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Empowering the Next Generation of Women in Audio

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Christa Giammattei – Bridging Audio and Apparel with CMD+S

 

“Each celestial body, in fact each and every atom, produces a particular sound on account of its movement, its rhythm or vibration. All these sounds and vibrations form a universal harmony in which each element while having its own function and character, contributes to the whole.”

— PYTHAGORAS

 

Christa Giammattei is an audio engineer, sound designer, and musician. She provides both mixing and editing post-production sound services including dialog editing, cleanup, sound mixing, sound design, music editing, and music composition.

While completing several internships, Christa was able to create and mix sound for many top TV shows, documentaries, and advertisements. Now, she freelances those services across the nation while based out of the triangle area of North Carolina. She draws inspiration from her favorite video games and TV shows, which are what originally pushed her to seek out music and sound as a career. Her mission is to create the same sense of wonder and imagination in others that she felt when she first experienced those stories through sound.

She recently created Command + S Apparel was created with one goal in mind: design interesting, wearable clothing for audio engineers and musicians that isn’t just a black tee and “SOUND GUY” written in block print white letters.

How did you first become interested in audio?

Growing up, I was always fascinated by the sound in movies and video games. I would watch scenes over and over, just listening and appreciating how sound impacted the story. One Christmas, my mom bought me a beginner Yamaha keyboard, and I started to play along with songs I loved and wanted to learn more about. That was sort of the foundation of my interest in audio and music.

What music were you first attracted to as a kid? 

This sounds kind of crazy, but I was brought up in a house that very much appreciated some 80’s rock and roll. So, for many years I went through a Journey/Def Leppard phase. Also, of course, lots and lots of video game music. I played tons of Final Fantasy and other rpgs [role playing games], which have a definite classical sound to them. It was a balance in polar opposites.

When did you first think about audio as a career? 

I was an avid musician throughout middle and high school (classical percussion and marching band for the win!), but audio engineering never truly clicked in my brain as something I wanted to do until a couple of years into college. I was planning to get a degree in business, but when I stepped away from music after high school, I realized something was missing. I started to Google ‘jobs in music that weren’t teaching or performance.’ Eventually, I stumbled onto music production. I literally had no idea audio engineering was even an option: no one had told me this was a career path that I could take. Once I read about it, there was like this weird inner light bulb that went off; I knew I had found the thing I needed to do. From that moment on, my path was audio engineering, and nothing else.

You work a lot in TV and games; how does sound work specifically in these genres? 

I always tell people how awesome it is to work in audio post, because you’re helping to tell a story, and that’s really true! When doing sound for TV or a game, it’s all about furthering that overall narrative. In music, there are a lot of different genres: rap, rock and roll, classical, etc. Similarly, in TV and games, there’s a bunch of distinct styles and ways to do things. The sound can make it mysterious, or playful, or upbeat, or gloomy. There are a million possible options, with plenty of room for creativity.

You attended Appalachian State University. How do you feel this program prepared you for your field? 

I was incredibly lucky. Not everyone can say that their college experience was worth the money, time, and effort. But mine absolutely was. I had a great professor who pushed everybody to work hard and learn from their mistakes (Shout Out to Scott Wynne at App State!). We had access to multiple recording studios 24/7 and could head in anytime it wasn’t booked to work on our own sessions, class projects, or just fiddle with the equipment. I spent hours sitting at the various desks and preamps and synthesizers just figuring them out. We were also required to pass an audition on the musical instrument we were most proficient on. Having that musical background supporting audio education was enormously advantageous.

The community of musicians and audio engineers I met there was invaluable as well. App State is like the hidden audio gem; alumni have gone on to work on shows like Outlander or at gaming companies like Epic Games. So, there’s a great network of us that can ask for advice or help when we need it.

What gear do you currently use? Any favorite pieces?

Most of my gear is “in the box,” since I work in post. Izotope RX7 advanced is my saving grace and the best $800 I have ever spent. I use it on every single session I work on, without fail. Dialog Isolate, De-Rustle, and De-Reverb have saved many a zoom recording this year for me, and I honestly don’t think my workflow would be complete without it. Recently I have been loving Oeksound’s Soothe 2, and also the API-2500. I have this really specific Yamaha piano that I adore called the P-115 as well.

Have you ever experienced any sexism as a woman in the industry? 

Oh, absolutely. I could probably write an entire saga of instances where I’ve experienced sexism in the industry. “Where’s the sound guy?” is my personal favorite (haha). Over time, I’ve learned who to work with and who to avoid, so it’s definitely gotten better. I think women have to create a harder shell for comments to bounce off of in the audio field, and a stronger technical foundation to stand on. The worst experiences involving sexism for me were the more subtle ones- situations where I noticed I was being treated very differently in the workplace by people I thought I respected. It took a long time for me to understand that certain behaviors were not acceptable and to stick up for myself. But I’ve made it part of my personal goal to make it known that women are here in this field, we are growing, and we’re damn good at audio.

Your apparel CMD + S seeks to redefine apparel in the audio field that usually depicts stereotypical gendered images on it. As you say on your website: the aim of CMD +S is “[…] to design interesting, wearable clothing for audio engineers and musicians that isn’t just a black tee and ‘SOUND GUY’ written in block print white letters.” What inspired you to manifest your feelings about such apparel into your own clothing line? How has the journey been?

I wanted to buy myself an audio shirt one day and searched sound engineering t-shirts online. I browsed for hours, trying to find any clothing that an audio engineer would want to wear. There was this growing sense of disbelief as I saw there were maybe 20 versions of very similar tees, and most of them had some iteration of sound guy or sound dude or something like that. I was like “Is there not one single shirt that a woman could wear?!” And not only that, even the sound guy shirts were so generic and non-inclusive. It was embarrassing. And just another small example of how womxn are so often excluded in this industry. I realized there was a market here that was missing- there are millions of people out there who love sound and music, either for their career or just a hobby or casual interest. The more I thought about apparel for audio engineers, I realized I had ideas for designs that could be worn by anyone in the industry, regardless of gender, and inclusive for everyone.

