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Elaine Rasnake – Mastering Engineer and Live Sound Professional – Owner of Daughterboard Audio

Elaine Rasnake (she/they) is a Philadelphia-based mastering engineer and live sound professional, and the owner of Daughterboard Audio. Since entering the audio field in 2016, Elaine has built a practice rooted in musicality, technical precision, and a deep respect for the emotional impact of sound.

Elaine’s relationship with audio began early—long before it became a career path. Growing up, music was a constant presence, from singing in choirs and performing in musicals to obsessively listening to favorite records and experimenting with recording on a family computer using an early ’90s gray microphone. An old home stereo receiver with physical EQ knobs and switches sparked a fascination with shaping sound, while writing and recording original songs for Myspace CDs laid the groundwork for what would become a lifelong pursuit.

While Elaine always knew music would be central to her life, audio engineering emerged as the most sustainable way to build a career within it. She studied Audio/Video Production and Vocal Performance at Bloomsburg University, earning a Bachelor’s degree and gaining her first exposure to formal recording techniques. As the only non-male student in the freshman audio cohort, Elaine found motivation in the challenge—proving themselves technically while helping open the door for more women to enter the program in the years that followed.

After college, Elaine gravitated toward mastering, a discipline that received only brief coverage in school but quickly became a passion. Largely self-taught in this area, Elaine developed her skills through extensive independent study, drawing from the work of mastering engineers like Bob Katz and Jonathan Wyner, alongside countless hours of critical listening, experimentation, and research. That self-directed education ultimately led to the founding of Daughterboard Audio in 2019, where Elaine now works as Owner and Lead Mastering Engineer.

Today, Elaine balances mastering work with live sound, bringing a musician’s sensibility and an engineer’s attention to detail to every project. Her work is guided by a belief in continuous learning, thoughtful collaboration, and creating sonic spaces where artists feel supported and heard.

Career Beginnings

How did you get your start in audio?

Once I graduated, I continued making my own music at home and uploaded everything to Bandcamp. I used that digital space primarily as a way to display my engineering skills for future clients as well as selling the music/touring/being an artist. Making those songs and going out and performing them was my first big solid step into

What were your first jobs, gigs, or internships like?

My first college internship was at a local radio station which was cool but I learned more about radio in general than anything new in terms of audio engineering. I’m pretty sure my 2nd internship was actually a scam that I was able to escape…but then my first solid job/gig was running live sound in my house. I had been living in a 6 person “show house” we called The Waiting Room. We would have a bunch of bands come through every month and host shows in our basement. I got the chance to work the mixing board for a lot of those shows and in the process, meet a ton of folks that I would later help record/mix/master out of my bedroom.

What skills or lessons did you learn early on that still serve you today?

Be genuine. Make friends. Be kind but set boundaries. People will enjoy and experience the music you help create, but they will always remember whether or not you were a kind, genuine person.

Did you have a mentor or someone who significantly supported your growth?

Katie Tavini was (and still is) a big mentor of mine. We met online and I was able to ask her a ton of questions when it came to the business, growth, networking, side of things. And over the years, she’s just been a great friend and cheerleader for all of my milestones and accomplishments as I move up in this industry.

What barriers did you encounter early in your career, if any?

I would say for the longest time, I was my own biggest barrier. I had a ton of anxiety about the world and life in general (still living at home solely out of fear and worry of being on my own, working the same restaurant job for 8-9 years, scared of any kind of major change). It wasn’t until after meeting my now wife and going to therapy that I was able to overcome a lot of those internal, mental barriers which helped me make even bigger strides in my career and life.

Your Career Today

What does a typical workday look like for you now?

During the day, I juggle two jobs: Mastering and taking care of my 2 year old daughter. I always have my phone on me so during any down times with her, I’m answering emails & dm’s. During her nap I do mastering/admin work in my home studio and attempt to remember to clean the house and myself. After dinner, I am either back in the studio to do more mastering work or I’m out running live sound for Warehouse3 out in Swarthmore, PA.

How do you stay organized and manage the demands of your work?

