pay the overtime. It also happens that there is a policy within my organization that limits how much comp time I could accrue, if allowed at all, as a result they have decided to save the comp time for emergencies and high profile events. Overall, the goal in my organization is to never pay overtime or to allow anyone to accrue comp time.

My organization decided to start practicing for this change in September of this year.  That means once I reach my 40 hours each week, that’s it. Time to go home. Although I am excited for an opportunity to get paid fairly for the hours I put in, I am struggling with the idea to just walkout at the 40-hour mark. My integrity seems to be getting in the way. I struggle with the idea of walking out no matter what is happening, and potentially not being there for critical issues. The other force that I am up against is the policies of not accruing comp time, not paying for overtime, and not volunteering.   It has been interesting to find a way to navigate between these lines and feel good about it.

Now some people would say well that means they need to hire a second person, or that I’m doing too much work for one person, which could be true nevertheless in the near future with budget concerns the staffing level isn’t going to change. Just like some of you who work in smaller clubs sometimes the money just isn’t there to create the needed change so we take it one step at a time.

But I digress, to navigate this new balance there are a couple of things I have been doing.  First, I do what I can to plan my upcoming schedule accordingly to balance out the needs of events and other responsibilities of my position, while adhering to my time limit. I submit my work plan in advance of each workweek for approval to show when I will be working and when I will be away. I find myself working only 4 days a week on average, working various days and hours each week. Second, I have set specific office hours’ time where I can do the planning, administrative tasks, and ensure that I am managing my staff effectively.  I set these items into my calendar when I think the office is quiet to prevent interruptions, and when I can best connect with my staff.   Third, I find now I am even more focused on reviewing my schedule from a longer-range perspective.  Instead of working 2 weeks out, I have found I am looking 3 or 4 weeks ahead. This is so I can get the information I need for events farther in advance to plan my hours accordingly. It also helps to combat the time draw that last-minute events create on my now extremely tight timetable.  For the most part, this process seems to be working, although I have still had a couple of weeks with some extra time.  The schedule is something that those around me have struggled to deal with.  In the past, I had a more fixed schedule, and people knew when they could find me.  Now each week varies, and there is a lot of adjusting going on. It’s been a reasonable place to start, a good practice also, as it isn’t even my most busy season yet.

The process of adhering to the FLSA definitely changes things for me.  I appreciate the early planning and progress that has been made so far, to understanding the impact of adhering to the new rules.  Figuring this out is a work in progress, and is not yet perfected.  However, I wanted to share with you a reminder of the new rules, in the event, they impact you, as they do me.  I hope that sharing the basics of the rules helps you start thinking about how this may impact you and that sharing my approach may help you determine your own plans in anticipation of this change. It’s not too soon to get started thinking about what this may mean to you and how it may change your work-life balance.

Links:

https://www.dol.gov/whd/overtime/final2016/overtime-factsheet.htm

http://webapps.dol.gov/elaws/whd/flsa/docs/volunteers.asp

 

The Audio Girlfriend’s Guide to Pregnancy

Pregnancy and the audio industry aren’t exactly two terms you hear together. As I look back on the past 9 months of my pregnancy, I laugh at how little I knew – I thought pregnancy meant being sick in the morning, going to the doctor more often, and eventually wearing flip flops and not reaching the EQs on the console. Pregnancy has been a challenge mentally, physically, and emotionally and can completely take over your life at times. It’s also been a fun and fascinating experience – one that can be balanced with work if you’re flexible and can adapt to your new (and changing) limits.

First trimester (weeks 4-12)

There’s no anticipating how good or bad you will feel. Some women have no symptoms and others can’t keep down water. You really won’t know til you’re there.

Morning sickness can be like the worst hangover ever for weeks. You know the feeling when you’re at a greasy diner with a horrible hangover and the smell of food makes you want to vomit but you know you need to eat to feel better? That was 23.5 hours a day for me for 6 weeks.

