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Love for Chaos: Willa Snow Live Sound Engineer

Willa Snow is an independent FOH, Monitor Engineer, and system tech based in Austin, TX. While she has only been working in Live Sound for just over three years, she is filling up her resume.  She regularly works with Texas Performing Arts, Stage Alliance, and C3 Presents, amongst others. She works as a board op/system tech for Bass Concert Hall, as a monitor engineer at Historic Scoot Inn and Emo’s, and as a FOH/MON engineer for several other clubs in town. She has toured with the Grammy-nominated choir Conspirare during the fall of 2018 for their piece, “Considering Matthew Shepard,” as an assistant stage manager and general audio tech.

Before Willa discovered the world of audio, she was pursuing a career as a singer/songwriter. She was playing coffee shops and small venue gigs at the age of 15, and she says “despite that I had no clue about the world of audio, all I knew was that I had to sing into a mic nice n loud.  I don’t recall ever having a monitor mix, or even an engineer introduce themselves.”

She would enroll in college with the intention of going into performance. This was until she was required to take a recording technology course for her major.  “That year I fell HARD for working in the studio. I loved how many variables there were to play with, and all the different directions that you could take a piece of music in. The creative process was suddenly busted wide open for me, and I couldn’t let that go, so I switched my focus to engineering. My decision to change solidified when I found out how few women there are on this side of the industry… less than 5% is just B.S! I became even more impassioned when I started working in live sound at 23 and discovered all the directions that you could take that path in, and all the wonderful types of music and performance that you’re exposed to! Since being a youngin singing acoustic pop-punk in run-down venues in Silicon Valley, my instrument has changed from a guitar and my voice to a console and mics. Each show that I work is a chance to explore and express my musicality alongside the incredible talent that I get to work with here in Austin, TX.”

Willa started out working in recording studios while in college as a ProTools op and audio engineer. She has a BA of Contemporary Music from Santa Fe University of Art and Design, where she was trained in various instruments, music theory, orchestration, advanced vocal techniques, western and world music history, and basic business management, as well as studio production. In contrast, all of her live sound knowledge has been developed on the job and through independent research on various subjects.

After graduating from college, she moved to Texas and ended up taking a job in live sound as an A2 for a small local production company, where she was taught how to build PAs and tune systems. While there, she soaked up everything she could learn and said she “initially hated live sound! In comparison to the studio, it’s loud, chaotic, and terrifying, Everything’s happening all at once, and almost nothing goes according to the original plan. I must have developed Stockholm Syndrome because now I can’t get enough of it! I’ve learned to love the fluidity and chaos, and I’m constantly finding myself challenged to grow and inspired by the techs that I encounter and the artists that I get to work with.”

Like many of us, when Willa first started running sound, she was terrified of failing. She put a lot of pressure on herself and says she felt “that as a woman, people were going to be looking at me as an example of all women engineers. If I wasn’t 100% absolutely perfect, then it would be reflected 100x worse on me than it would a male in my position, and it would be a stain on the reputation of women engineers the world over. I put all that pressure on myself, despite having only just begun my journey into live sound!”

Then  Willa started to notice something… “in my conversations with more experienced engineers and hearing their origin stories, they all said the same thing: they were TERRIBLE when they were starting out! I heard many tales of butchering mixes and struggling to make the broken gear work in dirty clubs. I finally realized that in order to grow and move past this mentality, I needed to give myself permission to fail. So, before every gig, I would have the following conversation with myself: “let’s go out there and SUCK! Let’s have the worst mix ever, and get shamed out of the club! The band is going to hate everything you do, and the gear’s going to catch fire, and it’s going to be GREAT!” And strangely, that worked for me. Giving myself the space to be an inexperienced failure allowed me to embrace that risk, and to go in with a clear head and tackle the show. At the end of the day, we’re all human, and humans mess up and make mistakes, and that’s okay; the key is how you recover from that mistake. Do you own it, fix what needs fixing, and learn from it? Or do you wallow? After a few months, I didn’t need that non-pep pep talk anymore. Now I just walk in with my shoulders back and a big, fat smile on my face.”

One of Willa’s Early Failures

Early on in my experience (I think it was my second gig), I had a show where All The Things Went Terribly. I was given an incorrect load-in time; I hooked up the mains wrong, my iPad mixer was futzing out, the stage sound was terrible, the FOH mix was REALLY bad… so bad in fact that when the singer of the band greeted the crowd and asked, ”how’s it sounding out there?” the audience responded with, “clap… clap… crickets…” An audience member standing near me even leaned over and asked me, “it doesn’t sound good, does it?” I could do nothing but admit that indeed it did not. Oh, it was so embarrassing!! Thankfully the band was very kind and even tipped me at the end of the night.

As soon as I got home, I called up one of my sound buddies and took him out for beers. I walked him through the entire gig, top to bottom, and asked him for some guidance on the mix, and for advice on how to do things better.

A few weeks later, I got the opportunity to mix the same band again. I made sure to get to the venue extra early, set up and rang out the stage as cleanly as I could, incorporated some suggestions my friend made into my mix and remembered exactly how the band set up the stage and where they needed lines. The band showed up, and this time, All The Things Went Smoothly. Stage and FOH sound were vastly improved, the band had a great time, the audience had a great time, they even gave me a ‘thank you’ shout out!

