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A Sound Education

Last week the GCSE results were published in England. These qualifications mark the end of key stage 4 and are increasingly feeling like a relic left behind from old-style O-levels which, in the past, marked the end of formal secondary education. In the future, England is looking to working towards a ‘Baccalaureate’ system that aims to draw together three features:

What should assessment look like in 2025’ AQA 2015?

By including ‘personal development’ it is recognised that this is a key element in the needs of future employment.

Why is this important to those of us working in the sound industry?

A hot topic on the SoundGirls Facebook page is the need (or not) for formal qualifications in our industry. Putting student debt aside, a large majority of those against formal qualifications would cite on-the-job training as a far more effective means of achievement. In fact, this is a well-researched area. Carr (1999) says,

‘It is possible for someone to have a mental grasp of procedural knowledge, but no ability to perform the given task’.

I’m sure many of us can recall a course or training programme we’ve attended whereby at the end of the day we have understood all of the procedures being demonstrated but have very little idea of how to apply it in a real-life situation.

The issue that we recognise here is that we are being assessed on one topic and being expected to perform another. Therefore the assessment needs to reflect the practical nature of our industry.

When looking for a course it goes without saying that you need to be as thorough as possible when checking out the credentials. Importantly, check that the assessment opportunities being offered are intrinsically linked to the teaching.

Choose a course where the outcomes fit with your future plans. Even if these plans change, a good course will allow you to develop the skills to continue lifelong learning.

Student Debt

Going back to the issue of student debt, if you speak to any teacher about their students they will without fail at some point speak of inclusion.

Affordability of undergraduate courses in the UK ( and elsewhere) has shot through the roof in recent years. This has naturally increased the doubt surrounding if a course in sound is actually needed or not.

There is no straightforward answer to this other than to say that you need to seriously consider the opportunities that you will be afforded. Would you have the same networking opportunities if you didn’t do the course? Will you receive a rich and rounded mentorship away from the structure of an institution? You are quite likely to find that there are as many professional sound engineers that followed an academic route as followed an amazing mentor or mentors within the industry. The decision of which route to take can only be decided by you.

Community Support

Living in a country that has seen an enormous leap in the availability of public education, highlights the importance of grassroots support and encouragement for young people joining the workplace. Music is one area where traditionally, Oman is rich in heritage.

Whichever path you decide to take, ensure that you have taken every opportunity around you. The number one piece of advice I’ve always given to students wanting to get into sound is… get into sound! Find your local amateur dramatic society/ a band/ music venue/ recording studio and get involved as much as possible. If a group doesn’t exist then create one.

In Muscat, there is a huge variety of musicians from different backgrounds and cultures. They are often brought together on my ‘open mic’ nights. This is a fantastic opportunity for young people to showcase their skills but also to learn new insights. Look hard enough and there will always be a way forward and it doesn’t have to involve spending any money.

Huddleston, Prue. “Http://Www.aqa.org.uk/about-Us/What-We-Do/Policy/the-Future-of-Assessment-2025-and-beyond/How-Should-We-Assess-Vocational-and-Practical-Learning.” Http://Www.aqa.org.uk/, filestore.aqa.org.uk/content/about-us/AQA-THE-FUTURE-OF-ASSESSMENT.PDF.

The Future of Assessment

Summer Season

Unbelievably, I celebrated two years in Muscat last month! Time is flying by and our dark time in the Opera House over the summer is coming to an end. Working regular hours is somewhat of a novelty to those of us used to working in commercial theatre, so we are all keen to make use of the evenings and weekends. Finding activities to avoid the searing temperatures of summer in the desert is all part of the fun!

Recording in ‘Tunes’ music shop in Ruwi and ‘The Guitar Centre’ in Al Khuwair.

Recording with ‘Pulse and Soul’ -a local band

At the end of Ramadan, I was asked to do some recording for a local band, ‘Pulse and soul.’ The musicians are all teachers at the ‘Classical Music and Arts Institute.’ Using their show equipment and a newly purchased Focusrite Scarlett 2i4 we produced several tracks that can be used for promotional purposes. We also filmed the recordings.

The live music scene in Oman is complicated to understand as an outsider. Laws carefully regulate where and when live music can be performed. International hotels and private ceremonies such as birthdays and weddings are the main platforms away from the Royal Opera House.