Your nose/palate can dictate your lifestyle for a while. Normally, if you smell or taste something rotten or unappealing there’s a mild reflex saying “eww”

During pregnancy, the body reacts more like,“EMERGENCY! YOU INGESTED POISON!!” (even if it’s a whiff of a food truck a block away). I was “lucky” to only have nausea and usually could get to fresh air if something triggered me (like a coworker’s burnt popcorn). Some women can’t go anywhere without scouting out the nearest trash can, toilet, or bush because of a more visceral reaction to smells.

Eating is hard on a schedule. If you feel continually sick and there’s a small window where you feel well enough to eat, you need to eat. It’d be tough to be in a work environment where you can’t snack or only have designated meal times.

There’s a good chance you’re irritable and grouchy.

During the weeks I wasn’t eating much, my fuse was short, I didn’t have much of a filter and I had no patience for BS or attitude. I didn’t take on extracurricular gigs or stressful work during this time knowing my client etiquette and demeanor would probably be poor.

Exhaustion can be overwhelming – I had a yoga mat in my recording booth and would sometimes take a quick nap during breaks. Working swing shift was great because I could sleep in or leave work a little early if I was having a rough day.

The first trimester can be isolating. All of this is going on and you may not feel comfortable telling anyone. It can help at work to have someone in the know who can nudge the crew to eat their smelly pizza elsewhere or change the topic when someone teases you for not going out for a drink.

Second trimester (weeks 13-26)

Forgetfulness. The struggle of “pregnancy brain” is real. I was a guest on a podcast and could not remember the names of the plugins in my channel strip that I’ve used daily for at least 5 years. At work, I had to take extra notes and sometimes ask for detailed/complicated things in writing.

Need to focus on something? Good luck. Normally I have laser focus and can work for hours without being distracted. During pregnancy, I sometimes felt like a kid who was hyped on sugar and had a puppy in the room. I had to plan for extra time on mixes knowing I might get totally sidetracked or completely forget what I was doing.

Peeing all the time. There’s a reason for the old saying “bladder of a pregnant woman” (It’s hormone related.)

Even with all this going on, you might feel like Superwoman. In my second trimester I did a demanding scoring session in Canada (with long work days) and spent a week in Europe walking 5-10 miles a day. In both cases, I felt great (and ate more than the people I was traveling with).

You’ll start feeling the “thing” that’s living in your body. I’ve never been so excited to be kicked in the stomach.

Third trimester (weeks 26 -?)

Baby can hear! Babies start to hear between 23 and 27 weeks (especially low frequencies) and they can be startled by loud sounds. My little dude would often get squiggly/active when I was mixing. Studies show that babies recognize their mom’s voice after birth and will recognize patterns they heard while in utero (like if you read the same story out loud every day).

You will have some physical limitations. As your belly grows, little things become difficult (socks are my nemesis). Heavy lifting restrictions may start earlier in pregnancy, too, in part because of a hormone called relaxin which causes your joints to loosen. Belly weight isn’t necessarily the source of discomfort, either – your organs (and someone else) are moving around, too.

People may step in to help more than you want. People have good intentions but sometimes visibly pregnant women are treated as disabled or incapable. Staying active through pregnancy is great for your health (and your recovery). One thing I find funny is how often someone offers their chair or insists I sit when I’m more comfortable standing or moving around. But, there are also times where the offer for help (or the chair) is welcomed.

You never know if/when you’ll be forced off your feet. I was shocked to be admitted to the hospital and put on bedrest at 29 weeks when I felt fine and worked the night before. I was planning to work as long as I physically could but ended up on disability for over two months instead. Luckily I had a backup plan – I already had arranged a backup person for every freelance gig and my main job had a substitute list in place. Financially, I had prepared for some unpaid time off with an emergency fund (for a “worst-case” scenario).

Things to consider when you’re working and pregnant:

There are times you can’t function at full speed. This especially applies to the early and late months. Early on, I kept my schedule light and didn’t commit to anything more than a week ahead (when possible). I also turned down gigs unless I knew for sure I could handle it (I passed on a gig in China during peak morning sickness, for example).