It’s been a learning experience for sure, so far. Having to figure out websites, shipping, pricing, wholesale, social media, and everything else has been a challenge. But every person who buys a shirt is one more person that I know feels like I do. Even though I just started Command +S Apparel this year, it already means so much to me. It’s helped me network with people I never would have otherwise, and I can’t wait to keep going.

I love the myth and was elated to see her hair have cables. Her story is often misunderstood, I think, in that she was punished for a sexual assault and turned into a monster whose eyes could turn man to stone, with snakes as hair. Perseus beheaded her, popular with the Perseus movies lately. To reclaim this image in a field that is dominated by men was just incredible to see; I bought a shirt right away. How did you pick Medusa for the icon on one of your CMD + S shirts? 

THANK YOU. Yes, I totally agree. Parallel to what you said, I was reading an article about how the story of Medusa is misunderstood; that she wasn’t a monster and was instead punished for being a powerful woman. The story stuck in my brain, and as the idea for Command +S started to form, the snakes in her hair turned to cables in my mind. I decided we needed some more powerful women on shirts, and knew that I needed to include her, but in all her audio glory.

What’s the difference between working in sound for music and working in sound for TV?

In music, the audio production is (obviously) the core focus, but in post, sound is more of a supporting act. That’s really the key difference. I’ve heard a lot of people in post-production say that if the audience doesn’t notice the sound then you did a good job. What they mean is that if the audience leaves that experience remembering the story and the characters and the emotion behind it, and not like “Oh, that one song,” or “Yeah that explosion was something,” then you did what you set out to do. You supported the narrative, whatever that was, and that’s what it’s all about.

Do you approach sound for TV and film documentaries differently? 

I think I approach sound for documentaries as a whole pretty differently than say, a commercial or something based on fiction. Docs tend to be more reflective and linear, mostly because you are telling a very real story of someone’s life. It’s important to them, and so I try to honor the vision that is presented to me and uplift it the best I can. I don’t use quite as many unconventional effects, and I focus more on the dialog to make it as upfront as possible.

If you could talk to yourself from ten years ago, what one piece of advice would you tell yourself?  

Don’t be afraid to experiment and jump outside of your comfort zone. That’s how you’re going to find your own unique sound, and that’s what’s going to make you stand out. Stay true to yourself, remain humble and willing to learn. Arrogance doesn’t get you super far in audio, and people will eventually recognize the individuals who work hard, support their friends, and love the industry.

Thank you for your time!

Thank you so much for having me!

Follow Christa/CMD+S Apparel

Instagram @cgiammatteisound @command_s_apparel

Facebook @commandsapparel

Twitter @izzy_marizee

Rachael Moser System Engineer for Clair Global

Rachael Moser has worked for Clair Global in Nashville for over ten years as a PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, and most recently System Engineer/Crew Chief. She has worked in audio for over 15 years and attended Belmont University, graduating from their Audio Engineering Technology program with a BS and minor in business. 

Rachael grew up surrounded by music. Her dad was a bass player in a local band and had a full-scale recording studio in his advertising agency. She would spend time in the studio when school was canceled for snow days and other holidays. She would tag along with her parents to concerts and asked to see Tina Turner. Rachael remembers “being in awe of everything I was witnessing; the lights, the dancers, everything. I also remember whining because it was too loud and being too stubborn to put in earplugs. I find that fact to be quite funny given my current profession. Even though I may have complained, it sparked something inside of me that never burnt out. I can still get that feeling of wonder and awe going to a concert.”

 

Rachael played the oboe and alto saxophone in band throughout middle and high school and described herself as a band nerd. “I was what you would call a self-certified “band nerd.” I was a member of the marching band and was named drum major my senior year. I performed in the backing band for our school’s competitive show choirs, played in the pep band for at-home basketball games, and played in the orchestra for the school musicals. If I wasn’t in class or working on a video project, I was probably in the band room. I enjoyed playing music, but I didn’t LOVE performing. When I found a way to combine my love for music and technology, my passion for playing began to take a backseat.”

Being exposed to both technology and music in school and Rachael developed a love for playing music and working on the student television team. She became an assistant for her video communications teacher, where she could work on editing segments for the daily news and short films that students had put together. Rachael would be introduced to audio while taking a Digital Media Class, where she learned Pro Tools and recording. “It was there that I learned that I could combine my technology background with my love for music and never looked back.”

During her junior year in high school, she realized she wanted to pursue an audio career, although, at the time, she was not thinking about live sound. “I wanted to be a producer and own my own independent record label at the same time. I started looking at various colleges and universities that offered music business degrees along with audio programs. I visited a few different colleges, but none felt like the right fit. One day my dad ran into my middle school band director while out shopping. He suggested I check out Belmont University in Nashville. After my first campus visit, I knew it was where I could get a practical, hands-on education while in a small university environment. I would also have access to top-quality internships and job opportunities by being in Nashville, with Music Row just down the road. I knew it was where I needed to be.”

She would enroll at Belmont University in the Music Business program with a production emphasis. It was during her 3rd semester of college that she was introduced to live sound and when she realized that “I had a totally different audio passion. It didn’t come as much of a surprise seeing how much of a connection I felt going to concerts. I switched my major to Audio Engineering Technology but kept a minor in music business. I knew there was value in understanding how this industry and the music business works.”

At Belmont, Rachael was provided a lot of opportunities to work on and off-campus. One of her first jobs in the industry was working for the student-run live sound company, Clear as A Bell. The students were responsible for advancing, prepping, and working all shows they booked under the faculty advisor’s supervision. “It was a great introduction to knowing what it takes to work a show from start to finish.”

As part of the live sound curriculum, they worked on a series of showcases, which were full-scale productions six times a year in the campus arena. It was during one of these showcases that Rachael was introduced to Clair. Rachael would gain experience working alongside the Clair system engineer and monitor tech, flying the PA, ringing out wedges, mixing FOH and monitors. She says this experience solidified her career path in live sound, and she would set a goal to work at Clair and move her way up to system engineer. 