As Willa continues to learn and grow, her long-term goals are to become a touring FOH /Monitor Engineer and System Tech.

What do you like best about touring?

I like hearing how the sound of the music changes in different venues, and the constant momentum of traveling from place to place

What do you like least?

I miss my loved ones and my own bed while I’m away.

What is your favorite day off activity?

My favorite day off activities are resting and taking care of my plant collection. It’s lovely to have a period of quiet and calm after the storm.

What are your long-term goals?

I have several interests that I’m avidly working towards, my main ones being touring as a FOH and/or MON engineer, and/or as a system/PA tech.

What, if any, obstacles or barriers have you faced?

I’ve been turned down for a tour because of my gender, and am all-too-often dealing with unwarranted attention and sexist comments.

How have you dealt with them?

It depends on the situation. For the tour, I let it go and decided that wasn’t a tour I wanted to be involved with anyway. I turned to the SoundGirls forum for advice when going through that process, and deeply appreciated the support and words of encouragement that I received from the group. When dealing with sexist comments on the job, sometimes I’ll ignore them, while others I’ll confront head-on and shoot something back (ex: if I get called honey, I’ll call them sweetie. Stops that sh** real fast.)

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

Learn as much as you can from every situation and interaction, and ask as many questions as you can at appropriate times. Don’t be afraid to work hard, and allow your enthusiasm to drive you. Always keep an air of professionalism at every gig, no matter how big or small. Say yes to every challenge and opportunity possible. Be authentically who you are and embrace that; faking it until you make it is not a thing. It’s okay to stand up for yourself when you are being mistreated; no amount of abuse is worth your time or mental health.

Must have skills?

Have a running knowledge of basic signal flow, mic placement, gain structure and EQ techniques, and learn to embrace failure (how else are you going to learn?). Be kind and cool to those you interact with, and keep your connections positive as much as possible.

Favorite gear?

Work gloves, c-wrench, and my Shure SE846 IEMs. An Allen & Heath desk is always preferred.

 

 

 

Learn Sound Online—Free! (or really cheap) 

Over the years, I’ve met many people that felt limited in their sound careers either because of their limited training or inability to continue training/education.  I completely get it. Trying to stay current is extremely difficult, especially if you have a full-time job, kids, limited funds, or freelance/tour work that keeps you out of the running for regular university coursework.  Thankfully, the internet saves us again. Check out these excellent resources, because in this ever-changing industry, knowledge is power, and power isn’t cheap!

Skillshare

Skillshare is a super cool website that hosts thousands of online classes in all kinds of fields, including Sound Engineering, Sound Design for Theatre, Gaming, Film, Mixing, Producing, Editing, and more!  There are many videos available for free, and way more if you sign up for a premium account, which costs $99 a year + a free trial month. If that’s a fee you can’t swing, there are also scholarships available.  If you are already a super expert, you can sign up to be a teacher and make some extra cash.

Coursera

Coursera partners with top universities like Berklee, CalARTS, and Carnegie Mellon to offer different levels of online learning, and every course is taught by instructors from these universities.  There are hundreds of free courses available, and even more that come with a fee. Paid courses provide a shareable course certificate upon completion, which is an excellent resume item. Like Skillshare, financial aid is available for qualified individuals.  Coursea puts their training into different tiers, including:

Specializations- for mastering a skill in 4-6 months for a starting price of $39 per month

Professional Certificates- for getting job-ready in less than a year for a starting price of $39 per month

MasterTrack Certificates- for receiving a Master’s degree level learning in less than a year for a starting price of $2,000 with an option to pay in installments.  This certificate also counts toward a master’s degree if you decide to pursue that later.

Online Degrees- for earning a Bachelor’s or Master’s degree over 1-4 years (you choose your schedule) starting at $15,000 with the option to pay in installments.

MIT Open Courseware 

This is a super cool way to gain access to the material taught in MIT’s classes—completely free! Some course titles include:

While you won’t earn a degree or certificate through this open courseware, you will gain a ton of knowledge from one of the country’s most cutting edge technology schools.  What’s not to love?

SoundGirls Note:

The Production Academy

The Production Academy is an online resource that provides clear and reliable information on all the technical things you need to know to work in Live Sound or the Touring industry. SoundGirls uses The Production Academy for our Live Sound Camps for Girls and recommends The Production Academy to all our members.

SoundGym

I think this is probably the 400th time I’ve mentioned SoundGym in a blog…clearly, I’m a fan.  They now offer a completely free online course called Synthesis & Sound Design.  This is an advanced course to help take experienced producers to the next level. The course was curated from free content by sound experts and educators, and some of the subjects touched on include sound synthesis methods, modular synthesis, and samplers.  The course takes 12 hours to complete, and then you get big brain bragging rights when you’re done! SoundGirls also offers free subscriptions to SoundGym. Check the Member Benefits

Khan Academy

Much like MIT OCW, Khan Academy provides completely free courses online in all kinds of disciplines.  These courses are super user-friendly—even kids can do it! For this reason, Khan Academy courses make an excellent teaching supplement.  While much of KA’s coursework is geared toward regular academic training like math, English, and science, get creative with your search language to find exercises like:

Whether you’re just trying to brush up your skills, learn a new skill, or earn a new degree, training doesn’t have to completely halt your life plans.  These six resources are only scratching the surface of what is available. The most important thing is to keep learning. There is no ceiling and never too much information.