I am the kind of person that always keeps my notifications cleared and read, so that helps a ton. I use Trello a lot in tandem with Gmail and Google Calendar. When someone sends an email inquiry, it shows up in Trello as its own card. When I add a deadline to a Trello project card, it shows up in my Google Calendar. This setup has been huge in keeping things organized and knowing how my mastering work lines up with my live sound work and my child care work/home life.

What do you enjoy most about what you do?

I love getting to meet so many creative and inspiring artists and listening to new music every day. I love having that “proud parent” feeling when a project gets released and knowing that I was able to help them feel really confident and excited about something they put a lot of time, money, and energy into.

What aspects of the job are the most challenging or least enjoyable?

I am SO bad at small talk haha so as much as I love meeting new people and networking and everything, talking to people in person (as compared to email, dm’s, texting) is still very challenging for me. But I’m working on it!

What is your favorite way to spend a day off or time away from work?

It feels like it’s been years since I’ve had any proper kind of time off, especially since my daughter was born. But I always enjoy watching movies, reading books, hiking, biking, playing video games, and sleeping.

Challenges, Growth & Perspective

What obstacles or systemic barriers have you faced in the industry?

I often feel like such an outlier when it comes to this because I never felt like I was treated any differently than my male peers in the audio world. For all of my life, I just felt like one of the guys, was never really treated differently, or faced any major obstacles outside of my own brain and mental health.

Have you seen the industry change during your career? If so, how?

I’ve seen so many more women/non-cis male engineers enter the field and be recognized for their accomplishments which has been so wonderful.

What still needs to change to better support women and marginalized genders in audio?

We need to increase our visibility and representation and diversify hiring (I’m so tired of looking at a studio’s website, scrolling through the endless list of male engineers and finding that the one woman is just the manager/secretary.) When the younger generations don’t see role models that they can look up to, it’s hard for them to see a place for themselves in the audio world.

Advice & Looking Forward

What advice would you give to women or young people interested in entering audio?

Now is an incredible time to get into audio. There are so many people making music, there is always a show or event that needs sound to be amplified, etc.. And gathering the proper info and experience to do this has never been easier thanks to the internet. You can join audio engineering discords, directly message engineers on instagram, attend virtual conferences, etc. There are so many people out there rooting for you to get started and to succeed. The only thing left is for you to go out there and make the first move.

What skills—technical or otherwise—do you think are essential for success?

People skills are huge because in a big way, this is a service industry. Being able to talk to people, whether it’s a new artist you met or your co-workers at a live sound gig, could be the difference between getting the next upcoming job/project or not.

What long-term goals or aspirations do you have?

I want to keep growing my business. Maybe one day it’d be cool to have other engineers be part of Daughterboard Audio (a lot like the Weird Jungle mastering collective over in the UK).

Is there something you wish you had known earlier in your career?

I wish I had known about all of the resources out there like SoundGirls, AES, GrammyU, etc. That would have been huge.

Favorites & Personal Touch

Favorite or most-used gear (and why)

My Audeze LCD-MX4 headphones. I monitor all of my work in headphones so without these, I’ve got nothing. I also do all of my work “in the box” so my favorite plugin gear is Izotope Insight 2. I use this to meter everything I’m working on to see where things are sitting. It’s also a great way to see where modern releases are sitting, loudness-wise, these days.

A piece of gear you can’t live without:

Also the headphones for the same reason why they are my favorite.

A moment in your career that made you feel proud or affirmed:

Being asked to be on the panel for the 2025 SoundGirls conference. In the past I was a part of a couple of AES panels but I think it was mainly because I was a moderator on a mastering Facebook page and all of the mods presented a couple group panels. The recent SoundGirls conference panel was the first time I was reached out to, solely because of who I was and what I had accomplished and people wanted to know my journey, workflow, and perspective. It was one of the few times where I finally felt like I was a “pro” and had a proper place in this industry.

Anything Else

I love teaching, mentoring, guiding folks through this audio world so always feel free to send questions and reach out to me on Instagram @daughterboardaudio or send me an email at elaine@daughterboardaudio.com

EIPMA Presents: Women in Music —  Four Journeys, One Evolving Industry

The Entertainment Industry Professionals Mentoring Alliance (EIPMA) has always focused on one thing: making the invisible pathways into entertainment visible. Their events and mentorship programs bridge the gap between aspiring creatives and the working pros who keep film, TV, music, and live events running every day.