Rachael has achieved her goal of becoming a system engineer for Clair Global, and while it was not an easy path, it is one that she says was worth it. She now finds herself thinking, “deeply about where this path takes me next. I know at some point, my husband and I hope to start a family. That will be a big change and potentially impact the next steps in my career. For now, I will continue to grow and educate myself to become an even better system engineer.”

Career Start

I have worked for Clair Global since January 2010. I first started working at Clair in their Nashville shop my last semester at Belmont as part of a student work partnership. I would work two days a week testing cables or assist in whatever department needed help that day. One day it could be the speaker department, getting PA systems tested and ready for a tour. Another day could be in tour prep, packing caddies, and helping the touring staff get their stage and console packages together. During this time, I learned how each department worked and saw how each tour came together. After graduation, I was offered a full-time position in the electronics department, assembling racks. I would spend the next three years working in the electronics shop, specializing in wireless and intercom systems. I moved to Lititz, PA, in 2013 to complete the road staff training program. After training, I moved back to Nashville and have been touring in various roles since, from PA Tech, Monitor Systems Tech, RF Tech, Monitor Mixer, to most recently System Engineer/Crew Chief.

How did your first internships or jobs help build a foundation for where you are now?

In my early years, I learned a lot about myself and who I wanted to be. Starting out, I was so shy and intimidated by everyone else in my classes. It seemed everyone else was further along in their knowledge of audio or had already been working in audio for a few years. I felt behind the curve, and like I would never catch up. I knew the only way to overcome any of that doubt was to put my head down and learn. I took every job and internship as an opportunity to advance further. Not every internship I had was fulfilling from the technical standpoint, but I learned where I wanted to end up and what I wanted to achieve. 

When I was first starting out at Clair after college, I was offered the opportunity to run sound for a new worship service starting at a local church. It was an entirely new system that was installed, and I was walking into it about a week before the first service. I was doing it all, setting up the tech cart (the console was a Yamaha LS9 that was on a cart with the lighting console that rolled out of a storage closet and patched into a column in the center of the room), patching the stage, running monitors from front of house, etc. This job taught me a lot about self-sufficiency and time management. I absolutely loved my job running sound at the church and continued to do so for several years until I started touring. I’ll still occasionally fill in if I’m home on a Sunday morning. 

What did you learn interning and on your early gigs?

In my early gigs, I was able to develop the confidence I needed to make it in this industry. I remember the very first show I ever had to mix on campus; I was so nervous that I passed out while mixing. Everything was going along fine, but my adrenaline bottomed out, and I may have locked my knees, and I went face-first into the console. I was mortified and wanted nothing more than to run back to my dorm and never come back. But I remembered the few moments right before I left a small dent in that Midas Venice console; I felt so alive. I felt like I was right where I belong. Sure, I could run away and be too embarrassed to mix a show again. Or I could take a beat, remember to breathe, and move on. And move on is what I chose to do. Every show after that, I found myself becoming more confident until I genuinely believed that I belonged. 

Did you have a mentor or someone that helped you?    

There have been many people who have been big influences throughout my career. However, a few people really stand out as ones who have helped or mentored me along the way. 

One of those people would be Jeff Briggette. Jeff was one of the first people to see potential in me as an RF tech when I started building wireless systems. He helped push for me to go on my first broadcast gig to gain real experience. Every time I have worked with him since he has continued to offer knowledge and experience that I continue to use throughout any RF work I do. 

Another one who has been a mentor to me is Robert Bull. I have had the privilege to work with and learn from him for several years now. Whether I’m needing guidance through a tough moment in my career or celebrating even the smallest of victories, Bull has been someone who I can go to for advice or help. If I’m struggling with my monitor mixes and have dug myself into a hole I can’t get out of, Bull is the first person who is there to not only help get it sorted but teach along the way. 

Career Now

What is a typical day like?

A typical day starts out with me walking into the venue and looking around to see what we can look forward to for the day. I usually have a checklist of questions that I try to get the answers to before load-in begins. I will also determine how will be hanging the PA that day. Once my pre-load in tasks are done, I head off to catering to grab some breakfast. 

The first thing we see off the trucks is our rigging and power package. We will run feeder and get motors prepped to be hung, all before PA starts coming in the door. Once we have PA sorted on the floor, we will see the console and stage packages shortly after.

Once all audio gear is in the building, our stage manager gives us eight stagehands to assist with tipping consoles, hanging PA, and setting the stage. Once the PA is at trim, I head to front of house to assist our front of house engineer with the system’s tuning. Once all fine-tuning is complete, and we verify coverage, the audio team heads off to lunch.

Typically, we will have a band soundcheck each day. During soundcheck, I will walk the room again and verify that we are covering properly and everything we have done to the system is translating well. Once soundcheck is over, it’s time for the opening acts. 

Some opening acts carry their own audio packages, while others will utilize a package that we carry with our PA. We will assist the openers to get set up on stage and provide front of house/monitor mixing if requested. Once all soundchecks are done, it’s just about time for doors to open.

With just enough time to take a quick breather and grab some dinner, it’s time to head back out for the start of the show. I sit out front for the remainder of the night, making sure everything is working properly with the system. I will occasionally walk the room to make sure we are still covering well now that the venue is full of people. 

Before loadout begins, I’ll get with our PA tech to meet with our stagehands and go over the load-out game plan. I start my loadout at front of house, then move over stage right to begin bringing in PA. Once everything is out and loaded onto the trucks, I shower up, grab some after-show food, and try to get as much sleep as I can. 

How do you stay organized and focused?

One of the first things I do in the morning is to make sure I know where our gear is coming in from and where it will end up. I also have a plan with the rest of the crew to stage our cases in an easily accessible area for load out. I always keep a little notebook on me as well to write down any notes or pertinent information that may arise during the day. 

What do you enjoy the most about your job?

I was asked recently by someone what is my “why” for doing this job. The best way I could describe it was knowing that I am a part of something that is bigger than myself. I love being able to be a part of a team that brings to life an artist’s vision and help them present it to their fans every night. Being able to look out and know everyone in the crowd is there feeling a connection in their own way to the artist on stage; it brings a feeling that is indescribable. Even after having toured for several years, I still get that feeling when I go to concerts. I love knowing that I can help bring that feeling to other people.