 

Adriana Viana: Independent Brazilian Sound Engineer

 

Read Portuguese Version Here

Adriana Viana is a Brazilian freelance Front of House, monitor engineer, and technical director. Based in São Paulo, she has worked with many Brazilian artists such as Teatro Mágico, Flora Matos, Plutão Já Foi Planeta, Rodrigo Teaser – Tributo ao Rei do Pop (a Michael Jackson tribute concert) and mixed international artists when they played in Brazil, such as Toots and the Maytals, Mark Lanegan and blues guitarist Jimmy Burns. She is currently the front-of-house engineer for Far From Alaska and Rashid and is also on tour with one of Brazil’s finest songwriters, Adriana Calcanhoto. She is also the technical director of Women’s Music Event, where she puts together a team of qualified women to run sound for the entire event.

Those who get to see Adriana in action might get the impression that she has been mixing all her life. But when she started out in this business 12 years ago, she wasn’t even allowed to operate any equipment. Her interest sparked from going to a lot of shows, and as most people bitten by the audio bug, she would tag along with her musician friends for soundcheck. “I wondered, what are those guys doing? I could see there were people in charge of the audio equipment, of setting it up, mixing, doing lights, and I found it super interesting.”

She learned of a couple of job openings at a local rental company and went in for an interview. She then discovered the only two positions available to her were: answering the phone or keeping track of warehouse inventory, so she chose the latter, to be closer to the equipment. “They asked me if I had any experience and I didn’t, so I told them I was very organized and I wanted to learn so I could get in the business. They needed someone to manage their inventory, so I took that opportunity. When techs brought in equipment, I would ask: what is this mic? They’d tell me; it’s a Shure SM58. Next time they’d bring a similar mic, and I’d ask, “Is this a Shure SM58? They’d inform me that it was a beta 58, so I’d learn the difference. I would keep stock, count, and organize all the equipment going out and coming in”. It’s already difficult for anyone coming into this industry to work their way up, and Adriana points out that it’s even more difficult for women who have to deal with sexism and harassment. Adriana wasn’t really taught anything about the equipment, instead, she’d find the manuals and read them. She wasn’t given the opportunity to operate the equipment either, and couldn’t afford formal training, so she bought a book about audio engineering and started studying it.“I just learned by reading manuals, workbooks, books, just any printed material I could find. I was eager to learn so I’d go to events and watch.”

At one of the events that she’d tag along to, a freelance tech noticed her eagerness to learn and invited her to his regular gig “every Saturday, at 2 pm. He didn’t mix, he was a stage tech, ran all the cables, patched everything, and taught me everything he knew. He’d tell me, this is an XLR, this is an instrument cable, this is a snake, he taught me how the system was set up. I worked Monday through Friday at the rental company, but on Saturdays, I went to his gig to learn. You could say I worked for free, I’d run cables, set up mics and monitors, then I’d quietly watch the front-of-house engineer mix, and I’d ask questions when he had a break.” Soon, the tech who taught Adriana needed a sub – and who better to call than the person he trained? “I started subbing for him as a stage tech, and soon after that, I was mixing, then I became the house engineer for that venue. Then I started working for other sound companies as a tech, and I worked a lot of shows. Then I worked at other venues and learned even more. I was always out there learning and working, I read manuals, I couldn’t afford to go to school for audio engineering, so I never did. I watched people working, and I learned. I would always go for it and just try and do it.”

People noticed her hard work and kept hiring her for more gigs. While working at a venue, she mixed a band who liked her work so much they asked her to go on the road with them. “They had their own equipment; I’d set it up and operate it.” She emphasizes, “all I went through, all the bands I worked with, that was my learning process. Whenever there was an opportunity, I’d take it.” The more she worked, the more bands noticed her excellent work, and the more she would work! She soon landed a gig with the popular Brazilian band Teatro Mágico as their official monitor engineer. “It was full-on wireless, in ears, stereo mixes, click, everything! I learned a lot in those three years, and more people kept hiring me to mix monitors.”

Now that she’s an experienced and well-respected live sound engineer, she talked to us about the technical aspects of her work and the particularities of working with live sound in Brazil.

When asked how early she starts pre-producing a show, she replied, “as soon as I’m hired to do it. Sometimes a month ahead, sometimes a couple of days before the show. I ask for the venue’s tech contact so I can send in my rider right away and get theirs back, via email or WhatsApp. If I can’t do a site survey, I ask for photos, too; I also look online for more info on the venue and their equipment. I exchange all the information in writing, so everything that’s been agreed on by promoters, managers, the rental company, techs, and directors is documented, and everyone is informed. If the full rider can’t be provided, I ask that substitutions be worked out ahead of time, and inform that everything needs to be working during soundcheck or the show won’t happen. I stay on top of things, I request all the necessary info, and some guys will dismiss it with ‘relax, everything will be alright,’ and when I get there their equipment is terrible and their system isn’t working correctly, so I show them all the documented info and state: you either provide us with the right equipment or there won’t be a show, so they do.”