After the first set of recordings, it was decided that we should also produce some tracks recorded in a more intimate setting. The drum room at the private music school in Qurum was transformed into a recording studio, and we started recording some different combinations of performances. Using the larger Focusrite Clarett 8 Pre X we started recording multi-track for more post-production flexibility. Of course, this produced much better results regarding audio quality but the downside of this being that more time was required for editing. Trying to fit this around all of our work commitments started becoming increasingly challenging!

Renaissance Day in Salalah

On the 23rd of July, Oman celebrates ‘Renaissance day.’ This is the day that the Sultan of Oman, Qaboos bin Said al Said, came to power in 1970. Various events take place across the Sultanate and the day is a public holiday. To celebrate in style, my friend and Education Manager of the Royal Opera House, Lisa Navach, visited Salalah in the South of Oman.

The trip takes about 1.5 hours by plane or 12 hours by road. We opted for the flight!

 

Salalah is famous for its yearly tourism festival. This takes part during a season called ‘Khareef.’ The lush green landscape and cooler temperatures are a welcome break from summer in Muscat. Hiring a car meant that we could easily get around and do some off roading to find empty beaches with pure white sand. Bliss!

Back in Salalah, the festival was a complete cultural submersion into traditional music and dance of the Dhofar region. Slightly more conservative than Oman, there were few Western tourists, and we really felt that we were experiencing a true insight into a region that feels very in touch with its traditional roots.

All Men, women, and families have different seating areas in the audience for these displays of traditional music and dance. All performances were being transmitted live on television across the Sultanate!

Next week I will travel back to the UK for my annual leave. I’m preparing myself for the reverse culture shock that I am bound to experience back in London! The season at the Royal Opera House commences in September with an exciting programme of Ballet, Opera, and music from around the world.

 

A SoundGirls Guide to the Middle East

In recent years a number of new performance venues have opened across the Middle East. This is paving the way for productions across the world to bring their performances to new audiences. Some of the top venues in the region include iconic Dubai Opera, the New York University Abu Dhabi Arts Centre, the Sheikh Jaber Al Ahmad Cultural Centre in Kuwait, the King Abdulaziz Centre for World Culture in Saudi Arabia, and of course our Royal Opera House in Muscat, Oman.

Each venue attracts a variety of different productions, including a rich mixture of Western ballet, opera, and concerts, and more traditional and modern Arabic music. Interestingly, staff are also often an eclectic mixture of talent from around the world.

With this rapid expansion, production companies are starting to include these venues more and more on international touring circuits. Recently, discussions on the SoundGirls social media platforms have included members asking for advice on their upcoming tour dates. My advice is as follows!

Passports and visas

Most countries in the GCC will require at least six months on your passport when you enter the country. You are also likely to need a visa. This might be a work visa or a tourist visa for short term work. Depending on the country this will be organised when arrive. You may need to hand your documents over to a PRO (Public Relations Officer) for a few days. This is totally normal here as the process can be rather complicated.

Dress code

Contrary to popular belief in the West this does not just apply to women. Think modest! Shorts and vest tops are not acceptable work dress for anyone (male or female). Long sleeve t-shirts (not tight or low cut) are comfy, but a shirt is more appropriate for most situations. Smart jeans (not skinny fit) are OK, but a smart pair of chinos is better. Aircon is normally at a steady 21 degrees Celsius so if you indoors bring a cardi! Venues will advise you on any particular rules.

If you are working outside, the heat can be rather overwhelming. It sounds like common sense, but you will need lots of changes of clothes- including socks. A hat, sunglasses, sunscreen, and copious amounts of water and all essential. Excellent rehydration drinks are available in supermarkets and chemists. It’s worth having a few sachets in your tool case.

Remember that during Ramadan drinking and eating in public is prohibited. There is often a room put aside for those not fasting so again… please do not panic! Be respectful to those around you who are fasting and try not to announce what you’ve got for lunch!

Culture

Respect is the keyword here. A friendly face speaks a thousand words when language barriers get in the way. It is useful to learn a few phrases to greet your hosts. ‘As-Salamu Alaykum’ means ‘peace be upon you and is used to say hello. This always gets things off to a good start. Even if you can’t speak any other Arabic, this will be greatly appreciated.

Raising your voice is not taken well in any circumstance, even if you are feeling extremely put out. Stay calm and if you keep talking you will often find a way to compromise.