What part of touring do you like best?

I like the challenge of doing the same thing every day but in a completely different place. Sure, the venues all kind of look the same, and after a while, begin to blur together. However, each place has its own uniqueness that you must learn to work with. I feel like that’s what keeps this job from feeling too monotonous. It’s easy to look at touring as doing the same thing day in and day out; load in, do a show, load out. However, every day provides its own set of challenges that keep you on your toes. At the moment, I may be upset at the fact I’m having to do a parking lot party loadout while it’s snowing or that my points took an extra hour because rigging in the building is difficult. I wouldn’t change it for the world.

What do you like least?

Being away from loved ones for so long. It’s easy to feel like I’m missing out on big life events or even the simple joys of normal home life. My husband and I both toured and were even lucky enough to tour together for three years. Before that time, though, he was gone nearly 300 days a year, and I was usually on the road when he was home on a break. It was incredibly tough. Not to mention, with both of us on the road, it made having a dog next to impossible, something we both want very much. 

What is your favorite day off activity? 

I love finding a day spa in whatever city we are in and booking a self-care treatment for myself. Whether it’s a massage, facial, or pedicure, I enjoy being able to break away from the tour bubble for just a couple of hours and unwind. We work these intense jobs with long hours, constantly on our feet with little sleep. I make sure to take time to relax and decompress.

I also enjoy finding great places to eat. I will remember a city based on places I have eaten on previous tours. Some places have left such an impact that I make a point to return whenever possible. Fun fact, my husband and I planned a vacation to Vancouver based around an oyster bar I found on a day off. I knew from the minute I sat down that I wanted to share it with him, so we booked the trip.

What if any obstacles or barriers have you faced?

I’ve had teachers in the past try to discourage me from pursuing a career in audio because “even though it may seem glamorous, most people don’t make it.” In college, I had fellow students openly discuss how they didn’t understand why women would want to be in this business. I had an internship interviewer ask me, “well, what are we supposed to do if a tour doesn’t want a woman on their crew? How would you feel about that?”. In my current job, while, for the most part, rare, I’ll run across the occasional stagehand who seems to have a major issue with me right from the start. Sometimes they are subtle; the eye rolls when giving directions or refusing to listen, then getting an attitude when my voice gets elevated. Others are more direct, making statements of “I don’t work with women” then trying to play it off as a joke while standing right in front of me (yes, this really happened).

How have you dealt with them?

The best way I’ve found to deal with it is to tune it all out and realize that it’s all just noise. Any person who doubts my abilities and refuses to look beyond my gender is not worth my time or worry. I have chosen to surround myself with incredible people and work for a company that supports and lifts me up rather than tear me down. 

The advice you have for other women and young women who wish to enter the field?

Never compare your path to somebody else’s. It’s so easy to get caught up in how much more knowledgeable another person may be or how many other tours that person has done. There may be times where you feel stuck, but use that feeling and forage your own way. Never stop learning and never stop growing. 

Must have skills?

Troubleshooting is an absolute must skill for me. Being able to locate and solve problems is key, especially if you are under a time crunch or have a dozen other tasks still on your plate. I also believe that continuing education goes together with being able to troubleshoot problems on the road. Further advances in technology require us as techs to stay up to date on the latest equipment that is being sent out on tours. 

Favorite gear?

Whirlwind QBox. It may not be flashy, but it will be a lifesaver when you need it most. 

More on Rachael Moser

‘Work smart, not hard’: Getting to know the next generation of pro audio

Rachael Moser on Roadie Free Radio

 

 

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Profiles of Women in Audio

SoundGirls / AES “How To Submit a Paper” Webinar

As we strive to change the race and gender balance of panels at academic conferences, we have been reaching out to underrepresented groups to invite submissions as part of our larger call for papers. We find that sometimes people just don’t know where to begin, and it’s time to change that!

Join panelists Leslie Gaston-Bird, Jamie Angus, and Bert Kraaijpoel for a walkthrough of how to submit an abstract, précis, and paper to an academic conference.

SoundGirls / AES “How To Submit a Paper”

Jan 15, 2021, 6:00 PM to 7:00 PM (England)

  • 6:00 PM to 7:00 PM (England)
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  • 10:00 AM to 11:00 AM (Pacific)

Register and post your questions here

Panelists Include

Leslie Gaston-Bird

Leslie Gaston-Bird (AMPS, M.P.S.E.) is the author of the book “Women in Audio”, part of the AES Presents series and published by Focal Press (Routledge). She is a voting member of the Recording Academy (The Grammys®). Currently, she is a freelance re-recording mixer and sound editor and owner of Mix Messiah Productions specializing in 5.1 mixing. Prior to that, she was a tenured Associate Professor of Recording Arts at the University of Colorado Denver (2005-2018) where she also served as Chair of the Department of Music and Entertainment Industry Studies. She led groups of Recording Arts students in study abroad courses in England, Germany, and Italy which included participation in AES Conventions. Leslie has done research on audio for planetariums, multichannel audio on Blu-Ray, and a comparison of multichannel codecs that was published in the AES Journal (Gaston, L. and Sanders, R. (2008), “Evaluation of HE-AAC, AC-3, and E-AC-3 Codecs”, Journal of the Audio Engineering Society of America, 56(3)).

Bert Kraaijpoel

With a mixed technical/musical background Bert started his audio career as a recording engineer in the 1980s, the beginning of the digital era. He was mainly recording and editing classical music and jazz. He developed secondary activities, establishing professional training programs in audio technology, initially for broadcast engineers and later expanding to other audio (-visual) companies. At present Bert is a full-time lecturer at the Dutch Film Academy and at the Royal Conservatory, mainly lecturing in the areas of electro-acoustics and psychoacoustics.

Bert has been an AES member for over 25 years and during that period he has a long history as a committee member for the Dutch AES Section. He has served as its Secretary for the past 10 years. He has organized a multitude of section meetings and tutorials on various audio-related subjects and presented tutorials on microphones and digital audio. He is pro-active in encouraging communication with the student community.