People who don’t act professionally during pre-production are a red flag for Adriana. “They give generic answers like ‘there are four monitors’ but won’t tell me the specific brand, model or specs. That’s why I ask for pictures, so I can identify if the equipment meets our needs, and if it doesn’t, I specify what they should rent instead. With real professionals, you can work out a deal between what you need and what they have, but you can’t really negotiate with people who don’t act professionally, they walk in circles, so I go straight to the promoter and let them know that the rider is not being met. The promoter then demands that all technical aspects of the rider be honored.”

Another problem is when people aren’t even qualified to tell good from bad. “You play pink noise through a speaker and it sounds terrible, but the house tech listens to it and says it’s working fine. Some people can’t hear hum noises either.”

So, what consoles does she request in her rider? “I love getting good consoles to work with – Soundcraft consoles, the Vi, 3000 and 2000 series, I like Digico SD8 and SD9. Midas and SSL consoles are great but hard to come across on the road”. So what does she usually get? “Yamaha’s, usually in bad condition, unfortunately. M7CL, PM5D, and LS9 are the most commonly used consoles, and if they’re not regularly checked and well maintained, they won’t work properly. I never request them on my riders, not even when mixing a small indie band – because that’s what I’ll usually get anyway, and though they have enough inputs and outputs, they’re usually poorly maintained.”

When it comes to outboard gear, she says venues usually just have a pair of graphic EQs, and if that’s not available or in poor condition, as often is the case, she’ll resort to using the console’s graphic EQs on her outputs. “I avoid poorly maintained equipment; the cables might be in poor condition too, so as not to waste time, I deal with it in the console. I’m used to working on any console that’s available. I have my preferences, but whatever is there, I’ll use it, I’ll mix on it. I don’t depend on equipment to do my job. Of course, the better the tool, the easier my job will be, but I’m used to getting a good sound out of not-so-good equipment.”

Brazilian bands have a common issue that makes them hire Adriana as a monitor engineer. “They have trouble hearing themselves on stage. If the band can afford an engineer, they’ll usually hire just one engineer, not two different people for monitors and FOH. And that one person will mix FOH. Sometimes it’s a one-off gig for that tech. Musicians that are used to having a monitor engineer are used to hearing themselves well, and when they happen to not have a monitor engineer, they’re in trouble.” That’s why even when Adriana is the only engineer in the crew and is mixing FOH, she’ll get a basic monitor mix up for her musicians, because “I can’t begin to mix FOH if they can’t hear themselves – they won’t play right. It doesn’t matter if I have a great-sounding PA if my musicians aren’t playing well if they can’t hear what they’re playing. At least that’s how I see it. A lot of people will just stick to mixing FOH because technically, that’s all they’re getting paid to do, but I think this makes my work better, more complete. And if I do a good job, the band recognizes and appreciates it, they see that I presented a solution, and I make sure they get a monitor engineer when their budget is bigger.”

So do bands only hire one tech because they don’t think they need two or because of a tight budget? “Some bands never heard themselves well on stage, and they’re used to it. Some bands only play if there’s a monitor engineer. Some productions don’t allocate the budget for it – they’d rather spend the money on a different professional, a dancer, a stylist, than having a larger audio crew.” Adriana is used to working with professional bands that hire at least one sound tech, one light tech, and one roadie. The bigger the show, the bigger the crew. She also makes a point of not working as a roadie and informs bands of the importance of hiring one, as that’s someone else’s job that she’s not taking. “If you’re playing a show and something goes wrong, is the artist going to turn their back to the crowd to fix it? That’s a roadie’s job. I try to add as many people to the crew as possible because everyone’s work is better that way. I always put together a good team and show the artist how important that is.”

Reflecting on the reality of working in Brazil compared to the US, Adriana points out that “You have to know how to do everything – tune the system, set up wireless equipment, coordinate the RF, mix FOH, mix monitors, a lot of different things. Overseas there seem to be different professionals for different tasks… but here, if something goes wrong with the audio, that’s all part of my job, and I want to make sure everything works. If it’s a big event, you need people dedicated to specific functions, the equipment needs to be working, but in smaller shows, my artists will bring their own mics and in-ears, and if something goes wrong, I have to fix it. We may not have an RF tech, but we have common sense. Each situation is different, but I won’t let the artist encounter difficulty and do nothing about it.”

When asked what difficulties she usually encounters, she sighed, “We go through so much…” but replied with a problem-solving attitude: “if there’s a problem and you learn how to deal with it, you can anticipate it and make sure it doesn’t happen again. You take precautions to avoid possible problems. And if you set up correctly and test ahead, you won’t have to stop what you’re doing to troubleshoot it. Things might go wrong, you might get a bad cable or a noisy input channel, but experience makes you identify possible issues and deal with them faster. Ok, something is not working, we’ll set it up differently. Poor wireless signal? Send the singer’s mix to her floor wedges. You know? You take precautions so you won’t waste time trying to fix a bunch of different things, because usually, I’m the only person there to fix it.”

Speaking of thinking ahead, we asked Adriana what she takes with her to a show: “Fresh batteries, tape, Hellerman tool, towels, Listerine and hand sanitizer, a couple sm58 grilles, pens, memory stick. An artist complained that the mic was stinky? Well, next show, you hand them a freshly clean mic. An artist complained, I called her production and said I was on my way to buy two spare sm58 grilles and asked them to reimburse me. There, problem solved. You have to come up with solutions instead of complaining about the problems. Good audio techs will find solutions and avoid problems.”