Many of the discussions on SoundGirls platforms talk about safety for women. Generally speaking, the region is very safe. Obviously, take normal precautions as you would at home. Women may get ‘starred at’ whilst doing physical work. This is because it is unusual to see women in these roles. Do not take offence. Understanding different cultures is a two-way learning curve. Men may try and take heavy cases away from women. Firmly, politely and confidently say that you are fine. Don’t let go and SMILE! After a few attempts, the person will give up and leave you to it.

Food and drink

Fast food is extremely popular here. You will find most of the chains that you would at home. Of course, it is always fun to try the local delicacies. Try a Shwarma or Shuwa for a local-style lunch. Lemon and mint juice is also an absolute must-try! Increasingly more outlets are catering for vegetarian and gluten-free options.

Alcohol (in countries that are not totally dry) is available in some hotels or bars. It is more complicated to buy off the shelf unless you have a licence so if you are only passing through it is much easier to buy duty-free at the airport.

I hope that this clears up some of the misconceptions that make the rounds on social media. Sometimes it is better to take the risk and see for yourself. There are some incredible places to visit in the Middle East, and if someone is paying you for the privilege, it is an opportunity not to be missed.

SoundGirls in Muscat – Workshop

April 21, 2017, marked the first-ever SoundGirls workshops in Muscat. Two workshops were held at the Classical Music and Arts Institute in Qurum, kindly supported by manager Thanae Pachiyannaki. The first workshop was for 10-15-year-olds and the second for 16+. Due to the interest booking had to be closed earlier than expected and a waiting list for places was created.

Claudia and Dianis, music teachers at the Classical Music and Arts Institute, helped set up for the event and managed the door. A very wide range of people from across the community attended. Teachers, students, and musicians. All had a keen interest in the audio profession and had plenty of questions to ask.

A basic sound system was set up for the event. Two UPJ’s on stands, an Allen and HeathZed-12FX, a wired SM58 and two Zaxcom transmitters and receivers.

After a short introduction and explanation of the aims of ‘SoundGirls,’ the equipment was used to explain basic signal flow, with plenty of hands-on time. As my background is mainly musical theatre-based, we then looked at radio mics; the basic theory of how they work and some of the uses. We watched a clip from ‘Matilda the Musical’ and talked about the challenges that are faced on large-scale musicals including working with remote bands and how communication is maintained between stage and pit. Given that the Royal Opera House is the only theatre in the region, most of the workshop attendees had seen at least one performance. This gave rise to some enthusiastic discussion about the type of performances that we have here and cultural sensitivities in the region.

We rounded out the hour with some short feedback forms, differentiated to the needs of each group. The overwhelming response was that attendees enjoyed the workshop and would like to be involved in future events. In the future, I hope to arrange themed workshops, based on more specific areas such as live music, theatre, archiving and creating sound effects.

‘Community’ is ever more important in a city such as Muscat with such a hugely transient population. Friends come and go, and it is easy to get caught up in a world of work and not much else. Giving back just a small amount of time is immensely rewarding.

A wise friend once taught me that to serve another person is the greatest gift that you can give. As much as I hope that the workshop attendees gained new knowledge and inspiration, my own wish to serve this community was also fulfilled.

Huge thanks must go to everyone who helped support this SoundGirls event: Thanae Pachiyannaki, Claudia Reynaldo Prado and Dianis Catas Salas at The Classical Music and Arts Institute and Max White and Mike Compton at the Royal Opera House Muscat.

Connections

During the time I spent teaching, one of the biggest areas I missed about the sound industry was the opportunity to network. It seemed to me that the drawing together of like-minded souls was one of life’s joys and I was missing out whilst in the classroom. Any chance for a course or extra CPD and I was there like a shot! It has to be said, we as sound engineers are particularly good at creating opportunities to get together and share experiences. And of course, this is the best way to pick up new ideas and expand our horizons.

Last week our Opera House received a touring production of West Side Story. The sound department had a UK touring background and our team took great pleasure in exchanging stories and experiences. For some of us this reflection reminded us where we had come from and how lucky we are to be involved in such a diverse career.

With this in mind, the Soundgirls Chapter of Muscat has started preparing for a workshop to promote the mission statement and to introduce the audio profession to a new, keen, and eager audience. It will be run at a local music school- The Classical Music and Arts Institute in area of Muscat called Qurum. General Manager, Thanae Pachiyanakis, a seasoned singer and teacher herself is keen to encourage young girls (particularly musicians) to take an interest in sound for performance.