Bert served as a member of the convention committee for the 124th AES Convention in Amsterdam in May 2008. In his spare time, Bert is a baritone singer in one of the larger choirs of the Hague and he is also an enthousiastic amateur photographer.

Jamie Angus-Whiteoak

Professor Emerita of Audio Technology at Salford University. Her interest in audio was crystallized at age 11 when she visited the WOR studios in NYC on a school trip in 1967. After this she was hooked, and spent much of her free time studying audio, radio, synthesizers, and loudspeakers, and even managed to build some!
After secondary education in Scotland, in 1973 she attended the University of Lethbridge in Alberta Canada. There, in addition to her studies in physics, music, computing, drama, philosophy, and english composition, she repaired their VCS3 synthesizer, and so obtained coveted access to the electronic music lab.

She then studied electronics at Kent (UK) doing her BSc and Ph.D. there from 1974 to 1980. During her Ph.D. study, she became interested in A/D conversion, and worked on a sigma-delta approach, but had to give it up to concentrate on her Thesis topic of designing a general-purpose Digital Signal Processor. After her Ph.D., she joined Standard Telecommunications Laboratories, which invented optical fibres and PCM. There she worked on integrated optics, speech coding, speech synthesis, and recognition in the early 80s, and invented a novel 32kBits speech coding method. She has been active in audio and acoustic research since then.

She was appointed as the BT Lecturer at the University of York in 1983, to develop the first integrated masters (Meng) in Electronic and Communication Engineering in conjunction with British Telecom. She then co-created the UK’s first Music Technology course in 1986 when it was considered a “silly idea”! She is the inventor of; modulated, wideband and absorbing diffusers, direct processing of Super Audio CD signals, and one of the first 4-channel digital tape recorders. She has done work on signal processing, analogue circuits, and numerous other audio technology topics. She teaches audio and video signal processing, Psychoacoustics, Sound reproduction, studio design, audio, and video coding, and loudspeaker and microphone design. She has co-written two textbooks and has authored, or co-authored over 200 journal and conference papers and 4 patents. She is currently investigating environmentally friendly audio technology. She has been awarded; the AES Silver medal, an AES fellowship, and the IOA Peter Barnet Memorial prize, for her contributions to audio, acoustics, and education.
For relaxation she likes playing drums and dancing, but not usually at the same time.

The SoundGirls Podcast

The SoundGirls Podcast – Resonating Beyond Sound. We speak to audio professionals from all walks of life, to learn how we can better support one another toward a more diversified industry. We also talk to our soundgirls.org profile people and dive a little deeper with them.

 

 

 

https://open.spotify.com/episode/7kV5auzl9t5pINDHdp0g09?si=RseooAcHRQOn7j20SGPRUg

https://open.spotify.com/episode/3C5b8CnBHfTrSxroNxqjve?si=HsWZ8NvgSzWkU3y7nAwxig

https://open.spotify.com/episode/1rqn4nR6KD5zuBfXQvAYXV?si=IzUmIqA3Tg-tlgFQLrEzQA

https://open.spotify.com/episode/0caOBFwLjmtySOC797H8jE?si=8FZ4zWxAQDWJ2DmwQDJr5A

https://open.spotify.com/episode/4Nuzfe3nD0Z1QG0c6plyQa?si=TgFJpuDVQQur02PxVZm3OQ

https://open.spotify.com/episode/7tUjvYB4GztoO8fWfctmnB?si=QluRUudPRhaP-CDne-7ELw

https://open.spotify.com/episode/14vtfpkEvGtKL8VvySbRp8?si=Htfht5A7SdioA1Qc4BNVaw

https://open.spotify.com/episode/7EzZHCVnOdIIdlE7V4l2CQ?si=v72MN_WRTEW8OkGA4rTl4A

https://open.spotify.com/episode/1zER8WJDJqCbX3YYLMcILW?si=4MINUV7fSkSBMtOVDKOm9g

https://open.spotify.com/episode/7h6yf8VQ0I5Pn7RfwPQx8F?si=BOsPlcx6T4C0pKNU0BdQKQ

https://open.spotify.com/episode/4shIFANM5raQHvGMRv6maK?si=MiF297faRCyrJbji73DrZw

https://open.spotify.com/episode/3ZCj6dnE5juoUwuPxN9gnd?si=ZQaaKD6FSq-OFcQOLPXsOw

https://open.spotify.com/episode/4TJK3tYx2T80cKC2s6GUD1?si=o-ZelmrpRVO2UlaQajfcUw

https://open.spotify.com/episode/5pzZxJ5oAQVuVWBsGXub2I?si=WK-oLbkcTkGfKEvncBTm0w

https://open.spotify.com/episode/5zYGqU9njB1AUqdbZXFWUz?si=tVlss785T4SFtuZIYHUZAQ

https://open.spotify.com/episode/656bzuW0yjwfw74KHNZTT8?si=VQYrfKKGSO2fuxIVpKqKKg

https://open.spotify.com/episode/2DVtinxeeoKBj5w0FggWbX?si=iAzsNM2rQ6CbcrT-JTPeWQ

https://open.spotify.com/episode/6DgPx1ZFuwuKWuFJQc1yaC?si=ePlVFRMuT8G6YvMpDx6S0A

https://open.spotify.com/episode/5HmWw1u8eEm76OvVM0O1h6?si=3uLDe8obT0-PNGucVouSXQ

https://open.spotify.com/episode/2aZE4fsUKT3pwFm3VAE4PE?si=CH903Y00SIS49nYpyYNEFg

https://open.spotify.com/episode/75fJYa389xKsUkiAyX1vqo?si=g-UmnOQASu22INNbk93-wQ

https://open.spotify.com/episode/3A3b0wHyWVZD9aR96jMeo7?si=OV2ArvTtSZCGosA9Yi3ojw

https://open.spotify.com/episode/6DbD4NbUOOtDdo6XPrfrUf?si=fczBs5DpQnqvtuEKssXjpQ

https://open.spotify.com/episode/2jRm3ayhuOYkUSfvPwoB0O?si=WV_U7-Z7Qt-G_tY3cUMHPw