Earlier this year, she went to Europe on vacation with her siblings – even off duty, she took gaff tape with her. “I taped my brother’s shoes; they were coming apart on the sides; the cover was coming off on my sister’s book. I taped it! My glasses were falling apart; I taped them. My siblings were amazed that I took tape with me on a vacation trip. I carry around a multimeter too. The less I depend on others, the fewer problems I have.”

One thing I’ve noticed from watching Adriana set up and sound check, is that she’ll usually build up her scene from scratch. “Each day is different; I don’t always get the same console… I have a lot of scenes on my memory stick, but I hardly ever use any. Sometimes the console won’t read the flash drive!”

Needless to say, she encounters different rooms and PAs every time. She uses pink noise to check the system, see if all frequency ranges are responding correctly, then she’ll play some music. “I really like Eric Clapton’s Change the World,” she also uses dub versions of The Police songs to check the subs. “Massive Attack, you know, music I’m familiar with, so I’ll know what’s missing.” She plays Jeff Buckley’s Everybody Here Wants You, which has a distinctive long verb on the snare, “I can tell if the PA is reproducing the harmonics. With these mixes, I can also check the stereo image, especially the mid and hi mid-range. When you play a song that has a wide backing vocal mix, I can tell what’s there and what isn’t but should be.”

Ten years from now, Adriana hopes to be still doing what she does. She wishes she could spend more time in a studio learning recording techniques, but she “can’t afford to stop working and assist at a studio making less money. I gotta work. And I really love what I do. Some gigs make you feel like you’re part of them. I go to sleep happy because I know the next day I get to work with Far From Alaska, this gig is the apple of my eye! I don’t see myself doing anything else. Since I started working with live sound, I never stopped, and I’ve always worked a lot, and the more I work, the more work I get. When you’re determined, and you work hard to do your best, you reap what you sow.”

The only time Adriana stopped working since she started 12 years ago, was when she got pregnant with her daughter Luka and even then worked till she was eight months pregnant. “I took a six-month break when she was born; then I had to go back to work, that’s why I haven’t had more kids, because I can’t lose momentum, and it’s also not financially possible for me to stop working. And I really love my job; I always worked for different bands at the same time, different styles, different crews, different productions, it all makes my learning much richer.”

People keep asking Adriana to teach about live sound. Her reply? “Tag along, and you’ll learn.” One guy went as far as paying her for private lessons. Hard-working as she is, she developed a teaching plan and taught him everything she knew. In the end, she told her student, “It took me years to learn what I taught you in months – from now on, you’ll have to learn from your own experience. Look for a gig, go to venues, say you’re learning audio, ask if they need an assistant. Do you really want it? Knock on doors.” She said she couldn’t recommend him for gigs, because he didn’t have any real live hands-on experience. “I learned from a guy who didn’t know what an HPF button on a console was, he kept turning it on and off to find out – but everything else he did know, he taught me. And I’m very grateful.” Recently Adriana was mixing a show where her mentor happened to be, so he went up to her and gave her a big hug to tell her how proud he was. “You have to go after what you want. Nowadays there’s a lot of information available, youtube videos, workshops, panels. It’s important to know how to operate the equipment, but most importantly, you have to know what to do with it. It’s a tool, like anything else, you can learn a lot about audio and about your tools, but the most important thing is your ears.”

Adriana insists: things don’t happen if you don’t make them happen. “Nothing fell on my lap. Things happened because I went after them. Thank God I was never out of work. The more I work, the more work I get. That’s a fact.”

 

Radioactivity and Sound

With Halloween just around the corner, I wanted to explore the spooky ambience of radioactivity.  Nuclear radiation is a common mysterious force in science fiction and horror films. Its manifestations are generally physical sensations, like heat, or mutations rather than sonic phenomena.  However, there are fascinating sounds and ambiences that are connected with nuclear radiation.

Nuclear reactors are inherently spacious concrete buildings.  It takes concrete walls several feet thick to block the most penetrable of nuclear radiation from escaping to the outside world.  These make for excellent reverberation chambers. At the decommissioned B-Reactor in Hanford, Washington, a local vocal group, has taken advantage of that.  They have created a concert showcase about the Hanford Site and the Manhattan Project (of which the B-Reactor was initially built for), and are performing inside the building.  Nuclear Dreams is composed by Reginald Unterseher, performed by Mid-Columbia Mastersingers, and was commissioned for the 75th anniversary of the B-Reactor.

Isolation and silence also surround nuclear sites.  They are built away from busy urban centers, and often the wildlife reclaim the nearby land.  Irradiated animals inside nuclear tanks do not decay, and their sunken remains haunt silently.  Above ground, the radiation does little to change their regular habits. Humans interacting with the radiation often are enveloped in silence, either by their limited viewing capabilities via closed-circuit monitors or even by way of the radiation itself.  Journalist Igor Kostin of Novosti Agency, who was first on the scene at Chernobyl, recounted that when he opened the helicopter window to get a better camera shot, he heard nothing. Not helicopter rotors, not wind, just nothing. In his words, “deafening silence.”  It is possible that what happened was a physiological response, similar to what brain cancer patients experience during chemotherapy.