Thanae and I first met last year during one of the Opera House’s ‘Open days’. These days are incredibly popular and involve local bands, handicraft and art exhibitions, and local school children. It all takes place in the spectacular front-of-house area. Several porches lend themselves to small staged areas for performers and tables are set up for artwork. We set up PA systems for the bands, projectors, and playback in each area as required.

It wasn’t until another chance meeting at an ‘Internations’ event that Thanae and I got chatting. We realised that although from totally different backgrounds and different experiences of the industry we were passionate about very similar causes. Hence the start of the Soundgirls chapter in Oman!

Despite a relatively small arena for audio networking Thanae and I have proved that no matter how remote you are feeling, there is always someone who will share your enthusiasm and passion. The support and encouragement we are able to offer each other is immeasurable. So next time you feel alone, know you are not. If you look hard enough there is always someone to lean on.

 

Oman – Sound Engineer Workshops

Classical Music and Arts Institute Muscat and SoundGirls.Org Presents

Learn About Sound Engineering Workshop

SoundGirls Representative and Senior Sound Technician for The Royal Opera House Muscat and Thanae Pachiyanakis General Manager for Classic Music and Arts Institute will lead a free workshop for young women and girls who are interested in learning more about sound engineering. Ideal for those who have a love for music and a head for problem solving.

Workshop will feature hands on activities and career ideas.

Workshop Details

Challenges

If you’ve ever helped a child learn to read then you will understand the agony and sheer determination that is required to succeed. As adults, we often forget what is required to undergo the ‘learning process’ and place too high expectations on ourselves. Often we pick new ideas up as we go along without giving much thought to how we got there.

This month we’ve been lucky enough to welcome the Arabic megastar, Mohammed Abdou, to the Opera House.

Mohammed Abdou was born in Saudi Arabia in 1948. He had a rough start in life. Six of his siblings and his father died of smallpox, meaning that he, his mother, and two other siblings had to live in a hostel for orphaned families. At the time, Crown Prince Faisal funded schools for orphaned children and it was there that he has said that he, ‘learned how to live and depend on himself’.

At the end of his schooling, he took any work that he could find, starting by selling sweets and nuts in the local market. Eventually, he earned enough money to join a vocational institute. By the time he left, he was able to support the family and they moved into a new house. It was in this new location that Mohammed met a neighbour who was an expert ‘danat’ singer. Danat is a type of Arabic song that comes from central Saudi Arabia. During a ‘Sama’aie party’ (A classical Arabic music gathering) Mohammed sang one of the songs he had learnt from his neighbour. He was heard by a singer called Omar Kardras who took him to a recording studio in Jeddah to record his first three songs.

In his 40 year career, Mohammed Abdou has produced over 200 albums, his style influencing generations of Arabic music and reaching far across the globe.

And so, the two concerts at the Opera House sold out within weeks of release. An extra night was added to help meet demand. For us as a sound and broadcast department, it was certainly one of the largest Arabic bands that we had seen. Starting with 82 inputs this was increased to 87 during rehearsals as more backing singers were added.

As with a typical Arabic concert setup, soloists including an oud, qanoon, nay, and accordion were placed center stage with a violin section to the left and a percussion section to the right. Two keyboard players also played solo sections. Behind the soloists were a typical woodwind and brass section, drummer, bass, guitar and backing vocals.

Given that we were in our ‘concert setting’  we tried to limit the number of wedges onstage and use IEM’s as much as possible. We used a combination of wireless (Shure and Sennheiser) belt packs as well as 4 Behringer Powerplay units for the percussion section and Sound Device MM-1 units for the bass, drummer, and guitar. The violin section, backing vocals, and woodwind and brass all had Meyer UPM or UPJ monitoring and Mohammed Abdou, 2 MJF’s. An additional UPM was added for the Maestro.

Rehearsal Line Check

In addition to our own built acoustic treatment of the room, we also used clear acoustic panels between the percussion and soloists. Extra attention needed to be paid to aesthetics as Oman TV filmed all three nights!

If Abdou can teach us anything, it is that no matter our beginnings, hard work and determination will eventually pay off. The battles we overcome today will become part of a much larger picture.  Once again, we are left in the wake of this concert feeling that the learning that we gathered in previous challenges produces greater knowledge and success moving forwards.

