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L-Acoustics System & Workflow Scholarships Now Open

L-Acoustics is generously offering 12 scholarships for the System & Workflow training, which will take place during the SoundGirls & Women in Vinyl Virtual Conference on December 12–13, 2026.

System & Workflow is the prerequisite for all advanced L-Acoustics product and certification courses. This training provides the essential knowledge needed to confidently work within the L-Acoustics ecosystem and collaborate effectively with other audio professionals.

To receive a scholarship, recipients must be registered for the conference. Register now and save 20% with early registration.

Winners will be announced on Oct. 31, 2026
Apply Here
System & Workflow introduces users to the L-Acoustics system approach and project workflow, giving an overview of all L-Acoustics tools and all professional roles involved. That is the prerequisite for all other product training courses. The learning objectives are:
• Understand the L-Acoustics approach in the global framework of sound systems
• Know the components of an L-Acoustics system and how they complement one with another
• Identify on which part(s) of the system you will be working
• Know the standard workflow steps in a project that involves an L-Acoustics system
• Understand your role(s) and interactions in this workflow
• Identify the L-Acoustics tools you will be using
Upon completion, the participant is granted with a Certificate and a 1-year account activation/extension on the online L-Acoustics
Education platform.
In the platform, the membership to the System & Workflow group opens access to:
• Always up-to-date System & Workflow material in the Learning center
• Forum gathering all the System & Workflow certified technicians and instructors

What AI-powered audio tools have you found genuinely useful in your workflow?

We’re not talking about generative AI or tools that create music for you. We’re interested in the AI features that help you work smarter while keeping creativity and decision-making in your hands.

Have you found AI useful for things like:
• Dialogue cleanup and noise reduction
• Vocal editing or pitch correction
• Source separation
• Audio restoration
• Speech-to-text and transcription
• Loudness analysis
• Mixing assistance
• Finding clicks, pops, or other audio issues
• Metadata and file organization
• Live sound or broadcast workflows

What tool are you using, what does it do well, and why has it earned a place in your workflow?

We’re especially interested in hearing from professionals working in live sound, recording, post-production, broadcast, podcasting, game audio, theatre, and film. Share your experience, what’s been genuinely helpful, and what hasn’t lived up to the hype?

Let’s build a resource of AI-powered tools that enhance our work without replacing the engineer.

Drop your recommendations here

Best Practices for Protest Sound

Why Sound matters and should not be an afterthought. It helps people hear important information clearly, keeps crowds connected and engaged, supports accessibility, and allows speakers, performers, organizers, and communities to communicate effectively in difficult environments. Poor sound, on the other hand, can create confusion, fatigue, safety issues, and frustration.

Unlike concerts or corporate events, protest sound often happens in unpredictable spaces with limited setup time, changing weather, moving crowds, limited power access, and minimal budgets. The goal is not perfection — it is clarity, reliability, flexibility, and safety.

Here are some best practices for organizing and running sound at protests, marches, rallies, and direct actions.

Prioritize Speech Intelligibility

At protests, the most important thing is usually speech intelligibility, not volume or musical fidelity. People need to clearly hear announcements, safety information, chants, speakers, and directions.

Focus on:

If people cannot understand what is being said, louder sound will not solve the problem.

Dynamic vocal microphones are generally the best choice because they reject background noise better than condensers and are more durable in outdoor environments.

Keep the System Simple

Complex systems create more opportunities for failure, especially in fast-moving or high-pressure situations.

A basic protest sound setup may include:

The simpler the setup, the faster it can be deployed, troubleshot, and packed down.

Wireless systems can be useful but also introduce frequency coordination issues, interference, battery management problems, and additional points of failure. In crowded RF environments, wired microphones are often the most reliable option.

Plan for Power

Power is one of the biggest logistical issues for protest sound.

Questions to ask:

Portable battery-powered PAs have become significantly better in recent years and are often ideal for marches and smaller rallies.

If using generators:

Always have backup charging options for phones, radios, and communication devices.