In their webinar “Women in Music,” EIPMA brought together four women whose careers reflect very different corners of the industry—Ainjel Emme, Ariel Beasley (Tender Misfit), Suzy Shinn, and Karrie Keyes—for a candid, often vulnerable conversation about identity, craft, and finding your place in a field that rarely hands anyone a roadmap.

This wasn’t a highlight reel or a panel of tidy anecdotes. It was four women telling the truth about how they got here, what they had to learn the hard way, and what they want the next generation to know.

Growing Up Musical—and Figuring Out How to Make It a Life

For all four, music wasn’t just an interest—it was the thing that shaped who they were long before they understood what a “career in music” could even look like.

Ainjel Emme grew up assuming she’d be an artist. But the more time she spent in the studio, the more she realized her instincts were pulling her toward vocal production and engineering—the behind-the-scenes work of coaxing out the honesty in someone else’s performance.

Ariel Beasley’s path clicked into place early: musical theater at five, songwriting at twelve, and then a Taylor Swift concert at thirteen that felt like a lightning bolt. From that moment, she knew exactly what she wanted to do—and she’s been building toward it ever since.

For Suzy Shinn, music was the constant. She wrote songs in her bedroom long before she ever thought of herself as a producer. That emotional rawness—those imperfect, honest beginnings—still guide her work today.

Karrie Keyes, unlike many young women today, didn’t grow up seeing audio as an option at all. “Working in music wasn’t presented as a real job,” she said. That changed only when she met Dave Rat and stepped—almost accidentally—into live sound.

Different stories, yes, but woven together by the same thing: music wasn’t something they chose. It was something they followed.

Early Lessons They Wish They’d Known

Every career starts with a learning curve—some gentle, some not.

Suzy Shinn shared the lesson that changed everything for her: emotion beats perfection. The recordings that shaped her weren’t flawless—they were intimate, messy, human. That’s what she tries to preserve in her work now.

Others talked about the sudden realization that the job they wanted actually involved far more than they imagined. And in many cases, that reality was far more rewarding.

Clearing Up What Their Jobs Actually Are

Even within the industry, people often misunderstand the work.

Ainjel Emme talked about vocal production as an art of intentional imperfection—sometimes literally detuning John Legend to bring back humanity when a performance becomes too polished. Her job is to keep the soul intact.

Ariel Beasley broke down the myth of overnight success. Her career is built “brick by brick”—writing, discipline, consistency, and the unglamorous grind no one posts about.

Creating Spaces Where Artists Can Be Vulnerable

True artistry lives in vulnerability—and that means creating conditions where people feel safe.

Ainjel Emme often clears the studio so a vocalist can sit alone with their emotions. That’s when the real performance shows up.

For Ariel, songwriting is therapy, and choosing the right collaborator is everything. “You’re opening yourself up,” she said. “You want to do that with someone who gets you.”

And for Karrie Keyes, who works in live sound, building trust has to happen fast. Sometimes she has five minutes before soundcheck to make an artist feel grounded. They need to feel right away that I’m in their corner, that I’m there to support them.”

Where Music Is Headed: A Return to the Human

All four women sense a shift happening. Listeners are reaching for recordings that feel alive—room sound, breath, feel—after years of hyper-digital polish.

Defining Moments That Shaped Their Careers

These weren’t résumé highlights—they were turning points.

Each story was a reminder that growth often happens in the moments we don’t feel “ready.”

How Men Can Actually Be Allies

When the panel was asked how men can meaningfully support women and marginalized genders in the industry, the answers were refreshingly direct:

Real allyship isn’t a slogan—it’s how you move through a room.

Balancing Work, Family, and Real Life

Karrie spoke honestly about motherhood—particularly touring while raising twins. There was no “superwoman” narrative here. It took a community of caretakers, clear communication with her co-parent, and a village she could trust.

“No one does this alone,” she said. “And no one should have to.”

EIPMA’s Role: Keeping These Doors Open

This webinar embodied what EIPMA does best: take real stories from real professionals and make the industry feel navigable for the next generation.

It wasn’t just a conversation about women in music. It was a reminder of why mentorship matters, why community matters, and why telling the truth about our paths helps the whole industry grow stronger. Because when more stories are shared, more people can see themselves in this work—and more doors start to open.

