PROFILE
Karen Weigold
By Maxime Brunet
K
aren “Keeks” Weigold grew up
in Toronto. She was always pas-
sionate about the arts, and spent
the first 18 years of her life study-
ing dance. She then attended
the Toronto Film School’s Sound
Industry Program, where she met acc laimed
Canadian artist and producer Dan Hill. Hill
offered her an internship in his home studio,
and soon she was skipping classes in favour
of recording demos for various artists. It was
while working at the studio that she was
introduced to some live sound techs.
Her first live sound gig was at The Big Bop,
a now defunct venue in Toronto. Weigold
describes her live sound training as being
the “sink or swim” method,” and credits Hill
for pushing her into the live world, as he
recognized that she thrived on the chaos
that often accompanies live shows.
As a touring freelancer, Weigold has
worked as an FOH and monitor engineer,
tour manager, and production manager.
Her first touring gig was mixing monitors
for Ian Thornley and Big Wreck. She was
then recruited to mix FOH for The Weeknd,
with whom she toured internationally for
three years. After that stint came to an end,
she spent four years crossing the globe with
alt-rock outfit July Talk. Some of her other
past clients include Serena Ryder, Stars, Demi
Lovato, Sofia Carson, and Michael Kiwanuka.
She currently tours with hip-hop heavy-
weight Vince Staples, mixing FOH in every
international territory save for the U.S., while
also working as a monitor engineer and stage
manager with Andy Grammer and produc-
tion manager with Daniel Caesar.
Weigold says the best parts of her career
are the constant travel and “being able to be
a part of something special and unique each
night.” She elaborates: “I feel incredibly lucky
to be included in some of the magic I’ve been
a part of since 2009. The artist trusts you as a
sound person to convey to the world what
they’ve poured their hearts and souls into.
It’s a pretty incredible thing.”
She also thrives on “working in a new
venue every day, with different gear and dif-
ferent challenges; sometimes it’s great, and
sometimes you need to figure out how to
make it great.” She acknowledges that being
faced with different set-ups and scenarios
every day can be difficult, but that this is what
ultimately makes you a better tech.
For those looking to get into touring,
Weigold says some must-have traits are
patience, always being open to learning
and improving your skillset, having empathy
towards the band and rest of the crew, and
being able to keep your cool under pressure.
In regards to finding the right artists to
work for, she adds: “If it feels good, do it. If
it doesn’t, it’s not worth it. I’m referring to
working with and for people who make you
a better person and give you a sense of ac-
complishment, happiness, and respect. I’ve
been on tours – and know a lot of people
who are or were on tours – that were not
great experiences mentally or emotionally.
Why put yourself through that? At the end of
the day, it’s all just rock and roll. We’re all here
for the same reason. Touring work needs to
be supportive, respectful, and professional.
If you can’t count on your road family, then
you need to find a new one.”
Like many women in this industry, Wei-
gold has experienced sexism, both on the
road and at her house gigs. She believes the
industry is slowly changing for the better,
but still considers sexism to be a challenging
obstacle to overcome.
During her career, has been scoffed at by
venue techs, told she’s not allowed to mix,
and even mistaken for a band member’s
girlfriend. For others that might be faced
with these situations, her advice is to tackle
them head-on.
“I wouldn’t ever want the women in my
life to feel like they don’t have a voice to be
heard, so I try to live my life like that when
I’m faced with less than ideal situations,” she
explains. “Speak up, do your job the best you
can, and don’t ever let people make you feel
like anything but their equal. Being quick-
thinking and tactful makes it easier to have
the upper hand. Let your work speak for itself.
Sexism is someone else’s problem, not mine,
and I won’t let it be mine.”
Weigold’s long-term goals are to con-
tinue honing her mixing and management
skills and to keep touring with great people.
She never wants to stop learning, and strives
to keep surrounding herself with people who
inspire her to do and be better, both in her
personal and work lives.
A version of this article was originally
posted at SoundGirls.org, a site dedicated
to inspiring & empowering the next
generation of women in audio.
Maxime Brunet was introduced to audio at the age of 17 through community radio. She now works as both a club and touring FOH engineer. She developed
an introduction to sound class, The DIY Audio Tech Workshop for Women+ , which she has taught throughout Ontario.
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