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I have a curmudgeonly hate for modern technology. I like roll-up windows and faucet handles and telling stupid electronics what to do, when, and at what volume. I avoid the automated doors at stores in favor of the pull-handle ones. I park far and walk more. I’d rather be in the driver’s seat than the recliner. I think there’s something to human beings, to humans BEING, that technology at its zenith can’t beat. In the world of life, this makes me a dinosaur. In the world of audio, it makes me an amoeba.
So I decided, having recently joined my fellow 21st century humans in smartphone ownership, that it was time to try out one of the spectrum analyzer apps available. I chose a program called “Speedy Spectrum Analyzer.” It was well-reviewed, seemed (relatively) simple, and for the six-dollar price tag, I was willing to take my chances.
After a few days of poking and prodding, I realized that many of the features and options in the app needed something additional to work that I didn’t have – bluntly, more knowledge about acoustics and the workings of RTAs. I felt defeated for a hot minute, and then I remembered a conversation I’d had recently with a visiting engineer.
We’d been talking about learning the guitar (well, not learning the guitar, actually), and he said to me, “You know, when I was learning to play, I’d just carry the guitar around the house with me. Not to play it, just to, you know…live with it.”
When I thought I heard a problem, I looked to its precision to help me find it quicker.
Not only did it help me find the trouble spots faster, it was a good quiz for my ears. I would guess what I was hearing and then check my accuracy with the app.
And as terrific as it’s been to have a form of frequency training that I can do in the real world as opposed to the sine wave world, it’s been even more interesting just watching it run during shows. I know just enough about harmonics to know that I need to know more. Watching the waveforms, particularly during solos, has given me a much greater respect for and understanding of all the frequencies that are working to create what I hear and perceive. It really made me think about tone-shaping (and OVER-shaping) and just the overall range of different instruments and voices. It has given me a good point of reference for where most of the action is happening with a sound source AND what those ranges sound like in the real world.
I found out there’s a constant 52Hz hum everywhere in my house. My big mixing bowl rings at 749Hz when I thump it with my finger. My silverware drawer is a cacophony of sounds above 12k. I found that I wanted to know at what frequencies my doorbell rings and my dogs bark. My house, which I am intimately familiar with, became new and exciting, undiscovered territory.
I started taking it to one of my other jobs, as well. I don’t do sound there, but who cares? I know now that the constant squeal backstage that annoys one of my carpenter hand friends comes from the TV screen at the stage manager’s panel, and it’s at 15.2k. The computers in the lighting/video booth in the big theatre? Rocking out hard at 22k. The balcony in the little theatre has a big-time spike at 17.6k, the origins of which are undetermined – and on the sides of the balcony, it goes away. Knocking my knuckles on the table at the audio console produces a fascinating concoction of spikes and valleys. And when I sing notes into it, I see that the general character of my voice stays that same, and within the basic “shape” of it, the peaks and troughs move and change like careful choreography.
I have always liked and been interested by this job, but being able to see my medium in this new way has given me a sort of scientific enthusiasm for it that I didn’t and couldn’t have had before. It’s like looking into a microscope. The more you dig, the more you discover. In my daily work, I’m used to thinking about sound in theoretical terms and thinking about my physical job as being made up by cables and gear and the like. But in reality, I’m working with this never-ending tide of energy that’s totally alive, breathing and changing and affecting me as much as I’m affecting it.
I have a long way to go in understanding exactly how all of it works into what I do. But not only am I more excited to learn, I have a greater grasp on why I need to know. Not a bad education for six bucks. Who knows – maybe technology and I will find a way to coexist yet. In the meantime, if you have some suggestions for using and learning more about apps like this, I would love to hear them. And if you want to check out the one I’m using, here’s the link.
Happy engineering!
Article by SoundGirl: Kerry Mondy
Another great article by SoundGirls: I Have A Work Addiction: Life In Entertainment
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The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.
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