Sara Glaser

PMed you

I'll be there. RSVP'ed late to this form. See you all tomorrow!

Hello everyone, there is an organization I'm a member of called Soundgirls.org. Started by Karrie Keyes (Pearl Jam) it mentors and networks women and girls into sound. Soundgirls is currently doing an indiegogo fundraiser for their Soundgirls live sound camps. There are a lot of cool gifts for various donation levels. K-tek has generously donated a nice equipment bundle for $690 (savings of $200). Please go check it out and donate if you can. Let's reach out to the next generation. https://igg.me/at/JuAJGN3xJ4w

Looks like I'll make it this year. See you there!

An old mentor and tech teacher of mine, Michael Mroz (RIP), had been a studio tech at Caribou Ranch. He was there the night it burned down. Out of all the studios he worked at that one held a special place in his heart. He never got tired of reminiscing about it.

Now that I've started working again I'm sending in my $70. $10 for each year I've been soaking information of you and everyone else through the various website incarnations and locations!

Thanks for all the info Richard! I like your layout!

I have to agree with Whitney. I thought "Who Needs Sleep" would be more than enough. Had the vote gone the other way the camera guild (with Haskell at the helm) would have been in a strong position to lead the way for the rest of the unions in reforming our work hours. Sara

Hey all, Personally, I like to set up somewhere that doesn't require me to move my cart (or Jeff's:) for each shot! Of course I also like to be out of traffic's way (harm:) yet still be close enough to be able to keep an eye on set for surprises. As far as mixing to picture, when I first started doing location mixing I didn't always get a video tap and found it to be more distracting than the world of pure sound in my headphones (ohhhmmmm...) However, at the same time I wanted tap so I didn't feel so disconnected. Much as I would love to not need tap it is neccessary. Before I did location when I had just started working as a sound restoration editor I was cleaning up some audio (without watching the movie) and feeling I had done a very good job. I proudly called my boss in for a QC. He listens while watching the film and then he turns to me and tells me I need to put the footsteps back in! Lesson learned: How do I know if something I hear belongs in the mix if I don't have picture? Cheers, Sara

If they're not listening on cans and they can't hear what they're doing how are they able to finesse their boom skills? One of the first things I was ever taught was if you can't trust your ears (and this extends to whatever you're monitoring off of) you can't trust your mix. Of course that only works if you listen. And yes many good films have been done with the boom ops not wearing headphones. Personally, working that way voluntarily feels like gambling to me. I'd rather use the tools. Cheers, Sara

Well this ws definately designed for studio. I could easily see this being used on a Pro Tools mix/overdub session (or even an analog session). Unless things have changed drastically since I worked in music, it's probably still not uncommon for a mixer to want to "warm things up" by sending a track through a pre-amp in the mix stage. Especially if it was recorded digitally (i.e. Pro Tools). I remember Fairchilds, Pultecs (w/ old telephone amps) & Universal Audio's LA2A's routinely being used for that. Cheers, Sara

Ferdi, The other thing to keep in mind is that the headphone jack on the camera is (as far as I know) a pre-tape monitor. So in order to make sure everything is okay on the camera you will need to playback the tapes throughout the day (last take or whatever) in order to actually know whether or not you have a problem. I would recommend doing this right after sending tone to the camera in the morning before the first take and then spot check throughout the day. If you decide to use the G2's to transmit to camera you can set them up to have a -20db pad coming out of your mixer. When you send your tone out of your mixer through this pad to the camera you can set your levels on the camera accordingly. This is a neat trick when you're in an environment that may not be consistent with it's levels. It's also an easy way of watching your back. Sara

