BY STEPHANIE ESLAKE
Mila Snyman knew she wanted to get into sound production. Having studied at TAFE, she recorded student bands and gained an important qualification.
But she also wanted to think bigger. And she needed to know how the industry really works — especially for classical musicians like her.
In 2020, Mila took part in the Australian Youth Orchestra’s Sound Production program. With its experienced tutor, a collaborative environment, and the chance to work on an ABC broadcast, the program was exactly what she was looking for.
As you might’ve read in our music education series so far, the AYO hosts industry programs for young people seeking insight into classical music careers. With programs ranging from Orchestral Management to Words About Music, musicians have the opportunity to take part in unique experiences with experts in their fields.
In this interview, Mila tells us what went down in the Sound Production program — and what she plans to do with this valuable new set of skills.
Mila, you took part in the AYO’s Sound Production program in 2020. Tell us a bit about the hopes and dreams you brought into the program.
After I finished high school in 2018, I did a sound production diploma at TAFE, which was a one year course because I was in search of something hands-on, and involved in music as a sort of gap year. At TAFE, we recorded student bands, but my ambition was to apply what I learnt at TAFE to classical music — because I am a classical musician, and I have a bigger passion for classical music.
When I discovered the AYO Sound Production program, I immediately signed up because I knew this was a once-in-a-lifetime opportunity. I gained immense experience and knowledge from the program, which made me certain that I would love to get a job working with and recording classical orchestras and programs.
Unfortunately, COVID-19 has prevented me from achieving this, but I am hopeful for 2021.
So what about the discipline of sound production appeals to you — from recording yourself to operating your own studio, or working for a radio station or orchestra?
The fact that we are able to capture sound and share music across electronic platforms really intrigues me. The physics of sound fascinates me, and that’s why learning about microphones and the recording process is a huge hobby of mine.
Recording an orchestra — especially an 80-plus-person orchestra — in my opinion is an artform, because you need to utilise your equipment the best way you can so that the recorded piece is as close as possible to a live performance. This can truly immerse a person in the music and atmosphere, and this is what drives me to learn more about sound.
I love the recording process, but mixing and mastering even more so. I would love to one day start my own little business where I mix bands, orchestras, and small classical groups here in Perth. Bringing a recording to life is really rewarding, and having this as a sort of side hustle is one of my ambitions while I am a student at university.
What were some of the things you picked up in the Sound Production program, which might help you achieve these dreams?
Under the watchful eye of [Sound Production tutor and audio engineer] Jakub Gaudasinski, we covered everything from setting up microphones to learning the function and how each one captures sound in a different unique way, to mixing quartets and running around the stage making sure everything is set up for the many concerts performed in the two weeks.
What I really enjoyed about the two-week program was how wonderfully busy it was. The adrenaline of making sure microphones are in place between group performances was really thrilling, and the satisfaction of a job well done after every performance was something that I’ll never forget.
Jakub allowed me and fellow participant Dan Young [in our featured photo] to learn so much and gain experience that we can apply in multiple fields of sound production and engineering.
How important was it for you to learn with someone like Jakub, who has forged a career in sound production — and how did it shape your idea of the industry, beyond the practical things you learnt about?
It was a great honour to have Jakub teach and mentor us over the two weeks. I was able to experience the passion Jakub had for sound, which allowed me to fully engage in the program and get the most out of it. It provided me with insights into the industry: how stressful it is at times, but most importantly, how rewarding it can be.
It was also interesting to learn the small tips and tricks that Jakub has picked up over the years, and apply it to sound practices of my own.
What did you learn from this experience about how other people understand sound production — for instance, through working with musicians who may not have training or awareness in how your field works? What’d you learn about communicating and working with them to achieve your own professional needs?
More often than not, sound engineers are in the background so that we are not getting in the way of musicians. But with the AYO program, we worked closely with Orchestral Management and Words About Music teams, which allowed us to learn about each other’s area of expertise and which was very rewarding, and made us a big production team. We educated others about microphone placements, and learnt how we needed to adapt to the actions of the Orchestral Management team.
Sound production involves a high level of communication. My communication skills improved a lot, and it also allowed me to connect and communicate effectively with people. It was also heaps of fun working with orchestra members and making them aware of microphones, and allowing them to have access to our recordings.
One of your AYO achievements was recording a couple of live concerts for broadcast on ABC Classic FM. Give us a bit of a rundown on how this all went at the events. What were your duties?
The ABC-recorded concerts were so much fun. It was an amazing experience to be a part of. We had a big set-up because both the orchestras and the string orchestra were of considerable size, and there were a couple of solos that had to be captured as well.
Dan and I switched between roles. We always had one of us in the control room/ recording studio, and another backstage so that we could move microphones to their allocated area between orchestra changes. It involved a great deal of communication and trust, and having a radio for communication made us feel very professional and gave us a taste of what it would be like working for a company such as the ABC.
Wow! So what did it feel like to know that every ABC Classic FM listener in the entire country was hearing a sound you helped distribute?
Hearing my name mentioned on ABC Classic FM solidified my love for sound production and the sharing of music. It made me feel an immense sense of achievement, and I will be forever grateful for Jakub and Dan for allowing the experience to be one that I will never forget.
What were some of the most enjoyable aspects of this program that weren’t part of the official Sound Production schedule?
Forming friendships was one of the many perks of the program. The Orchestral Management team helped shaped my experience, and allowed me to learn and have fun with them. The food runs to a sushi place near the concert hall with Jakub and Dan were another highlight, and when the staff at the sushi place learnt our names, we knew we had made our mark in Adelaide.
Now that it’s been so many months since you’ve taken part, what are some of the key lessons you keep with you today?
I keep going back to the recordings we made, because the orchestras and musicians were phenomenal — and listening to the recordings allows me to remember how fortunate I am to have been a part of that experience.
I still keep myself busy with sound in some sort of way, watching tutorials and trying not to forget the useful tips I learnt from the program.
It’s incredible how next-level-important sound production has become thanks to 2020: we’re now working in a pandemic, and everyone is relying on technology to capture the best-possible sound for their digital performances. What do you see in the future for a career in sound production?
The ability to record and share music has enabled people to continue listening to music in lockdown, which has helped many people stay in touch with what they love.
I think the future of sound production will have its ups and downs because [for future populations] pandemics will not be new phenomena. However, sound production will always be important so that music can be shared and accessed by many people, and music is so important for mental health. So having access to newly recorded music is important in lockdown and isolation.
The Australian Youth Orchestra’s arts administration and composition programs are now open for application. Stay tuned as we team up to bring you more interviews with artists who work behind the stage!
Images supplied.