It helps to work for companies/clients who can accommodate you in an emergency. A few years ago my husband broke both his arms falling off a bicycle. The studio I was freelancing with at the time didn’t have anyone prepared (even in case of emergency) so I had to leave him at the hospital and go in for the session. After that, I refused to ever be in a work situation like that again. Pregnancy has been much less stressful knowing that my employer can find a sub (same day, if needed) or that my clients know upfront I may bring in a backup person in case of emergency.

Guy awkwardness. One of the times it can be difficult to work with a team of guys is when you have something “female” going on. Once the weirdness passes (if there is any), pregnancy can be a fun topic to talk about – especially the name suggestions and bizarre questions.

Girl awkwardness. Being “one of the guys” in this field may also mean we don’t have many girlfriends let alone close ones who can pass down maternity clothes or give advice on breastfeeding. The jump from Audio Engineer to Mom can be completely foreign. Part of the challenge is finding resources and people who you feel comfortable asking for that kind of support.

You may get philosophical about your career. There’s a lot of questions about what your new life will look like. How do you want to balance work and a baby – or are you going back to work? If you are career-oriented or pride yourself on your work accomplishments, how are you going to handle being away from that? How will you balance your own identity and needs with your kid’s needs? Are you prepared to be “Mom” sometimes before “engineer”?

It’s sad, but loss happens in pregnancy more often than you’d think. It’s estimated that 1 in 4 pregnancies end in miscarriage (the majority in the first trimester). It’s not something that many people share openly until you go through it yourself. Loss can take some time to recover physically, mentally, and emotionally. It’s also a reason to be careful about when (or if) you share your pregnancy publicly (especially on social media or with colleagues you don’t know well).

Sometimes you see the doctor A LOT. Even in a healthy pregnancy, you may be seeing the doctor weekly or bi-weekly as labor approaches and they’re usually only available during the day. I’ve had more doctor visits and medications in the past year than the past 10!

If you are a contract worker (in the US), pregnancy protection laws may not apply. As an employee, your employer is legally required to hold a job for you for a period of time (even if your maternity leave is unpaid) and can’t fire you for being pregnant. Contractors don’t have the same legal protection.

In the US, there are disability insurance options for freelancers. California, for example, has a state disability plan workers can pay into (which is a great idea even if you aren’t pregnant). It’s very affordable and once in the system, you’ll qualify for the same disability benefits as an employee (currently in CA maternity leave covers 6 weeks paid disability time and 6 weeks paid family leave – even longer if there are complications or bedrest). There are also private disability insurance options that cover lost wages.

Emergencies can come up. There’s probably going to be at least one unplanned doctor or ER visit. If I was working out of town (or out of the country), I’d want to have a logistical plan in place in case I needed to get to a doctor/hospital and a gig replacement ASAP.

In theory, you can work until labor. It’s totally safe to travel until late in pregnancy (each airline has a point where you need a doctor’s note to fly). One of my doctors said she preferred her patients to stay working, saying, “You could take time off, but I don’t’ want you sitting on the couch eating and worrying.”

Or you may be forced to stop completely. One in ten women deliver prematurely (before 36 weeks) and babies over 24 weeks have a good chance of survival. At 6 months pregnant most women aren’t thinking or planning for delivery but it’s a risk that’s worth planning for. I’m looking forward to my new “gig” (and to meet my new little assistant). I hope other women will share their stories of pregnancy and parenthood so we can create a resource where one doesn’t really exist.

Musings on the Role of Femininity in the Music Industry

Historically speaking, women, and those that are female-identifying, have largely been unwelcome in the music business. Unless you were an overstated, hyper-exaggerated version of a sexual, feminine ideal in a front person role, you had no place, no business being near a stage, studio, or mixing board.

The concept of the feminine identity in relation to the music industry is one that perplexes and fascinates me. Now I don’t necessarily mean simply dressing in a “girly” way – most, if not all, of us, are unable to wear a skirt when working (it’s not practical in the slightest, not to mention a possible safety hazard in live situations. I prefer my trusty blue jeans.) – but more the attitude, the feeling of being “feminine,” whatever that means, and how it translates to our work.

