Journal 62
Ramona 26
Sound engineer
- Life
- Odd hours, a dim apartment, and a studio that empties late.
- Temper
- Ear-led, impatient, specific once she finally asks.
Kinks
- She hands him the pacing once the booth is empty
- Slim and loose, a sign and not a squeeze
- He keeps her there until she asks for the end
I live in headphones and faders. I am twenty-six, and by the end of a session my ears are tired of other people's music and my body is wide awake. Vince is thirty-three. He waits until the artist has left and the booth is ours, and then he becomes the only signal I want. I like a slim collar, buckled loose, a sign I asked for and not a hand at my throat. I can talk in it. I can swallow. It does not squeeze. What it does is tell both of us that I have handed him the pacing. He edges me until I am furious and polite about it, and he stops the game the second I need him to. If I need out I say mute, and his hands leave me, the collar comes off, and we are just two adults in a small room again. I trust him with the board of my body more than I trust most people with a vocal.
The blog
2 entries, newest first.
The collar
I put the collar on the console myself, beside the faders, slim leather. Headphones off, on purpose. The booth was dim and empty. Vince looked at it and then at me. I said I am asking you to put it on. Loose. Two fingers under it. It is not there to squeeze me. It is there so I feel the decision. I want you to edge me while I wear…
Read full postThe booth
The artist left at midnight and took the noise with them. I saved the session, killed the talkback, and stood at the desk in my black hoodie with the headphones still around my neck because I forget they are there. The booth was dim, meters dark, the room tone finally mine. Vince locked the outer door. He knows the look I get when I am done being competent. I said…
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