Then there is an eerie sense one feels at not being able to perceive the danger that they know exists at the nuclear sites.  The Chernobyl television series encapsulates this with its score.  Quiet drones pulse in time to sirens and are accented with distorted static.  Hildur Guðnadóttir’s compositions accent the tension and the panic of the unfolding disaster and subsequent cover-up.  The muted dynamics of the score allows the magnitude of the visuals to hit with more power. It is only disaster itself that causes the noise.  Wailing sirens and alarms, and the static of Geiger counters create a constant cacophony that follows explosions. Beeps from monitoring machines and sparse clicking of dosimeters are the soundtrack to a normal functioning reactor, not of a meltdown.

When building up the sound design of your nuclear-centric haunted house (or is that just me) remember the reverb, silence, and eeriness of the real thing.  The trick-or-treaters will feel isolated and on-edge. Have a Happy Halloween.

 

The Importance of Saying No

A few months ago, I wrote a blog about The Importance of Saying Yes while building a career in audio – something I am still continually practicing.  While writing that blog, I realized I wanted to include a follow-up about the importance of saying no. Practicing this discernment is almost more important than saying yes, however, can be much more difficult!

I often find myself wanting to say yes to every opportunity that comes my way. It’s easy for me to do; I’ve grown accustomed to a full schedule of projects to balance, and I tend to be energized by my work. I’ve been in a building stage of my career for long enough to know that saying yes to one thing often leads to another opportunity. Sometimes it’s frightening to say no and feel like I’m missing out on something. The downside of this, however, is that during the times I get increasingly overwhelmed with my schedule, I’m unable to take necessary breaks for myself, which is ultimately bad for both my clients and myself.

When I think about my ideal career it’s full of flexibility and also full of projects that I’m really passionate about – I want to work on a number of records every year, yet still have enough time to play drums in projects, go on the road, and experiment with making new things with new people. To make all these things happen, I have learned to be more and more selective with my time.

To be more selective, I have to be comfortable with drawing a line and saying no. This doesn’t necessarily mean just saying no to new projects, it means saying no to additional edits past the agreed limit, an extra few takes during tracking or additional unpaid time. It comes down to drawing boundaries and standing up for yourself and your work. Admittedly, I sometimes find it hard to do this in an environment that is so much about curating an atmosphere of support and trust, but it’s ultimately a disservice to everyone involved if I am making decisions from an “I can do everything” mindset. It’s important to set limits, and it’s important for artists to work within those chosen parameters. Saying no doesn’t mean that I don’t want to or can’t do something; it means that I know what’s best for me.

The tipping point comes when work is coming at a healthy pace (a result of saying yes), and I start to realize what I might not want to work on, or what might not be best for my time. This can be tricky to decide, as the answer isn’t always immediately clear. I often change my rates to meet my clients’ needs, and while I think most freelancers do this to some extent, after some time if you aren’t clear and firm about your rate, you may be undervaluing yourself. This is a concrete way to help establish what is and is not worth your time. This may come at a metaphorical price – you say yes to fewer projects, but the flipside is your work is more valued and more structured. I believe developing this skill is a key component to growing in a freelance career.

Saying no can be a scary thing – it can feel like a missed opportunity, but ultimately, learning how to say no respectfully but firmly is crucial when valuing yourself, your time, and the growth of your career. As individuals who work for ourselves, it’s our job to set limits and guidelines!

 

The Importance of Reference Tracks

While mixing and how to use them.

One of the first things I do when I schedule a time to record a band is asking them what albums, and songs they like the sound quality. I ask so I get a good idea of what they might be *subconsciously* looking for in a mix or master. Then I will ask, “What would you like your reference track for the mixing process to be?” I ask these in two separate questions because what you like and what’s right for a mix of a particular song can be two different things. I want to have options, so when I go to pick a reference track- I am picking one that’s right for the song, and that the band will like too.

Reference tracks are essential because often while mixing, your ears can lose perspective. A reference track is helpful to have this happens; you can play the track and compare it to where your mix. Once you’ve done that you can hone in on anything that isn’t where it needs to be in your mix- and with a specific goal in mind you can get it where it needs to be because of the reference track.

Now, to utilize this correctly, you have to do it right. You don’t want to just download your reference track from Youtube and upload that wav file into Pro-Tools. You also don’t want to use an MP3. When using a reference track, you want to get the rawest and uncompressed version of the track you can find (WAV file). Another thing, you need to know how your reference track translates onto different sound systems. Listen to the track in your car, at your house, on your laptop, on your headphones, in your parents’ car…you get the point. Then do the same for YOUR mix. Listen to it everywhere you can, so you know exactly what to fix when you sit back down at your computer to do revisions.

You can use plug-ins to help you compare the track to your mix. Magic AB is my favorite. It’s straightforward to use. You upload both tracks, one is A, and one is B. Then you level the two songs out, so your ears aren’t being tricked because one mix is louder than the other (Hello, Fletcher Munson), and then you just click between A and B to compare your reference track to your mix! Easy as that!