 

Call for 2026 SoundGirls Bloggers

Are you passionate about audio and eager to share your knowledge with a vibrant community? SoundGirls is seeking volunteer bloggers for 2026!

We are looking for enthusiastic individuals who can contribute their insights, experiences, and advice on various aspects of audio engineering, production, and the music industry. Whether you’re a seasoned professional, an aspiring audio engineer, or someone with valuable life lessons to share, we want to hear from you!

Why Become a Blogger?

  1. Share Your Voice: This is your chance to contribute to a community dedicated to empowering women and marginalized individuals in the audio industry. Your unique perspective can inspire and educate others.
  2. Expand Your Network: Blogging for SoundGirls connects you with a supportive network of audio professionals and enthusiasts. You’ll build relationships with fellow bloggers, industry leaders, and readers who share your passion.
  3. Enhance Your Skills: Writing for a community platform is a fantastic way to improve your communication and writing skills. You’ll gain valuable experience in content creation while showcasing your expertise.
  4. Make an Impact: By sharing your knowledge, you can help others navigate their audio careers, avoid common pitfalls, and discover new opportunities.
  5. Boost Your Visibility: As a blogger, you’ll have the chance to establish yourself as a thought leader in the industry. Your work will be featured on a respected platform, enhancing your professional profile.

Ready to Contribute?

If you’re interested in becoming a volunteer blogger for SoundGirls in 2026, please reach out to us with a brief overview of your experience and topics you’re passionate about covering. Together, let’s inspire and empower the next generation of audio professionals!

Join us in making a difference—your voice matters!

Apply Here

Ready, Set, Document

I’ve covered how I prep my script for a show and how I practice for tech in some of my previous blogs, but let’s take a deep dive into the what you can use to prep for tech and document a show for the run.

First up for preparation: get the script and and recording of the show. Details ad nauseam in this blog, but learning the show starts here. Personally, I retype the entire script (time allowing). This helps me get the show into my head because it requires me to go over every single word. While I’m typing (and any other time I can listen to music) I’ll have the recording playing in the background.

Once I have a version of the script to use for the run, I’ll do a pass through and rough in fader assignments and where to take cues for  new scenes. (Details on different ways to do that in this blog.) Those notes create my next piece of paperwork: what I call a CG Breakdown. (DiGiCo consoles call their DCAs “Control Groups” so I use CG or DCA interchangeably here.)

My breakdown is a spreadsheet where I fill in what each scene will look like. The first pass comes from what I noted in the script and it’s a rough pass. Things will change as you go through the show a few more times, but this gives you a starting place. Once it’s all there, I’ll look for patterns and how I can refine and simplify the mix: which people track from scene to scene or if someone’s in almost all of the scenes so it might make sense to keep them on a consistent fader.

When I was mapping out The Outsiders, my original pass assumed that Ponyboy, the main character, would end up on CG 1 for most of the show since he’s in almost every scene. What actually ended up happening was that he settled in on CG 3 for most of the show. In most of the scenes with other people he was usually the 3rd person to talk, and that also allowed me to place people around him. Dally and Johnny or Darrel and Soda became pairs on 1 and 2 for their scenes with him while Cherry or Bob usually ended up on CG 4 (with Bob on 5 when he was in a scene with Pony and Cherry).

Here is the first pass

 

Here Ponyboy bounces back and forth between CG 1 and CG 3 with a quick jaunt on CG 5 for a bit. If he continued from scene to scene, most of the time I put him on the same fader.

Then we have a few drafts later

Bumping the first couple scenes over puts Pony pretty consistently on 3, and then a couple scenes shift in the middle to keep him there (a few times it makes more sense to put him in speaking order). Moving him also doesn’t leave an awkward gap between him and Cherry for their scenes together.

This is a “Final(ish)” pass because things changed in tech and what we started with wasn’t what we ended up with, although they were pretty close.

The goal is to take the rough draft of DCA assignments and polish them to a more logical flow that you can take back to the script. Once you’ve made any changes from the original pass, you can start practicing. When you’re starting out in the industry you probably don’t have a practice board, so the tried and true method is using quarters. Grab a set of coins, one for each fader, and line them up on a table. (If you want to get more detailed you can grab some tape and make a line for each fader path with marks for where 0dB, -5, -10, -20 go.)