I interviewed a few of my colleagues regarding their thoughts on this topic, asking the question, “have you ever felt like you’d have to reject your femininity in order to be successful in the industry?” Most that I asked this question to initially responded with a hard, “no.” Jill Meniketti, band manager for Y & T stated,

“That’s not something I’ve ever focused on.  I focus on my work, which I take seriously.  When you excel at your job, that garners respect, regardless of gender.”

Delving in a little deeper into the feminine mentality/attitude aspect garners a slightly different response. When I first got started in the studio, my college professor insisted that being a woman in the studio was a massive advantage, because they are better at keeping the peace and stepping into the role of the band’s creative therapist. My friend Eva Reistad, a studio engineer based in Los Angeles, echoes this thought. When I asked if there was a time when being feminine proved advantageous, she stated, “yes there was: band members sometimes are more open to the fact that you’re a woman, in which case they’ll sort of open up and tell you more things, which will cause the session to go better. I don’t think it’s really anything so much as femininity so much as being female.” Somehow, just being a woman allows people to feel more secure and comfortable in that situation.

Through all my discussions on this topic, the main conclusion I come to encompasses more than just femininity. It’s about being comfortable with who you are. As Eva puts it, in the end, what I think is how you present your aura, your energy, that will determine how you are treated. You cannot control how other people react. Be comfortable with yourself entirely.”

There is power in being a woman in the music industry. Being confident and secure in who you are provides a sturdy foundation for the rest of your work, whether you are a tech or an artist.

Jill’s Website:

Eva’s Website:

 

Ready to Rock? A Beginner’s Guide to Life on the Road

So you’re heading off on your first tour – congratulations! It’s an exciting time and you’ll never be this new again, so enjoy it! You’re going to learn a lot on the technical front, but it’s also a lifestyle, and there are certain ‘soft-skills’ and behaviours which make life a lot more comfortable – so from someone with a couple of touring decades under her belt, here’s some non-technical advice for life on the road.

– Rule number 1: no pooping on the bus! You’ll get a heavy clean-up penalty, or at the very least, serious bad vibes from the bus driver (who’s responsible for cleaning the toilet) for the rest of the tour. So no solids down there – we put tissue paper in the bin to avoid blockages.

– Whilst we’re on the subject of toilets… bus slippers or flip-flops are a REALLY good idea. You’re likely sharing this moving bus with a lot of guys, which can be an unhappy barefoot experience… not everyone’s aim is true!

– Tidy up after yourself on the bus and in catering. Clear your cups and plates away and leave the place as you’d wish to find it.

– Dress appropriately, both at the gig and on the bus. That doesn’t mean you have to dress like a guy, you can absolutely retain your femininity – I wear light make-up at work, and I love getting a bit dressed up on a day off. But low-cut tops and revealing nightwear won’t help you to be taken seriously, so be mindful of what’s on show.

– Be cautious around tour romances, especially in the early years of your career. As one of the few women on the road, you’ll probably attract a degree of interest, and you might meet someone who sparks your interest in return. But you don’t want to discover, a few tours in, that you’ve been more-than-friends with a bunch of your touring colleagues – live production is a small world. I’m not saying you should disregard the idea of another crew member as your partner – hey, I met my husband on the road. Just tread carefully and respect yourself – if you treat yourself with respect, others will follow suit.

– On the subject of self-respect, go easy on the post-gig temptations of drink and drugs. By all means, be social and have a few beers if you enjoy it, but remember that you have a responsibility to be fully capable of doing your job the next day, and it won’t go unnoticed if you repeatedly show up late or hungover. Don’t make the mistake of thinking that the same rules apply to you as a brand-new audio tech, as to the guitar tech who’s been with the band for 30 years.

– When you mess up (yes, you will), hold your hands up – nobody likes the person whose fault it never is. Own up, apologise, correct it and move on.

– We all have days when we’re feeling a bit jaded. Sometimes there are legitimate problems to discuss, and we all have a little moan sometimes – I’m just as guilty as the next person. But moaning can be very insidious on tour and it really brings the vibe down, so check yourself. A lot of people would give their right arm to do what we do, so if we can’t be positive then let’s at least be quiet!