https://open.spotify.com/episode/72Hn4jm5ELRYLdPOrUDocA?si=639ck935Tam9qAma1hfcWQ

https://open.spotify.com/episode/6oViRDDrqbkMZRnYS9ekqa?si=5pxd9jDPS4i67nYdlFYzlg

https://open.spotify.com/episode/1yGeHWtFTV7IWNMljkxMu0?si=rVcZMbNFTbeXnWGFHSrE3A

https://open.spotify.com/episode/4hN7kQ1TaEaYiCzELC7uAf?si=mzlfkCO6SX6rOE0fUPSIDg

https://open.spotify.com/episode/0s5Owixy3YEFoQyOseomwm?si=G9dBmJEVQTisQ2yFm9RTew

https://open.spotify.com/episode/72IY1DnlxhoBVoR0bSa8lh?si=5HlOGvflTaeNewN1BD5A6w

https://open.spotify.com/episode/4RizyJXr6LZot8dobietcB?si=DlzGr7F-TlGeXMzbhgtdGg

https://open.spotify.com/episode/5kA3WUiDzx4iBC0UDzZZ7X?si=YRbDnlnjSlit2QbKqVZo4A

Ask the Experts – All About Mastering

What is a Mastering Engineer

Mastering audio is the final step in the creative process of recording and is the first step in the distribution side of music. People often wonder what exactly a Mastering Engineer does. There is a lot that goes into mastering audio including the use of digital and analog tools, applying and adjusting EQ, Compression, Limiting, Stereo Enhancement, and more. Mastering also allows for the chance for the project to have fresh ears. Mastering Engineers work closely with the artists, producers, and other engineers to reach the desired sound.

Here is your chance to ask the questions you have about Mastering.

Join us on January 9 at 11 am PST

Register here and Post Your Questions

Moderated by 

Ainjel Emme is a musician, songwriter, and producer. She has spent the past 20 years immersed in the study and practice of record production, shadowing world-class audio engineers, working in professional studios, and making records via her Los Angeles-based production house, Block of Joy.

 

Mastering Engineers

Jett Galindo – Mastering Engineer at The Bakery

Jett began her engineering career in the world-renowned Avatar Studios in New York as the recording engineer for producer Jerry Barnes. As Barnes’ engineer, Jett engineered for veteran artists such as legendary singer-songwriter Roberta Flack, Nile Rodgers and Latin Grammy-winning Brazilian rock band Jota Quest.

In 2013, Jett joined The Mastering Lab family as the sole right-hand man to pioneer mastering engineer and Grammy Technical Achievement awardee Doug Sax. Under the steady mentorship of the late Sax, Jett burgeoned to become the newest mastering engineer in The Mastering Lab roster. In 2014, Jett’s work with Brazilian rock band Jota Quest garnered the group a Latin GRAMMY nomination for Best Brazilian Contemporary Pop Album.

With engineering credits spanning different genres and legendary artists (Bette Midler, Randy Travis, Nile Rodgers, Roberta Flack, and Gustavo Santaolalla, to name a few), Jett Galindo carries on the legacy left behind by her late mentor, mastering legend Doug Sax (The Mastering Lab). She now works as a mastering engineer alongside Eric Boulanger at The Bakery, located at the Sony Pictures Lot in Culver City, Los Angeles.

Anna Frick Mastering Engineer at Airshow Mastering

Anna is a mastering engineer and the restoration center manager at Airshow Mastering in Boulder, Colorado. Her work encompasses studio albums, live recordings, reissues, and compilations across an array of formats, old and new, and a wide variety of genres and styles, from bluegrass and folk-influenced acts to rock and New Age projects. Legends like Ralph Stanley and Doc Watson, exciting contemporaries such as Billy Strings and GRAMMY-nominated Wood & Wire, and important blues and jazz archival recordings have all benefited from her uncanny ear and deft touch. She balances her strong instincts and intuition with her technical experience and each client’s goals to finesse every project she tackles. “[A band has] been working on their album for quite a while by the time I hear it, and it’s their vision – their baby – that they are putting out into the world. I don’t want to impede that vision. Ultimately, I want the music to move you.”

For Airshow’s restoration center she oversees all archival digitization projects. She mastered Third Man Records’ GRAMMY-winning box set, The Rise and Fall of Paramount Records, as well as having mastered thousands of hours’ worth of historical recordings from university archives and collections across the country. Each project is unique, with a singular story and special considerations: “[It] involves everything from understanding the recording medium, the equipment, and the transfer process to having the tools and the knowledge to tackle all sorts of bizarre problems. Understanding digital audio files and how to maintain file integrity over time.”

Anna holds a degree in Music Industry Studies from the University of Colorado at Denver. She is a graduate of the International Bluegrass Music Association’s Leadership Bluegrass program, an AES member, board governor and Producers & Engineers Committee Co-Chair of the Recording Academy – San Francisco Chapter, and chapter head for Colorado’s branch of SoundGirls.org.

Piper Payne – Mastering Engineer at Infrasonic

Piper is a mastering engineer based in Nashville and Oakland, CA. She recently merged her studio Neato Mastering with Infrasonic. Piper holds a BFA in Audio from The University of Michigan and continued her graduate education in audio at the University of Stavanger in Norway. She has apprenticed under some of the best-known Mastering and audio mentors in the world, including Bob Katz in Orlando and Micael Romanowski in San Francisco.

Piper is a Trustee of the Recording Academy and she serves on the P&E Wing Steering Committee and the Advisory Council. She is a Governor of the Audio Engineering Society and she is Co-Founder and Co-Chair of the AES’s Diversity & Inclusion Committee as well as an active member of Women’s Audio Mission and serves on the Board of SoundGirls.

Holiday Zoom Party

Join us on December 28th at 1 PM PST for a SoundGirls Holiday Zoom Party. We hope everyone has a great holiday.