Think About Coverage, Not Just Volume

Many inexperienced operators try to solve coverage problems by simply turning the system louder. This often makes things worse.

Instead:

Outdoor spaces do not reinforce sound the same way indoor venues do. Wind, traffic, buildings, and crowd noise all affect intelligibility.

For marches, mobile sound systems mounted on carts, bikes, or vehicles can help maintain consistent coverage.

Prepare for Weather

Outdoor events mean exposure to:

Bring:

Protect power connections and mixers from moisture whenever possible.

Heat can also impact equipment and people. Have water available for crew and speakers.

Build Redundancy Into Critical Systems

Anything mission critical should have a backup.

Examples:

A single failed cable should not shut down an entire rally.

If speeches or performances are essential to the event, have a contingency plan if the main system fails.

Accessibility Matters

Good protest sound is also an accessibility issue.

Clear audio helps:

Whenever possible:

If there are interpreters, lighting and stage placement should allow them to remain visible.

Coordinate With Organizers

Sound teams should maintain close communication with organizers and marshals.

Important questions include:

Clear communication prevents last-minute confusion.

Protect the Crew

Protest environments can become unpredictable.

Crew safety matters.

Best practices include:

Situational awareness is just as important as technical skill.

Community Knowledge Sharing

One of the most valuable parts of protest sound culture is knowledge sharing. Many people learn through mutual aid networks, community organizing spaces, DIY venues, grassroots media projects, and activist communities rather than formal training programs.

Sharing system diagrams, equipment recommendations, power solutions, deployment strategies, and lessons learned helps strengthen collective capacity and makes future actions safer and more effective.

Protest sound is ultimately about communication, accessibility, and community support. The goal is not creating the perfect mix. The goal is helping people hear each other clearly in moments that matter.

Getting Active: Amplifying Communities

Edited by Dina Maccabee

In an algorithmic era where it’s more important than ever to go into the real world and lend voice to the voiceless: how can we, audio folks, come together to amplify our communities?

Community organizers have plenty to juggle when  a public rally, street demonstration, or community concert. Volunteers don’t always have the technical experience to set up a PA or wireless mic system. Budgets are often tight or non-existent, and equipment must be cobbled together at the last minute in reaction to recent events. In these situations, audio technicians can offer invaluable advice and create meaningful impact.

People power

Nearly every skill learned in audio or events can be harnessed for good. In every live sound situation, whether it’s a corporate gig or a street demonstration, “it’s good to move quickly, troubleshoot quickly, and adapt to any changes” says Maya Finlay, SoundGirls member & audio engineer, who has been involved in community movements for over a decade in California. She became a part of the Rock the Bike community in San Francisco that formed around the love of music, biking, and activism. Maya has engineered live sound for various events, like their annual Bicycle Music Festival, as well as climate change protests. “One thing I learned working with Rock the Bike was getting a feel for how much more power is allocated to lower frequencies. When we had bicycle power and there weren’t enough people pedaling, I would sometimes have to drop the bass in the mix to conserve energy. Once more people got on the bikes and the energy was high, I could boost the bass more for excitement in a dance party. I never had to pay attention to this in a venue, and it was cool how directly people-powered it was!”

Maya Finlay (bottom left) doing sound for a Rock the Bike event

Many ways to pitch in

For technicians who can’t be on-site for events, there are plenty of other ways to contribute. L, a Berlin-based sound engineer, activist, and member of the SoundSysters collective, notes that “community organizers often don’t know what to ask for when preparing for an event. In these cases, technicians can offer advice on organizing/renting equipment, or soundcheck a truck PA before it goes out on the street.”

Those with other kinds of event experience can use production management skills to delegate work, rigging skills to hang banners/signs in all weather, and video know-how to setup livestreaming. Some gatherings might not have permits to build infrastructure, such as truss to support PA systems. This is where event technicians can get creative – with safety in mind.