– Get enough people to lift heavy cases: there are no prizes for slipped discs, and you don’t prove anything by hurting yourself. Learning to direct local crew is one of the skills you’ll acquire over time, but being confident, clear and polite in your instructions is a great place to start, as is asking names and shaking hands.

– Get used to the fact that there are lots of daily jobs that aren’t that much fun but are 100% necessary, and as a new member of the audio crew, they’ll probably fall to you. Just smile and get on with it – the more experienced members of the crew have all had their time doing the exact same thing, and if you bring the right attitude to work, someday you’ll be one of them. What’s more, it cements you as a team player, and for a woman, it has the added value of showing that you’re not afraid to get your hands dirty.

– Life on the road is tough, great fun and hugely rewarding. Glamorous it ain’t! It takes time to work your way up, but the journey can be really exciting, with many great perks and happy times. So be friendly, professional, reliable and above all – ENJOY it!

Anna Bulbrook’s GIRLSCHOOL

 GIRLSCHOOL is a celebration of women challenging the status quo.

 

 

Anna Bulbrook has been playing music her entire life. She is a trained classical violinist and is best known for her work with The Airborne Toxic Event. She has recently started her own project The Bulls, with Marc Sallis, bass player for The Duke Spirit. The Bulls is Anna’s outlet for her own songwriting and vision.

Two years ago Anna volunteered at the Los Angeles Girls Rock Camp and says she 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. (This is exactly how and why SoundGirls.Org was started). So she started GIRLSCHOOL.8965_764298326969973_1887516619067237208_n

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 really don’t see a lot of other women around—onstage or on your crew—I started to really 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.

SoundGirls recently talked to Anna about Life on the Road and GIRLSCHOOL 2017.

GIRLSCHOOL is expanding this year–what is in store for this year’s festival?

First, we have some REALLY exciting headliners that I can’t announce. It’s just going to be a freaking amazing lineup. Second, we are adding a lot more educational and community programming that will doing the boots-on-the-ground work of literally creating opportunities for women from across the music industry to meet, connect, learn, and maybe get inspired to try something new: panel discussions, mentoring events, informative talks, Q&As. That kind of thing.

What are your long-term goals?

I’d like to grow Girlschool to be a traveling or pop-up festival around the world. I’d like to build the platform to celebrate and connect and share the work of more and more amazing women from across the music industry. And I’d like to hear from women who are in music or are interested in music to hear what would be most helpful to or inspiring for, YOU, so Girlschool can try to answer those needs as we go forward.

More on Anna and GIRLSCHOOL

Anna Bulbrook: On GIRLSCHOOL’s Mission of Empowerment

Where have all the Credits gone?

By: Catharine Wood

Advisory notice: This collection of words is 100% based on my opinion and observation as a professional engineer, producer, composer and music maker in Los Angeles, California, USA. I reference consumers and listeners with love and utmost respect…it is not your fault that the current, primary consumption mode of listeners now is streaming — which largely does not pay the creators of the music. My thesis here is directed at the streaming services: Where have all the Credits gone?

Back in the day (post-Wrecking Crew era), producers, engineers, studios, players, and songwriters (the list goes on and on) … became known for their work via Liner Notes (among other avenues – like word-of-mouth, playing live, etc.). As their reputation built, so did their workload, pay rate, and visibility. Sustainable careers were made. Now, in 2016, with CD sales dwindling and digital streaming “the new radio”, a large percentage of artists are DIY and their budgets have become micro with the “downsizing” of commercial music revenue sources. With the “trickle-down” effect of diminished performance royalties as listeners shift from terrestrial radio to internet streaming, compounded by the massive shift from physical CD album sales to iTunes 99¢ downloads…and now free streaming (from which songwriters earn fractions of pennies in performance royalties for their work),…recording budgets are smaller than ever. I share the following information for those interested music consumers, creators, and music industry professionals alike who would appreciate knowing who created the music.