I hope this helps your mixes grow as it helped mine when I discovered how to use reference tracks! As always, you can send me examples of your mixes, or even email me just to chat about how you noticed a difference in the process after you started using reference tracks at virginia@backbeat365.com.

 

How Do You Go About Setting Up Your Console Workflow?

Once you start mixing more than a few shows, you’ll start to find that you have some preferences in how your console is laid out.

Everyone has a particular way of doing things, and it’s all a matter of what works for you. For instance: How you do your input patch will determine where things show up on the surface.  It doesn’t have to be 1 to 1 with the snake patch; you can patch inputs to come up in whatever channels you like.

If you are mixing on a digital console with a limited number of faders available on the surface, you’ll have to think about how you want your inputs to populate them.  If you have 42 inputs and only 16 input faders/layer, how do you want to build your layers?

It’s a good idea to have all of your drums on the same layer or page so you can easily make adjustments to the overall drum mix. Likewise, if you have numerous inputs for keyboards and tracks, keeping them on the same layer or page makes for easier control.

Something I like to do is keep my most important inputs on the channels closest to the master section. For most of what I mix, this is the lead vocal or vocals. I rely heavily on VCAs/DCAs and do most of my mixing from the master section where they are found so having my most important inputs right next to the VCAs; they are always where I need them.

When I was mixing the bands Styx and Mr. Big, the music was heavy with 4 part vocal harmonies.  I would always lay out my console to make sure that the four vocal channels were right next to the master section and able to be pulled to the surface in an instant. It wasn’t a set it and forget kind of mix; there was constant massaging and blending of the vocals.

Keeping important inputs near the master section stems from the days of large frame analog consoles where inputs could be spread out over quite a distance.  But I find it still works well with digital boards and tends to keep things that need lots of attention close to that area of the console.

Other things to think about are your effects returns. You might want your effects returned in channels rather than the FX returns.  Using open channels instead of dedicated FX returns for your Effects will generally give you more flexibility in routing and better EQ options.

All of these things will be determined by your input patch, so give it some thought ahead of time.

Next, consider how you will designate your VCAs/DCAs and/or Groups. Think about how you can group things to make it easier to mix.  It’s much easier to mix from the 8 or so VCA faders than all of your individual channels, especially on smaller consoles that only give you eight input faders on the surface.

If you’ve got 42 inputs, you don’t want to have everything just assigned to L and R and be mixing on 42 faders jumping through layers or pages all night.

Things can be double assigned.  What I like to do is have one VCA,  that I label BAND for all of my instruments. I tend to set up my VCAs along these lines:

Every input goes to its intended VCA- drums to drums, bass to bass, etc., but is also assigned to the band VCA, except for the vocal channels.  This way, I have control of the overall level of the band with one fader, which is incredibly useful if I am having trouble getting the lead vocal above the music.  I can just grab the band fader and bring everything but the vocal back a bit.

Now if you have a four-piece band with 16 inputs total, this isn’t such a big issue.  But still, it’s much easier to mix on 4 VCAs than 16 channels. The more involved your show gets the more thought you’ll need to put into it.

Think about what your needs are?  What will help you be as efficient as possible, and what will give you the control you need?

Groups are great for processing multiple inputs at once.  Smaller analog consoles may only have Sub Groups available and no VCAs.  You can assign all of your drum inputs to a stereo group and insert a couple of compressors across your drum mix for a little added punch to your drum mix.  You can send multiple background vocals to a group and compress them so sit together nicely.

You’ll also want to consider AUX buses.  If you are doing monitors from FOH you’ll want the aux buses to be Pre Fader and depending on the console; you may only have the option of certain aux buses being Pre Fader.

Which Auxes will be for monitor sends and which will be for effects?  How many effects do you need? If there are enough available, it’s a good idea to have separate effects for different inputs.  For example, have one for drums, a different one for vocals and yet another for instruments like keys and guitars if needed. This gives you more control and allows for more clarity in the mix.

These are just a couple of things to think about when you are setting up your workflow on the console.  For me, I build my workflow around control and efficiency, but you may have other ideas, and I’m curious to hear what works for you.

For more from Michelle, check out Mixing Music Live

Soundgirls Expo 2019

This July the SoundGirls Orlando Chapter, along with B4 Media Production and Mainline Marketing, hosted our second annual SG Expo at Full Sail University. The expo was intimate; we had panel discussions and presentations followed by everyone filling the lobby to network and explore the vendor tables. The people who showed up were eager and enthusiastic, some were thrilled to bits that this organization existed and we welcomed them right into our community. Beckie Campbell, the Orlando Chapter Head, and owner of B4 Media Productions got the band back together with Willa Snow – the Austin SG Chapter Head and Laura Davidson with Shure.

Beckie Campbell has been on tour this summer as a FOH Engineer for the Indigo Girls. She found her way back to Orlando to host the expo. Beckie gave expert advice on live sound, production management, and being a small business owner.

Laura Davidson represented Shure at our expo for the second year in a row. Her RF presentation enlightened those new to using wireless microphone systems. Her RF Basics discussion is integral to any new engineers exploring the wireless in live sound production. She also shared some of Shure’s new wireless microphones, which had some impressive features. Shure’s rechargeable rack-mounted station was a favorite of mine. Having worked in live sound for over 15 years, changing batteries took up such a large part of my day when we had 20+ cast members with IEMs and belt packs. The ADX1M micro body pack transmitter was one of my favorite new items, the compact size was impressive (and adorable).