Honestly, quarters are much harder to navigate than regular faders, so if you can make it work with the quarters, you’ll have no problem once you get on the console. This was how I learned the mix for the first few years of my career.

As you practice, this gives you a chance to work through the script and the assignments you created. I like to go through the entire show at least once and then I’ll focus on the busy sections or transitions. This is the time where you can tweak things if something doesn’t feel comfortable, possibly changing fader assignments or adding in additional cues to make scenes smoother.

Once you feel good about the choreography of the mix, it’s all about repetition. Listening to the recording as often as possible and making sure you practice the trickier bits so you can check that it all really makes sense and feels cohesive.

At this point I’ll add in once last layer to my prep: I print out a version of the CG spreadsheet where I add scene numbers, cue lines to hit GO, and the names of all the CGs. (It’s basically what I’d have in front of my on the console without a script, because when I get to programming the show, I’ll use whatever note feature available so I’ll see what the cue line is for the next scene.) It looks like this:

Using this version of my breakdown I’ll do what I call “pointing through the show,” which means I’ll listen to a recording and point to who’s talking as they say their lines and mimic hitting go. Without the safety net of the script you can really see how well you know the show and easily identify the spots you need to review.

However, this is something I only do with an established show, like a tour, where the mix is already set. For newer shows that will change a lot during tech, trying to memorize the full show ahead of time isn’t as helpful.

All of this prep gets you to a point where you hit tech with a solid understanding of the show and a plan for the mix. When you’re loading in, you will likely have to do some programming to set up the console and your DCAs. This adds one more piece of paperwork to the load, but it’s simply another version of the CG breakdown.

In this final iteration I add an extra row underneath each scene and add who’s in that control group if the name doesn’t already tell me, either because they have a different name in the script (in Mean Girls the ensemble all had character names for some scenes) or they’re grouped together in some way.

Here’s an example from the show

This gives me a comprehensive document so I know exactly who should be on what fader in each scene. Sometimes you’ll have to go to the music department to find out who’s singing which part in a scene or Stage Management to know who says a line if you have ensemble numbers for the actors but character names in the script.

This is a time to exercise independence. Don’t wait for someone to spoon-feed you information if you have the means to figure out yourself. On Les Mis the associate and I were talking about how the focus shifted over the course of the song “The Confrontation,” and he said that we typically follow who’s on top (singing the higher part). So I went back to the score and marked out who that seemed to be, then asked him to double check my work. It worked much better for him to take a quick glance at what I had boxed in my script instead of having to go line by line to tell me who I should be pushing throughout the song.

Everyone has plenty of work to do themselves and the designer will usually be completely onboard if you’re able to take initiative and other departments will be happy to give you information ahead of time instead of having to play catch up on the back end.

Once you’re into a show run, you’ll need documentation on how your start up and shut down procedures work, especially if it’s a longer run or there will be subs covering the track. Pictures are always helpful, but clear directions can always get the job done:

On tour having a punch list for load in and load out tasks is helpful. I’ll do basic outlines for myself, but have more detailed notes in case someone has to do the load in without me (thank you Covid – examples for this as well as some other documentation are in this blog). All of these are things you should do as an A2 as well.

Speaking of, I’m not the expert on A2 paperwork and mine is very tour specific, but I had a couple documents I would always make:

First, you need a track sheet. On tour you’ll hand the local their sheet in every city and it needs to be clear and concise. Mine always included the time a cue happened in the show (some people don’t know the show or the songs so an external reference is helpful), the scene or song (if they are familiar), what they were supposed to be doing, and where they’d be doing it. I’d also leave a column for notes, just in case.

For my own documentation I had a couple spreadsheets I used to organize things:

I kept a log of our microphones. What the model numbers were, who they were currently on, if they swapped to a chorus member after the initial use or after a repair, and notes. It’s time consuming to set up and takes regular entries to maintain, but I found it helped me keep track of everything and was worth it in the long run.

In addition to the log, I had what’s commonly called a “bible” which is a list of all the actors, what role they played, what their mic rig was (clips, ear rig, coloring, etc), who they understudied and any alternations for that. More thorough bibles than mine will also include pictures of the actors in their mics to show correct placement and more detailed instructions on the rigs including materials and measurements.