Without Reflection – We Go Blindly on Our Way

You know that amazing feeling of turning up on a gig and finding you’re working with an old friend? Imagine that feeling when you are the other side of the world from home! What a fantastic end to the year. Our New Year’s Eve concert this year was a Broadway Gala. Conducted by the legendary David Charles Abell and sung by Simon Keenlyside with Jodie Jacobs with the Prague Philharmonia Orchestra. As much as I love the diversity of productions here, it was great to hear some familiar musical theatre songs. It brought back lots of happy memories from the West End and touring.

This time of year we naturally look back upon our past experiences. A large emphasis during my teacher training was on reflective learning. I was required to keep a reflective journal and keep notes from every lesson that I taught. This was a tall order given the huge amount of lesson planning involved! As tough as it was, it set me off at a great pace into my first teaching year. I found that this intense reflective process meant that I picked up on ineffective teaching habits quickly. I could make assessments of my pupil’s learning and see how my actions during that lesson helped them- or not!

Back in the world of sound, these same techniques can be applied. Given it is the start of a new year, why not give it a go? You could keep a journal or just take time out of your day to think about how you performed. Here are a few examples:

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At the end of a show ask yourself, ‘What went well?’. Don’t go overboard. Just pick two or three things that you were really pleased with and make sure they are specific. For example, you might have been really pleased with the way you EQ’d a particular instrument.

EBI

Even better if… This can be dangerous if you are like me and are over-critical! So you need to limit yourself to one thing you could improve on. For example, I need to improve my knowledge about dual compression for my next show. Having said that, we are all different. I often meet people who think that they ‘nail’ every show they do. There is always something we can improve on!

Peer review

Get talking to your colleagues. What do you think they do particularly well? Have you told them lately? Again, make sure you are specific. It’s nice being told that you are ‘great at your job’ but at what precisely?

Find a mentor

I am very lucky to have worked with some very talented sound engineers that have had a very supportive role in my career. One friend, in particular, has stuck by me through bad and worse. You need these people in your life! In return is there someone you could mentor? Pass on the knowledge.

Reflection is by no means about beating yourself up about what you can’t yet do rather a way to structure self-improvement. A pretty nice alternative to New Year’s Resolutions! Happy New Year!

‘Without reflection, we go blindly on our way, creating more unintended consequences, and failing to achieve anything useful.’

Margaret J Wheatley

Military Music

On 18th of November, Oman celebrates ‘National Day’. Every year Omanis celebrate with great pride the independence from the Portuguese in 1650. The 19th of November is also the day that His Majesty, Sultan Qaboos bin Said al Said’s birthday is celebrated.

Given the importance of November, the Royal Opera House celebrates accordingly. This time we move to the ‘Maidan’. This area in front of the Opera House is the perfect setting for outdoor concerts and events. The Military event involves members of all of the military forces and the police. It can be compared to the Edinburgh Tattoo in format. It is a hugely popular event and is free to attend.

The line-up for this year included performances by The Republic of Korea army and The Central Orchestra of Georgia Armed forces and National Folkdance Ensemble.

As a department we make use of our extensive in house stock. Bruno Silva our assistant head of department is in charge of designing the system and opted to hire a Digico SD7 for the FOH position and a SD10 for the monitors/ broadcast position. Our M’elodie line array from the main house is de rigged and re rigged onto truss also hired from a local company. 8 Meyer 500-HP subs, a single UPQ (used as a side fill for bleacher style seating) and 2 UPJ’s for a VIP seating area were also used.

The load in time was carefully scheduled from 4pm to midnight for 4 nights so as to keep out of the sun and searing heat of the Middle East. Despite being November, temperatures can still reach the mid thirties (degrees celsius) at midday. We often forget it is so warm outside when we are in the lovely air conditioned auditorium!

 

Soundcheck and dress rehearsals were scheduled over two days in order to ensure that work did not take place during the hottest period of the day. The first day comprised all ‘local’ acts. This included marching bands and displays from the Army, Navy, and Royal Air Force as well as the Royal Omani Police. On the second day, we welcomed the Korean ensemble. Each act was introduced by commentary in Arabic and English. The two commentators sat next to the front-of-house lighting and sound positions.

It is the uniqueness of creating an event like this in Oman that it is so incredibly satisfying. The excitement generated is a sure reminder of His Majesty’s vision for his Opera House.

 

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