To the point – I recently attended an industry roundtable; an intimate gathering of working music professionals and top audio talent. Grammy® winning producers and engineers – collected for an open discussion on the “current state of the industry”. The topic of Credits came up (and the fact that they have, literally, disappeared since streaming took the driver’s seat) – and a heated conversation about HOW can we make music valuable again ensued.

Now that music has shifted from a tangible commodity to digital “thin air”…consumers want music to be free and convenient. And with that, the streaming services, iTunes, and any digital retailer where music can be purchased (except, to my knowledge, CD Baby…who does allow a Credits section for the artist to supply the info for…as well as YouTube)…do not have place on the sale, stream or download page to list Credits. No link to see who wrote the songs, where the music was recorded, who produced, engineered or played what instruments on the album. Unfortunately, not showing who worked on an album, single, EP – or listing where the music was recorded – further perpetuates the current myth that music should be free. It also gives consumers the false impression that the music has magically come to be without hundreds of hours of work, careful consideration, execution and … a budget – consisting of actual money.

“In my father’s record store, why would I say, ‘Okay, I’ll tell you what. I’m gonna close my eyes and I’ll count to 30 and you take anything you want and when I open my eyes just don’t be in the store.’” -Philip Glass

Labels and DIY artists pay good money to hire a producer to hire the right people and studios to help make their music come to life. The music does not come to life on its own – out of thin air … yet consumers have grown accustomed to listening for little to nothing … with ease of use, accessibility and maximum selection as the priority. The ART of CARING about the ART of MUSIC and its CREATORS seems to have disappeared. Culturally. This was the topic of discussion at this industry round table … and it was unanimously observed that for music makers in the room especially – their business had been directly, and negatively, affected by two things: 1) the failure of streaming services to properly provide a space, field, link – PLACE – to credit players, studios, producers, engineers, songwriters, publishers, etc. and 2) the lack of consumers, culturally, not caring about the details of the art they are enjoying as a PASSIVE listener. Very few care to purchase the actual CD anymore — if the artist or label even has the budget to actually manufacture physical copies. It is my observation that music consumers are no longer ACTIVE listeners. Music may be the soundtrack to everybody’s lives — but in 2016, it’s coming at an immense cost to creators.

One solution presented by NARAS (The Recording Academy, aka The GRAMMYs) in their “Give Fans The Credit” initiative is to lead by example. Somebody, please, either update their streaming service to include a place to credit the creators … or create a new service that makes creators the focus with deserved recognition. Build a streaming service that focuses on the whole listening experience … as in the days of yore. Opening up the album, checking out the lyrics, seeing who’s singing or playing guitar…who wrote the songs…etc. The ART of LISTENING to music has devolved culturally to a nameless, earbud, playlist experience. I would argue that this has only happened since iTunes downloads and Streaming took over and turned music as a tangible commodity into a VIRTUAL commodity. With that said, I believe it wouldn’t take much to re-engage listeners again…with the right tools.

Photo Credit - Catharine Wood

Photo Credit – Catharine Wood

It may sound like too simple of a solution — but if people are listening and SEEING how many people work on an album to make it come alive … perhaps they might VALUE what they’re listening to a bit more … and understand “what a deal” their 99 cent download is or Free streaming. It’s a reality that “streaming’s here to stay” – but it doesn’t have to be the end of the line for music creators (many of whom have either had to resort to making music as a HOBBY or are leaving the profession altogether). Right now, with the Consent Decree issues going on in Washington, woefully outdated performance royalty rates, and the Copyright NOI loophole (if you don’t know anything about this, Google “DOJ ASCAP BMI 100% licensing”, “Songwriter Equity Act” and “Google And Amazon Leverage Copyright Loophole”), songwriting as a profession is on the verge of extinction. This sounds nuts to anybody who isn’t in the industry or doesn’t know what’s going on – but it’s the crazy truth of the current situation…because, in part, our culture, at present time, is more interested in commerce than it is in supporting art. IF credits were allowed for with the streaming services (like watching a movie with end credits…where you get to see who actually WORKED on the movie), you’d get to put a “name to a face”, so to speak, with guitar players, drummers, producers, songwriters, publishers — you name it: The great “de-mystifying” of modern commercial music.