For those from the studio and post-production world, Maya suggests to “find an organization whose work you appreciate and see if they have a podcast, video, any media you may help with. I’ve edited and mixed podcasts for EcoJustice Radio and Women Rising Radio, which features the work of different women activists around the world.”

Resistance and solidarity

L, who was previously a community organizer before getting into audio, acknowledges the challenges with volunteering in Kundgebungen (demonstrations in Germany). She notes that it’s stressful “to abide by police demands, and exhausting to work in a truck with a noisy power generators and a PA.” However, from organizing and running sound for demonstrations, the most rewarding part is seeing people coming together for a cause.

Her housing project, Køpi, was in danger of eviction. During these public protests, residents of other housing projects in Berlin came together to support and exchange information for resisting gentrification. Through these experiences, L has built up resilience, flexibility, and an appreciation for mutual support.

The amount of impact that sound technicians can have on communities is real and measurable. It’s important to make sure that community leaders and representatives are heard loud and clear. It can be tough working in these environments, but the payoff is worth it – especially if you’re looking to give back to a community in ways not part of your daily routine.
For Maya, the motivation is clear: “I care about shit and I feel compelled to do shit.”

_____________________________________________________________

Shout-out to the following contributors:

Maya Finlay: Anti-capitalist audio engineer, protest songwriter at Maya B Fury, co-owner of Subvert, member of Women’s Audio Mission and United Musicians and Allied Workers

L: Berlin-based sound engineer, activist, member of SoundSysters, formerly involved in Food Not Bombs

SoundGirls – L-Acoustics Grants 2026

L-Acoustics is offering 4 grants for courses in the L-Acoustics Education Program. The Education Team has structured the grants to relate to certain job profiles to help the recipient advance their knowledge and skills in their respective fields:

These grants focus on offering access to in-person trainings via our packaged seminars. For in-person attendance of courses, hotel accommodations are included with the grant. Grant recipients are responsible for any additional travel expenses. If the recipient is unable to attend an in-person training, the recipient will be offered online training options instead. 

Prospective candidates must be members of SoundGirls and have until October 1, 2026 to submit their application. Winners will receive notification of their award by October 31, 2026 and announcement will be made via the website and social media. Candidates can only apply for one choice of grant.

System Technician Grant

This grant consists of enrollment to the following courses in the L-Acoustics Education Program:

Establish your role in the L-Acoustics ecosystem and align your practice with the latest tools and state-of-the-art workflow.

Grant allows access to online or onsite training for this course.

K System of choice (K1, K2, K3, Kara II, or Kiva II) or L2 Training

This grant aims to empower the trainee to learn how to mount, rig, cable, and connect a L-Acoustics system.

It also aims to give the learner knowledge of:

Completion of the courses in this grant includes 1 year access to the L-Acoustics Education Platform learning community and content for all the courses.

Apply Here

System Engineer Grant

The recipient requires prior completion or concurrent enrollment to System & Workflow, or previous completion of System Fundamentals. This grant consists of enrollment to the following courses in the L-Acoustics Education Program:

This grant aims to empower the trainee to learn how to design and calibrate a L-Acoustics system. It also aims to deepen the learner’s understanding of:

Completion of the courses in this grant includes 1 year access to the L-Acoustics Education Platform learning community and content for all the courses.

Apply Here

L-ISA Grant

The recipient requires prior completion or concurrent enrollment to System & Workflow, or previous completion of System Fundamentals. This grant invites the recipient to attend all the L-ISA-focused courses from L-Acoustics Education:

This grant empowers the trainee to design, implement, and calibrate a L-Acoustics L-ISA system. This grant also empowers the trainee to prepare, encode, and control objects in a L-ISA mix as well as create a mix in L-ISA when walking up to a L-ISA system with or without preproduction. It also aims to deepen the student’s understanding of:

Completion of the courses in this grant includes 1 year access to the L-Acoustics Education Platform learning community and content for all the courses.