Join Zoom Meeting
https://us02web.zoom.us/j/82252457440?pwd=NXlKcWNpenFubkhYY1BIeU0rSngwdz09

Meeting ID: 822 5245 7440
Passcode: 215526
One tap mobile
+16699006833,,82252457440#,,,,,,0#,,215526# US (San Jose)
+12532158782,,82252457440#,,,,,,0#,,215526# US (Tacoma)

Dial by your location
+1 669 900 6833 US (San Jose)
+1 253 215 8782 US (Tacoma)
+1 346 248 7799 US (Houston)
+1 646 876 9923 US (New York)
+1 301 715 8592 US (Washington D.C)
+1 312 626 6799 US (Chicago)
Meeting ID: 822 5245 7440
Passcode: 215526
Find your local number: https://us02web.zoom.us/u/k3m6Ekgwh

 

Women in Audio Podcasts

 

The SoundGirls Podcast

The SoundGirls Podcast – Resonating Beyond Sound. We speak to audio professionals from all walks of life, to learn how we can better support one another towards a more diversified industry. We also talk to our soundgirls.org profile people and dive a little deeper with them.

The SoundGirls Podcast

The SoundGirls Podcast New Episodes Every Tuesday

The Women in Vinyl podcast

Jenn and Robyn discuss and share interviews with record labels, pressing plants, cutting engineers, and more for an inside look behind the scenes with those working in the vinyl industry. They’ll also delve into everything from tech topics to questions about vinyl you may not know but are too afraid to ask. All with the goal in mind to support overall knowledge base, career development, and to share resources through collaboration, and diversity within the vinyl community. Subscribe and share to help grow and educate the community, create a nonprofit and share the love for vinyl with the masses.

It can be found on Apple Music, Spotify, iHeartRadio, and more but here is the Spotify link: https://open.spotify.com/show/3emFPRp39mcD0MV4myb2eZ?si=Qdna4C9lSSOgNbk7IH1x-g

On the website:  https://womeninvinyl.com/podcast/

Patreon for WiV + podcast is here: https://www.patreon.com/womeninvinyl

Yorkshire Sound Women’s Network New Podcast Audio Club

Featuring interviews with women and minority gender audio professionals on a range of music tech topics.

The She Rocks Podcast

Presents conversations with extraordinary women from all walks of the music industry, from top-tier performers to behind-the-scenes heroes. Sharing insights, tips, gear rundowns and so much more, the She Rocks Podcast gets in-depth and personal about all the issues that matter.

The show is hosted by Laura B. Whitmore, founder of the Women’s International Music Network and the She Rocks Awards, journalist for Parade.com
and music industry marketer. A champion for women in music, Whitmore has interviewed hundreds of musicians from every spectrum of the industry.

 Roadie Free Radio

One and Dunn Podcast

Tape OP Podcast

Working Class Audio Podcast

Signal to Noise Podcast

KEXP Sound & Vision

Location Sound Podcast

Produced by a Girl

Let’s Talk Audio

Let’s Talk…Audio Podcast. This is a home for minorities in the industry to talk audio and share their stories! The host Tangela has been a live sound engineer in Texas for some ten years, and she loves connecting with interesting people and getting their two cents. They release episodes bi-weekly or so.

Sound Women Podcast

A monthly podcast, featuring news and reports about the UK radio industry, plus interviews with some of the finest Sound Women (and Men) in the land. Each episode will focus on different key topics and be presented by prominent and inspiring figures in UK radio. The Sound Women network is committed to raising the profile of the women who work in the radio and audio industry and celebrating their achievements

Behind the Beat is a Gender Amplified original podcast highlighting the work of female and non-binary music producers.

Sisters of Sound Podcast

Storyophonic 

Backstage Chats

A podcast amplifying the voices and careers of women in music. Hosted by Thea Wood, the show is part of the Backstage Chats Foundation, a nonprofit organization offering grants and scholarships to women in music. Women are underrepresented on stage, on-air, and behind the scenes in the music biz, so it’s our mission to create gender harmony by sharing the voices and stories of female music makers. Backstage Chats with Women In Music connects music fans with female artists and industry insiders who remind us to be dreamers, to be rule breakers, and that we are all rock stars!

PSNEurope podcast Women in Audio

Pensado’s Place

Gear Club Podcast

TONEBENDERS PODCAST

The Tonebenders podcast is a resource for anyone involved in post sound, with insights on everything from field recording to editing, designing and mixing in the studio.

The Right Scuff Podcast

Shure Signal Path Podcast

Other Podcasts

Krysten Dean – Changing the Narrative for the Next Generation

 

Krysten Dean is a touring Sound System Engineer and Crew Chief working for Eighth Day Sound Systems, but if you said Krysten on the road, most people would not know who you were talking about because everyone calls her “KD.” She has been working in professional audio for the last 17 years after quitting her corporate engineering job. She has toured with JayZ, Beyonce, Lady Gaga, Rihanna, Earth, Wind and Fire, Drake, and Madonna to name a few. She is also an entrepreneur working to introduce more women and people of color to the technical side of the touring industry, through what she likes to call S.T.E.M.M. – Science, Technology, Engineering, Math and Music.

An Early Love for Music and Audio

KD grew up in a musically inclined family, with her mom and grandfather being singers, and she and her siblings all learned to play a musical instrument. She also was a member of choirs. Her love for audio started in her youth when she volunteered on the media team at her church. There she learned the basics of audio. KD says she enjoyed it all.

But when it came time to decide on college and a career path, KD was discouraged by educators from pursuing a career in the music industry. So instead, she went to college for mechanical engineering. After graduating with a BS in Mechanical Engineering and Masters in Science in Mechanical Engineering, she went on to work in the auto industry for eight years, where she found that she was pretty unhappy. She decided to quit her job and go back to school to become an audio engineer.

She says, “I knew I had to take a chance and bet on myself so that I could be happy. I secured an 85% scholarship and attended Full Sail.” She graduated from Full Sail with an Associate of Science in Show Production and Touring.

The Importance of Giving People a Chance and Mentors

After graduation from Full Sail, she would hone her skills as the technical director for her church. At the same time, she applied to Eighth Day Sound, where they took a chance on her. KD says of Eighth Day, “My boss really took a chance on me. I sent in my resume with no touring experience and little audio experience and he took a chance on me. He told me that someone smart enough to have a successful engineering career (with a master’s in engineering to boot) could learn how to do audio. Especially if they were passionate about it.”