Ideally (at least in my world) there should always be a stand-alone recorder and any sound elsewhere (ie camera) is the backup for THAT. However, that's my world. In reality, oftentimes when there's a one-person sound team the request (production's desire) is to just record straight to the camera. However, as we all know cameras were not built for sound but for picture. Sound was an afterthought added (in my mind) so the consumer could record family videos at home. That we now consider doing professional work this way doesn't mean the sound recording capabilities of the cameras have drastically improved and are now the equal of our stand-alone machines. While some manufacturer's have improved the sound recording abilities of their cameras that function still remains in the afterthought category. I've heard enough horror stories (and been through some) where the fact that the mixer took it upon themselves to talk production into at least a DAT is what saved the day. So, roll with the doc shoot, accept you are being forced to record audio onto a camera, but ALWAYS record to an alternate source that you have total control over and feed that to the camera. After all, if the camera man switches the input from line>mic or knocks the inputs level settings way up without being aware of it the audio on the camera is most likely toast. Also, make sure you have a slate in there so if you do have to reference your "back-up" your editor will be able to do a head sync instead of having to sync to production sound. They may grumble a bit but just remind them you're doing it for them and most of the time they'll get over it. Also, try and bring an extra pair of comtek headphone or an earbud to plug into the camera's headphone jack. Sometimes you can talk the cameraman into wearing an earbud. He may not be listening the way we do but if a switch gets knocked and the audio is distorting they'll usually notice that. Good luck! Sara

Hey all, Just got a call from Shawn Holden. She was going down the list at 695 and saw my name as another female mixer. So, if we're compiling a list here, let's add her to it. Oddly enough, the two of us ended up having a conversation similair to this thread on the phone! Sara PS: Philip, I hope I get to meet Lori someday too. I've only heard good things about her. Too bad about Rusty, she really seemed to love booming when I spoke with her.

Sorry I forgot a few. Jill Cosh (boom op in Los Angeles) Misty Conn (boom op out of Los Angeles, Pacific Northwest & Texas) I'm not sure which is her current primary residence. Susan Chong (mixer out of Los Angeles I've met at a few 695 functions) Lori Dovi (mixer I've heard of from a few boom ops but haven't met) John Evans added: Gael Segalen (Parisian mixer currently working in NY on "Tiny Dancer") Hope that helps, Sara

Hey there Rory, Well as Doug, Old School, and RVD have mentioned I am a female sound mixer. So we are out there. Usually at some point I'll get "You're a little different from the other mixers I've worked with" from someone in production because they've never seen a female mixer before. In all fairness though, we do seem to be sadly under represented. I can't figure it out but then I like playing with gear and apparantely that's "unusual". Of course I also like to shop and that's not:) When I worked in music there were definately more women working in studios as engineers, sound editors, post, mastering, etc. I would say it has to do with traveling but that doesn't make sense because there are plenty of women out there doing the live circuit mixing for bands on tour. So I wish I knew. As far as other women in the business, I recently met Margaret Nathans who does playback (Her company is Forte Sound). Also, there is boom op named Rusty Fisher (Napolean Dynamite) who I've spoken to in the past although not recently. I believe she's out of Utah and may also post on RAMPS occasionally. Those are the only two I can add at the moment who haven't already been mentioned. Cheers, Sara

Thanks Jeff, I'll check it out. Btw, what would you design? Sara

Don't I wish!!! Actually, I dropped by Danny's shop with John Evans today. Johnny usually booms for me. Anyhow, we were talking to Danny about redesigning the duplex box in multiple ways along with the cable and headphones. (Danny is also a cable designer.) The boom op's headphones would have a little microphone like those hands free headsets attached to one ear. This would serve as a dedicated talk-balk/PL too the mixer that could function through the duplex box. That way when John's hands are in the air he can still communicate with me. Also, volume control that John could set himself on his duplex box. We were looking at some 7-pin mil-spec connecters that lock for the box and cable. 3 for what we're recording, 2 for headphone return, 1 for Johnny's TB, and 1 for a dedicated PL from me (or another mixer). I know we have other ways of having a PL but I thought it would be cool to incorporate it into the box. Then we started talking about phantom power in case Johnny needs to go wireless. I started talking about wanting a better headphone where I don't hear the set (just what I'm recording) and we kind of went from there:) Imagine that:) Any comments , suggestions, or ideas? I've got some homework to do (flow charts, pictures, etc.) before I check in with Danny again. But I told him I posted on this forum and he's interested in hearing ideas. BTW, Phillip, I told Danny about your Imperial and he can definately help you out and would be more than happy to. Cheers, Sara