Apply Here

System Expert Grant

This grant consists of enrollment to the following courses in the L-Acoustics Education Program:

This grant aims to empower the trainee to advance their understanding in system optimization as well as learning about:

Completion of the courses in this grant includes 1 year access to the L-Acoustics Education Platform learning community and content for all the courses.

Apply Here

Listening is More Than A Technical Skill

The quietest moments in a studio have taught me the most.

Not when the music stops, but in the few seconds before someone says, “Let’s try that again.”

I’ve learned to recognize those pauses. Sometimes they mean an artist is searching for the right words. Sometimes they’re replaying the last take in their mind. Sometimes they’re simply gathering the courage to be vulnerable one more time. Those moments are almost silent, yet they often tell me more than the speakers ever could.

When I first became interested in audio engineering, I thought listening meant hearing what others couldn’t. I chased clean recordings, balanced mixes, and perfect microphone placement. I believed that was what separated a good engineer from a great one.

Those skills still matter. They are the foundation of our craft. But somewhere between sitting behind the console and standing in front of the microphone as an artist myself, my understanding of listening began to change.

I started paying attention to what couldn’t be measured on a meter. The hesitation before pressing record. The relief that follows a simple, “That was a good take!” The silence after a difficult song, when no one feels the need to speak because the performance has already said enough.

Every session reminds me that behind every waveform is a person trusting us with something deeply personal. We don’t just capture sound; we witness moments of creativity, doubt, excitement, and courage. That trust is something I never want to take for granted.

Our ears help us build great recordings. But our willingness to truly listen helps us build something just as important: confidence, connection, and trust.

The longer I work in this industry, the more convinced I become that listening is more than a technical skill. It is one of the quietest ways we tell artists, “I hear you.” Sometimes, that’s the difference between recording a song and capturing a performance.

Pleasure Received

Why Does This Sound So Good Vol. IV: The Age of Pleasure by Janelle Monáe

June is a beautiful month of celebration. From Pride month to Juneteenth to Black Music Month, there is plenty to be joyful about during this month. There is an album that underscores all the celebrations of this month that I have found myself revisiting— “The Age of Pleasure” by Janelle Monáe. This project creates a different sonic universe than other projects by Monáe, but her Afroruturism roots are still present here. In “The Age of Pleasure” by Janelle Monáe, they combine unequivocally Black sounds, such as Reggae, Rap, and Afrobeats, to create a universe of what pleasure means to her as a Black queer woman and activist. Lipstick Lover, Know Better, and Only Have Eyes 42 are standouts on the project that highlights Monáe’s queer Black pleasure.

Lipstick Lover

Monáe shows us early that her pleasure is deeply rooted in Black culture with Lipstick Lover. The producers are Janelle Monáe, Nate Wonder, Nana Kwabena, and Sensei Bueno. From the start of this track, the infectious Chop sets the scene for Monáe’s romantic endeavors. Chop is the offbeat rhythm Reggae is known for. It is played on harmonic instruments such as the guitar and keyboard. To read more about Reggae style, see here. Not only does Chop set the mellow energy of the track, but so do Monáe’s smooth vocals. Ambient laser-like synth sounds punctuate the background space of the song as she floats over the beat. As we reach the pre-chorus, the background vocals engulf the stereo array. The song’s supple production matches the effortless yet sensual tone of Monáe’s lyrics.

Monáe not only smoothly explains her pleasure with her lipstick lover, but she also underscores how her pleasure is diasporic. Her interview with Apple Music highlights this diasporic sound. She is playing the Chop in one instant, but stops mid-song to state that the funk-inspired bass walk-up is integral in Lipstick Lover. The blend of Jamaican Chop, Black American Funk, and so much more on this record not only highlights Monáe’s wide net of musical influence but also the love she has for Black music across the world.