The streaming services have essentially created an environment of music with nameless faces — so people can listen without caring. I truly believe that IF Credits were allowed again — as in the days of BUYING CDs and Vinyl after hearing a song on the radio that you can’t get enough of — and cracking open the record case or sleeve and having the opportunity to LEARN about and ENGAGE IN the music…the current, passive CULTURE of consumers would change – and caring (ENGAGING) would return. So would gainful employment for players, engineers, songwriters and producers on albums. Why? Because artists would see who did what and want to work with them. It’s very simple.

wonderlust_picbycatharinewood

Photo Credit Catharine Wood

It has become the “Wild West” in the music industry “behind the scenes”. We do everything we can to maintain our livelihoods as music professionals — and it does not need to be an insurmountable task. Though I am gratefully managing to continue paying my bills through sheer grit and passion for my craft and profession, my father aptly calls what I do “miraculously rowing up hill”.

Music is a beautiful part of life. For those of us who create it – it IS OUR LIFE – as artists & creators. Commercial music is a commodity. It is not free to make and it should not be free to consume. Can you imagine showing up at your favorite restaurant and sitting down – ordering – eating your dinner & then leaving without paying the bill? We call that dine-and-ditch…and it’s stealing. Streaming services: Please give creators the credit we deserve…so that consumers can know what their listening to – and appreciate it enough to actually value it enough to pay for it…and become engaged again.

#IRespectMusic #SupportMusic #StandWithSongwriters

1_catharinewood-300x300Catharine Wood is a professional mix, mastering, and audio post-production engineer. She produces singer-songwriters, composes music for film and television and owns and operates her own Los Angeles-based studio, Planetwood Productions.

 

Looking to move from music into post-production? Here’s some things to consider.

Post-production (working in film, television, or web/new media) can be a good option for someone looking to expand work opportunities. However, it can take just as much time/investment as music and may not be the right move for everyone considering it. It’s interesting how the music community recognizes the differences between a studio engineer and a front-of-house engineer – credits in one don’t guarantee a job (or even an interview) in the other. The skills of a re-recording mixer are equally different from a studio-based music mixer yet there are misconceptions like:

“If you have music experience, you can cross into post.”

“It’s easier to break into post than music.”

“It’s easier to find jobs in post-production than music.”

The reality of working in post-production today:

A less-experienced applicant who has some post-production experience may land a gig over a more experienced music professional. For example, when hiring for an ADR engineering job, a machine room operator or assistant may be promoted and trained versus hiring a Grammy-winning engineer little picture experience and no relationship with the studio. Someone in an entry-level job will gain experience through watching material for quality control or observing sessions. While sound quality is important, it’s equally crucial for an ADR or Foley engineer to quickly identify problems and make on-the-fly decisions about performance and sync. We’re talking about .03 second time differences working with picture – it’s a skill that takes time to hear and see that level of detail.

Some tips for getting into post-production:

Most importantly, if you’re looking to work in post as a way of supplementing income, ask yourself if you’re really interested (and driven) to learn post and put in the effort. You’re in the running against people with skills, credits, and passion for the job. Hiring managers (and those hiring for indie projects) can tell the difference between applicants who are truly passionate about post and looking for a long-term relationship/career versus someone in it for money or who just needs a gig.

Post-production can be a great fit and career move for someone with music skills and experience. While the skills are similar, there can be an expression of creativity and collaboration that is different from any experience in music. The hours are generally more favorable than music studio life and there’s a lot of opportunities to try new things (like ADR, Foley, dialog editing, sound design, mixing). Technology is always improving and creating more opportunities to learn (such as the current trend: immersive sound). After getting into post, you can earn a really good salary if you’re willing to put in the time/work. There can be a lot of variety and opportunities whether it’s working in film, episodic television, documentary or reality, promo/advertising, new media content (web videos) and for some, it can lead to opportunities in video games and other visual media

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