Willa Snow presented for Allen & Heath, giving us some insight on their new firmware updates and iLive family of consoles and accessories.  She also contributed to our panel discussions, giving our attendees a bright and refreshing attitude on mixing live music in Austin, TX.

Mainline Marketing, another amazing local company, supported our expo by bringing some amazing equipment for our guests to demo and get hands-on experience. Michael, Michael, and Zach provided us with expert knowledge and experience. They also brought along the fabulous Shure Jeep, which was a huge hit.

Some new players this year included Kaysen Thurber with Inearz, a local Central Florida company who are passionate about preserving hearing for musicians and Wesley Devore, the Documentation Manager for Presonus Audio Electronics.

Inearz is a Central Florida family-owned company. Kaysen’s father, Kim Fisher. Kim has been building IEM drivers since the 70s. He started his own company in 2003 and has kept it in the family ever since. Kaysen has been working with her father since she was 15 and continues to represent the brand passionately.

Wesley Devore braved a hurricane in her home state of Louisiana to join us in Orlando. Wesley writes the manuals for Presonus; her presentation featured Presonus’s Studio Live console and their scaleable ecosystem of products. Presonus’s NSB Stagebox was a beefy addition to their line of consoles, a stagebox that behaves as an I/O router with gain compensation down the line. Each integrated system would have control over its gain, so nothing is set by any one part of the system, in turn giving the operator complete control.

Featuring these women and providing a platform for them to be passionate about their products and experiences is the main reason we present this expo. We had several students from local colleges, including some who traveled over three hours to attend. Many of these women echoed the same stories we’ve heard over and over, being passionate about music and technology while feeling pushed aside by men who think their passion is more “serious.” Referring them to SoundGirls, including the scholarships that are offered and resources provided on the website was exactly what they needed to hear. Screw gentle encouragement; we can push these women into their dreams. Empowerment is in our tagline for a reason; we can equip these young ladies with the education and confidence necessary to succeed in their career of choice.

 

Should You Stay or Should You Go?

Imagine you’re catching up with a dear friend. They tell you how their partner calls them names, makes mean comments about their appearance, gets angry at them if they don’t do the chores right. You’re shocked; you ask why they don’t break up with such a nasty person, and they stare at their shoes and mumble something about their partner being right: they are terrible at washing dishes and could do with losing a few pounds. You almost laugh at how ridiculous that is, because you know they’re wonderful and deserve so much better. You want to get them to wake up and walk out like you’re sure you would in the same situation.

So why do we allow ourselves to be treated like this in the workplace? Not every day is going to be a walk in the park, but far too often, we find ourselves in toxic work environments that make us miserable. We know that we need to be tenacious to succeed. When we’re the new person, we need to get our head down and work hard, do the crappier jobs, and don’t take the teasing (that seems essential to the running of our industry for some reason) too personally. But there comes a point where the initiation period ends, and if you’re still the butt of every joke and being told you’re useless by most of your colleagues, you might begin to believe it. Perhaps it’s more insidious than that: your boss has reasons for why other people keep getting the jobs and promotions, even if they’re less experienced. Your coworkers might not yell at you, but they’ll roll their eyes and have hushed conversations that stop suddenly when you’re around. You might even work in several places with similar atmospheres, so you think this is normal. Dreading going to work and feeling worthless is not normal. Or at least not inevitable.

If you find yourself in this situation, the first step is to take stock of what is actually wrong, and how you feel about it. If you love the work, but there are a couple of things that make it difficult, talk to a friend or trusted colleague for a less emotionally invested perspective. Your coworkers might genuinely think you like the nickname they gave you or didn’t realise how much the joking was getting to you. If that doesn’t improve things, or the problems are systemic, try raising it with HR if you have an HR department or your boss/head of department/tour manager. Try to discuss it calmly, relying on facts more than feelings as much as possible, and approach it with the goal of making the work environment better for everyone both now and in the future. A reconciliatory approach will be better received than an accusatory one, no matter how justified it might feel. It’s always worth working at relationships, whether personal or professional, before declaring them dead.

There will still be times when this doesn’t fix the problem. It might even be that no one is at fault, you just don’t fit well together, or you feel like it’s just time to move on. Ideally, you’ll have saved up some emergency cash to tide you over until you find another job. Paulette Perhach illustrated the importance of a “F**k off fund” in this great but NSFW article. It can also be an incredibly powerful negotiating tool. You can be more confident and assured, and make much better decisions when you know you don’t need the money.

If you’ve given it a good shot, there is no shame in walking away. Even though it might be tempting, try not to burn your bridges as you leave. This industry is close-knit, and your reputation will precede you. The best revenge is simply living well. There are so many different work environments out there if you keep looking, you will find one that clicks sooner or later. It might not be easy: you might need to move city or discipline, or you might need to leave sound altogether. It can be tough, but once you are in a better place, you’ll wonder why you wasted so much time in a situation that didn’t work. Deciding to find better opportunities is a positive thing, even if it feels like quitting at the time. Letting people who don’t appreciate you take your time and your joy for years on end would be the real failure

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