Know Better

The producers on Know Better are Janelle Monáe and Nate Wonder. The amazing  features on the record are CKay, Seun Kuti, and Eygpt 80. Egypt 80 is Fela Kuti’s band. Fela Kuti is an activist commonly known as the father of Afrobeats. His son, Seun Kuti, is one of many keeping his legacy alive. CKay is a perfect addition to the track as he is a Nigerian artist and record producer known for mixing alternative sounds with the sounds of his homeland.

The song starts low with echoing harmonic synth sounds. Horns then set the tone of this track. They are sensual and direct. Monáe even samples the saxophone from Darkest Light by Lafayette Afro-Rock Band. Monáe and CKay’s voices are panned wide. Vocal stacking is utilized to make the texture thick. Their voices are clear and direct, like the meaning of this song. And the short reverb tail on their vocals adds to the clarity and forward feeling of their voices. The lyrics from both Monáe and CKay underscore the slow sensual nature of this song with lyrics like, “You try the fast wine but the slow better,” and, “Hold me/steady and slowly” (wine is a dance move that involves moving your hips in a circle, commonly used when dancing to Afrobeats, Reggae, and some variation is present in dances across the diaspora). This song is not only a cultural nod to the roots of Afrobeats, but it also underscores the sensuality and confidence of movement. The music moves you. The lyrics talk about this sensual movement. And the production choices support the pleasure and sensuality present in every aspect of the song.

Only Have Eyes 42

One of the final records of this project continues the steady and slow rhythm of pleasure. Only Have Eyes 42 is produced by Janelle Monáe, Nate Wonder, Nana Kwabena, and Sensei Bueno. The song invites us in with the Chop and laser-like synths again. Monáe’s singing starts low in her register with background vocals accompanying her. The background vocals make this song quite full and are produced in a way that makes the layers of the song seem more bountiful than they actually are (never underestimate the power of vocal stacking!). They act as a response to her call at times, as soaring chords at others, and as emphasis to her lyrics in other moments. The use of vocal stacking could also underscore the content of the lyrics. Janelle Monáe seems to be speaking about her love with two people, an ode to her polyamorous endeavors. The song comes to a climax and falls into the outro with the addition of strings. Every element of the song reminds us of the pleasure of intimacy in every layer.

Pleasure Received

Janelle Monáe surprised us with this project, a slight detour from her typical Afrofuturist lane. When talking about the album in interviews, she refers to it as a “letter to the diaspora”. That energy is felt and heard due to the Chop of the guitar, the feeling of the Funk, the bite of the Afrobeat horns, and the production that ties the music to the meaning of pleasure. As we close out Pride Month and Black Music Month, I am forever grateful for artists like Janelle Monáe who unabashedly make space for their identities and express them through their artistry. Because of “Age Of Pleasure,” many listeners have received an invitation to be unabashed in their pleasure as well.

COLLWI: Creating Community Through Life’s Transitions

Life is full of transitions. Some are exciting, some are unexpected, and many can feel isolating. Whether it’s a career change, becoming a parent, relocating to a new city, navigating divorce, caring for family members, returning to the workforce, or simply entering a new chapter of life, transitions often leave people searching for connection, support, and understanding.

COLLWI was created to help fill that gap.

At its heart, COLLWI is a community designed for women navigating life’s many changes and seeking meaningful connections with others who understand the journey. Rather than focusing solely on professional networking, COLLWI recognizes that personal growth, community, and support are equally important components of a fulfilling life.

In a world that often encourages independence and self-sufficiency, COLLWI embraces a different approach—one rooted in collaboration, conversation, and shared experiences.

The Power of Community

One of the most challenging aspects of major life transitions is the feeling that you’re going through them alone. Even when surrounded by friends and family, it can be difficult to find people who truly understand the specific challenges you’re facing.

COLLWI creates opportunities for women to connect across backgrounds, professions, ages, and life experiences. Through community-building initiatives, conversations, events, and networking opportunities, members can build authentic relationships that provide both practical support and emotional encouragement.

These connections often become more than professional contacts or casual acquaintances. They become trusted friendships, mentorships, accountability partners, and support systems.