She also had a co-worker who took her under his wing and introduced her to the touring world, which helped her navigate the touring culture. After a brief 6-month internship where she learned company culture and basic tour packages, she was sent out on tour. She says, “It was fast-paced and exhilarating for me and a welcome change from corporate America.”

Her corporate background did prove beneficial as working in the corporate world provided KD with a strong work ethic, and she says, “I am not afraid of the long hours, the grueling pace at times and the commitment required for touring.”

Before COVID hit, KD spent a good portion of her year on tour. Her long-term goals include establishing an organization to encourage minority women to become involved in the entertainment industry’s technical side. She says, “I am passionate about seeing people that look like me, doing what I am doing. By that, I not only mean women but people of color. There is something to be said about representation and achievement. I want to give back and make a difference.” Recently KD started an organization called KMissionD (pronounced ka-miss-ion-ed) to encourage more women and people of color to pursue STEMM.

Career Now

What is a typical day like?

Hectic, fast-paced. Arrive at the venue early (before most of the crew is even awake) to measure the room and plan the PA points and location with the rigger. Help the team to set it all up and get it working and sounding proper. This is usually when any problems are noticed with the system, but not always. Time-align and tune the system, line check, and sound check. Setup and handle the opening acts, do a show, tear it all down, pack it back into the trucks and do it all over again the next day. And somewhere in there, I manage to eat at least one meal for the day.

How do you stay organized and focused?

I usually have a game plan on what needs to be accomplished for the day. Although most would say we do the same thing every day, we are in a new location every day, which presents its own challenges. Thankfully I have been doing this for a while now, so I have been to many venues multiple times and know what to expect, but each tour is different.

What do you enjoy the most about your job?

Touring becomes your extended family. I can literally go anywhere in the world and reach out to someone I have toured with, met while on tour, or have a mutual friend.

What do you like best about touring?

I love to travel. I have been all over the world in this career. I also love when my crew and I can overcome the daily challenges we face in getting the job done effectively and efficiently.

What do you like least?

Being away from my family and my dog, Layla, for extended periods of time year-round.

What is your favorite day off activity?

SLEEP, no really, that is important, but I also like to take in the sights of whatever city I am in, especially if I have never been there. I also like to try some of the favorite local cuisines.

What if any obstacles or barriers have you faced?

Touring is still very much a male-dominated industry. As a result, you sometimes get treated as inferior or even invisible. I have had some difficult engineers and difficult situations, but at the end of the day, if I can say that I approached them with integrity, that is important to me.

I am a firm believer in having a strong character; my reputation is important, especially in this industry.

Advice you have for other women and young women who wish to enter the field?

Don’t be afraid to ask for help, and when unsure, ask for clarification. We aren’t meant to go through life alone, and SoundGirls is an excellent resource. Also, learn as much as you can. But not only that PRACTICE what you learn so that you do not forget it.

Must have skills?

One thing that has saved me time and time again when issues occur is that one thing your teachers always say is important, but you are like, yeah…ok – it’s signal flow. Tracing a problem from beginning to end usually shows your right where the issue is, and you can quickly move towards a solution. In touring, this skill can save your career.

Favorite gear?

I am blessed to be able to use a little bit of everything. My company stays ahead of the curve with gear and is able to provide what the engineers like and request. That is one aspect that I like about my job. I get to use a lot of new and exciting gear regularly.

Closing Thoughts

Although I still love audio, I am looking to add a new dimension to my career and focus on giving back and helping others. I am discouraged by the lack of women and people of color doing what I do, and I am passionate about changing the narrative. I have started speaking to women’s groups and technical societies to introduce them to what I do, and encourage others that it is possible to do it, do it well, and be successful. I also coach and mentor other women who want help navigating it all.

I have a YouTube channel coming soon, highlighting people behind the scenes in the live touring industry. I want to amplify others’ voices, allow them to share their stories, and inspire others that they can do it too. The channel will be called KMissionD.

KMissionD to amplify your voice…check it out!

More on Krysten Dean

STEMM: Science, Technology, Engineering, Math, and Music, with Krysten Dean

 

Impostor Syndrome Webinar – Dec. 13

 

 

 

Join us for a webinar on Impostor Syndrome on

Dec. 13 at 11 am PDT

Register Here

“Imposter Syndrome”, is a common mental process whereby someone has an unwarranted feeling of insecurity about their worth or their abilities, despite the evidence showing otherwise. Often thoughts occur that cause the person to believe they are fraudulent in their efforts or talents, and sooner or later will be found out to be “fake” or inadequate.

Kirsten Hunneyball a Certified Life Coach and Addictions and Eating Disorder Recovery Specialist will cover the basic concept, as well as share some examples, signs of the syndrome, and methods for overcoming the thinking pattern. It’s important to note that this syndrome is very common, and the more we are open about it, the easier it will become to manage.

Kirsten Hunneyball Certified Life Coach and Addictions and Eating Disorder Recovery Specialist Coach.

My name is Kirsten Hunneyball. I currently live in Johannesburg, South Africa. Music has always been a huge part of my life, or rather it’s always been a huge part of me. I play the trumpet, piano and sing. When I was at school, the Jazz and Concert Bands were where I spent most of my time, and music was the thing that carried me through many hardships. I have performed as a lead singer in bands at Music festivals such as Outland and Splashy Fen, and sang in a jazz duo in Durban for 3 years before moving to Ballito. I have played trumpet as a session musician on albums and performed at the Zakifo and French Music Festivals with Red Robyn. I have also written and recorded some of my own original music. About a year ago I took a great interest in what it meant to be the person behind the scenes, and hoped to learn how to produce my own music, and therefore I and am currently studying a music production diploma at Abbey Road Institute in Johannesburg.

I took a keen interest in Sound Girls a few months ago as I recognised the dire need for mental and emotional support in the creative industry. I am honoured to be a part of this fantastic cause.

 

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