Hi Phillip, Call him about your Imperial. Danny loves vintage gear (the whole reason he bought Standel in the first place) If he can't fix it, he would probably be able to point you in the right direction. You can get in touch with Danny through either the Requisite Audio site or the Standel site. Email and phone number are both listed. Here's the link for the Standel site contact page. www.standelamps.com/support/contact/index.html Requisite Audio is a high end "Boutique" style company that operates out of Danny's home. Everything is hand-made and overseen by him. I'll take that kind of quality in any piece of gear any day. Besides, I've used his gear before and it really comes down to me wishing that I had something from that I could use on location. Pure selfishness:) We tossed around the idea of a duplex cable & box, various cables, a mixing board, he mentioned monitors so maybe some headphones that aren't Sony's are a possibility, at the moment I can't remember what else. However, I was just feeling him out while catching up. On the other hand, I am quite serious about taking him up on this. So for me personally, I might want to start with Danny's cables since he's already developed them. They would of course, need to be modified for our uses. However, while those were being used he could be developing something else. That's why I asked for everybody's thoughts on the matter. Sara

Hi everybody, I was catching up with a friend of mine the other day who happens to be a manufacturer. His name is Danny McKinney and his companies are Requisite Audio & Standel. I know him from my music days. Anyhow, Danny makes great gear. Requisite has mastering quality limiters, pre-amps, and cables for sale. Danny's also been working on some moniters and he also has thoughts about boards. Standel, of course, has been around for ages (Danny bought the company) and offers amplifiers that guitarists seem to love. You can check out both companies at http://www.requisiteaudio.com/ The point of this is that while talking with Danny I asked when he could make something I could use as a location sound mixer. His first thought was cables. Knowing Danny's cables this is not at bad offer. But we kept talking and he's the kind of guy who wants to come to a set to see how we work because that's a major factor in whatever he designs. So the question of the day is: What are some of the things you might want to see developed? Or if the gear already exists what changes would you like to see made? What would make our life easier? I thought I'd open this one up because I'd like to know what the interest level is. I know quite a few of us design things on our own because we can't find it elsewhere. So let's hear some ideas and if enough people are seriously interested maybe we can take it from there. Who knows? Okay, open the floodgates:) Sara

Thanks Old School:) Sara

Oleg, Do you mean those foam applicator circular pads? If so they're usually made of something quite similair (if not the same) as the applicator triangles. Those can be bought at any drugstore and I'm pretty sure you can buy bags of them although they would be thicker than an application pad. Thanks for the tip though. Sara PS--Obviously I don't wear make-up since I need this clarified:)

Mine doesn't what? If my avatar isn't coming up when I post I'm unaware of it since it comes up on my computer. Sara

If you have a picture (or pictures) posted on IMDB (or anywhere else on the web) here's what to do: 1. Go to your page 2. Got to the photo gallery (or image) 3. Right-click on the image you want to use & select properties 4. This opens up a new window with a URL for the photo 5. Highlight the URL and copy it 6. Paste the URL in the "I have my own pic" box in your "Edit profile" page 7. VOILA!!! Hope this helps Sara

Hey guys (& gals if there are any others out there:) My name is Sara Glaser. I'm an L.A. native with no family in the biz. Once I figured out what I wanted to do I ended up at UCLA extension for Recording Engineering, Songwriting, & Music Business. I started working in recording studios back in 1998. (Swore I'd never do film only music...guess who was wrong?) I worked in music as a recording & mixing engineer both in studios & freelance for a few years. Then work slowed up and I wound up working at a non-union house as a restoration sound editor working on MGM's DVD re-releases. Cleaned up about 26 films in 3-5 languages each in the space of about 2 1/2 years. Work slowed up again (imagine that!) and a mixer friend of mine from Memphis (Louis McKay III) asked me to join the tour he was on when they came through town. (They were on their last leg & I'd mixed a few dates with them the previous year) Anyhow, I did and ended up co-mixing FOH (Front of House) for the west coast leg of Al Green's tour in 2003. Finished off the tour as his monitor engineer at the Monterey Blues Fest that year. Came back to the studio in time for layoffs:) Looked around and decided I missed the sun. Took some grip friends advice and tried location sound. It's a challenging obstacle course:) and different than what I was originally trained for but I'm enjoying the ride. I made it into the union last fall and now I'm just trying to move onto bigger & hopefully better things. I don't go to a cubicle every day & I get to see the sun (or rain)! Thanks for the forum Jeff; I'm eagerly soaking up all the info and advice people are posting. Cheers, Sara