Supporting Growth and Reinvention

Many women find themselves reinventing aspects of their lives multiple times. Careers evolve. Priorities shift. Families grow and change. New opportunities emerge while old ones fade away.

COLLWI recognizes that these transitions are not obstacles to overcome but opportunities for growth.

The organization encourages women to embrace change, explore new possibilities, and connect with others who have navigated similar paths. By sharing stories, experiences, and resources, members help one another move forward with confidence and purpose.

Building Connections Across Industries and Experiences

One of COLLWI’s strengths is the diversity of its community. Members come from a wide range of professional backgrounds, life stages, and personal experiences.

This diversity creates a rich environment for learning and support. Someone considering a career change may connect with someone who has successfully made a similar transition. A new parent may find guidance from women who have navigated balancing family and professional goals. Someone relocating to a new city may discover a welcoming community ready to help them build local connections.

These relationships demonstrate that while everyone’s journey is unique, many of the challenges we face are shared.

A Space for Belonging

Perhaps the most powerful aspect of COLLWI is its commitment to creating a sense of belonging.

Community is about more than networking. It’s about being seen, heard, and supported. It’s about having a place where you can celebrate successes, ask questions, share struggles, and connect with people who genuinely want to see you thrive.

By fostering these connections, COLLWI helps women navigate uncertainty with greater confidence and reminds them that they don’t have to face life’s transitions alone.

Looking Ahead

As conversations around wellness, community, and personal growth continue to evolve, organizations like COLLWI play an increasingly important role. They remind us that success is not measured solely by career achievements but also by the strength of our relationships and the communities we build along the way.

Whether someone is embarking on a new career, adjusting to a major life change, pursuing a long-held dream, or simply looking for meaningful connections, COLLWI offers a space where women can find support, encouragement, and community.

Because sometimes the most important thing we need during life’s transitions is knowing that someone else understands the journey.

A Special Invitation for SoundGirls Members

As part of the partnership between SoundGirls and CollWi, SoundGirls members are invited to receive complimentary lifetime access to the CollWi platform when they join by July 31, 2026.
The SoundGirls community has always been about creating opportunities, sharing knowledge, and supporting women throughout their careers. CollWi extends that spirit of connection by providing a space where members can continue building relationships, supporting one another, and finding community between events, trainings, and mentorship programs.
Through CollWi, SoundGirls members can create and host their own free virtual Sharing Rooms, connect with women navigating similar professional and personal experiences, participate in group coaching and mentoring sessions, discover coaches and mentors, and engage in meaningful conversations around career growth, confidence, leadership, well-being, and life’s many transitions.
Weather you’re just getting started, taking on new opportunities, navigating challenges, or exploring what’s next, CollWi offers a welcoming community where you can connect with others who understand the journey.
To claim your complimentary lifetime membership, visit: collwi.com
Use code: SOUNDGIRLSVIP2026

Catharine Wood Builds the Next Chapter at Planetwood Studios

 

Screenshot

After spending more than two decades building a successful career in Los Angeles as an engineer, producer, composer, and mastering engineer, Catharine Wood has embarked on a new adventure—one that combines cutting-edge technology, intentional design, and the creative freedom to focus on her own artistic vision.

Nestled on 35 acres in Southern Colorado, the newly completed Planetwood Studios is far more than a relocation. It represents a carefully planned evolution of Catharine’s work, designed from the ground up to support immersive audio, remote collaboration, and the next phase of her career.

For Catharine, the move was both personal and professional.

“As my parents are in their late 70s and early 80s, it was always the plan to come back to Colorado at some point,” she explains. “I’m sixth-generation Colorado, so coming home was always part of the plan.”

After taking advantage of a strong Los Angeles real estate market, Catharine sold her Eagle Rock property and reinvested in creating a custom-built studio inspired in part by the legendary Caribou Ranch Studios in Colorado. Having already spent twenty years developing her career in Los Angeles, she was ready to create a space specifically designed around the way she works today.

One of the most significant additions to the new facility is a dedicated Dolby Atmos mixing environment. While her Los Angeles studio served her well for many years, it simply wasn’t large enough to accommodate a full immersive audio setup.

“The new studio is about four times the size of my old studio,” she says. “A dedicated Atmos station is the biggest addition in the new space.”

Control room

Designing for Creativity

Unlike many studio owners who hire architects and consultants, Catharine personally designed both the house and studio, drawing on years of experience building and operating professional recording spaces.

This time around, she wanted a room that encouraged creativity directly inside the control room itself. Her Yamaha U3 piano now sits in the control room rather than a separate isolation booth, making it immediately accessible during writing and production sessions.

The studio features a bright, open aesthetic, intentionally avoiding the dark, cave-like atmosphere often associated with recording studios. Remote-controlled blinds allow natural light to flood the room when desired, while carefully designed acoustic treatments maintain a highly controlled listening environment.

Every aspect of the workflow was considered—from custom machine rooms and climate control systems to extensive underground cable pathways that keep the space visually clean and organized.

“Cables stress me out,” Catharine laughs. “So they’re all underground here.”

Control Room

Building an Atmos Future

Although immersive audio was unfamiliar territory when planning began, Catharine approached the challenge the same way she approaches her engineering work: by learning from experts and doing the research.

She collaborated with industry veterans including Charles Sprinkle of Kali Audio and Eben Grace of Grace Design to develop an Atmos system tailored to both her room and budget.

The result is a unique 7.2.4 Atmos environment paired with a dedicated stereo mastering station, both powered by a single Mac Studio M2 Ultra system.

Among her favorite additions is the Grace Design M908 monitor controller.

“It sounds unbelievable,” she says. “It’s completely bulletproof and gorgeous.”

The controller’s visual feedback system has become an invaluable tool when evaluating Atmos mixes and analyzing how other engineers are utilizing immersive formats.

Atmos Station

A Different Kind of Studio

Unlike her Los Angeles facility, which often functioned as a commercial recording space for outside clients, Planetwood Studios is first and foremost designed for Catharine’s own work.

Today, much of her business is conducted remotely, with clients spread across Los Angeles, New York, Australia, and beyond.

The move has allowed her to create stronger boundaries between work and personal life while providing a peaceful environment that supports intense creative focus.

“The sheer size improvement makes the work experience really relaxed and no-pressure,” she says.

That focus has become increasingly important as her career continues to evolve.

Recently signing with Exploration Group for publishing representation, alongside partnerships with BMG and Universal, Catharine is concentrating heavily on building her own catalog of music for television and sync licensing while continuing her mastering and vocal production work.

Iso Room

Lessons From Building a Studio

Building a world-class studio from scratch comes with challenges, and Catharine is candid about the realities of construction.

As both designer and project manager, she encountered many of the common frustrations studio owners face, including contractor issues and the need to redo critical work.

Still, the experience reinforced the value of understanding the technical side of studio design.

Her advice for anyone considering building a professional studio today?

“Make sure you have a separate sub-panel for electrical and a separate thermostat for climate control.”

Those lessons were learned firsthand through years of operating studios and solving problems in real-world environments.

Stereo Station

Looking Ahead

While Planetwood Studios already serves as an exceptional creative workspace, Catharine views it as a launching point for the future.

She plans to continue expanding her work in Dolby Atmos, mastering, vocal production, and sync composition while further establishing herself as a leader in immersive audio.

“I look forward to establishing the new Atmos work and my place as a leading engineer in Atmos,” she says.

Perhaps most importantly, the new studio gives her the space and freedom to focus on what matters most: creating music.

“The space is the best creative space I’ve ever worked in,” Catharine says. “Professionally, it’s a shiny new chapter.”

For an engineer whose credits span thousands of commercials, major television productions, Grammy-nominated projects, and decades of music production, Planetwood Studios isn’t simply a new facility—it’s the realization of a vision years in the making.

 

Visit Planetwood Studios

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