For troubleshooting documentation, I had a running lists of problems that happened during the show (this I didn’t actually start until a year into my time on Phantom, but it’s something I wish I’d started earlier). It was anything from mics breaking/popping to com or camera issues to sweat outs to RF dropouts. I included what the problem was, what we did to fix it, and if there was any additional information or follow up that occurred. I added automatic highlighting in cells for keywords like “camera,” “Phantom,” “com,” or “antenna” so it was easy to find reoccurring issues.

These are all merely examples of what you might find useful and want to incorporate into your own workflow. All it really boils down to is: What do you need to feel prepared in your job? I personally enjoy busy work like typing a script or collecting mic ID numbers, and it helps me feel more organized and prepared for my job, so I’ll happily do it. But paperwork is not a one size fits all scenario, so it’ll take some trial and error to figure out what your organizational style is and what information you want to have within easy reach. My systems were developed over several years of paying attention to what others did and then incorporating them with my own preferences. There are things that change for every show as I learn more and find better ways to do things, so ask others for help and watch what the people around you are doing. You never know where you’ll pick up something good!

Screenshot

 

The Laramie Project

If you attended an event in early spring of 2019, there was a sense that it was the last you would see your friends.  From the news reports on COVID and many towns passing policies on public gatherings, it felt like a time of change.  September of 2025 felt the same way.  The violence and the negative repercussions to any statement with certain ideologies feels more akin to a Black Mirror episode than what life should be like.  It is still too early to tell what changes will happen to public discourse and diversity of thought, but the floor is covered in delicate eggshells.

In that same September 2025, I was fortunate enough to work on a local production of The Laramie Project, a docu-play of Laramie, Wyoming following the death of Matthew Shepard.  As with most community theatres, New Bern Civic Theatre (NBCT) plans their yearly schedule one to two years in advance.  Therefore they had no way of knowing how poignant the themes of hate crimes, stochastic violence, and religion would be to the present.  The Laramie Project was created as its subject matter was occurring in 1998 and 1999, and it is staged to resemble a documentary to emphasize the reality of its content.  The minimal cast plays multiple roles of Moisés Kaufman, the Tectonic Theatre Project, and the citizens of Laramie, Wyoming.  Actors stay on stage, changing costumes to show the change in characters, and the overall design is made to focus on the spoken word, rather than spectacle.  In addition, there are news reports, re-enactments, and courtroom scenes that break up the monologues and interviews.  This is not an easy play to watch, especially when you are working on the light board, and must sit through multiple viewings of weighty emotions and hate speech.  It was all I could do to keep silent night after night, and I always had a box of tissues handy.

It is odd enough that a rural North Carolina town would stage such a play, not only for the politics, but for the three-act length, and the fact that straight dramatic plays are dry to a casual tourist town.  In fact, the next play in the schedule was Monty Python’s Spamalot and it was already sold out during The Laramie Project’s run.  The director of NBCT’s production, Siobhan Brewer, knew this was a dream project and that every chance to bring this play to the different corners of rural America was critical.  I felt that the stars aligned for Brewer and made it a perfect production.  The cast and crew had a diverse collection of allies and folk from across the LGBTQ+ spectrum.  There was a deep emotional connection to the material that enhanced every performance.  Additionally one cast member had direct ties to the Matthew Shepard case and to Laramie.  On the first Sunday matinee, there was a post-showing discussion with a correctional officer who was in Wyoming in 1998.

Each showing filled about half the seats, however the audience was ready to learn and be changed by the show.  The reviews were reflective and avoided the superlatives that a more entertaining production would earn.  Surprisingly the only disruptions were an occasional snorer, and not any of the vocal conservative activists who reside in the area.  To give you an idea of the climate of rural Eastern North Carolina, there are several town hall regulars who decry the “lack of bibles” in school libraries, and the Gadsden flag decorates many lawns.  My theory on how this production slipped under the radar was that the local pride organization had sponsored the show.  Therefore, only those who were interested in supporting New Bern Pride attended the show.  Secondly, The Laramie Project and Matthew Shepard are not in the forefront of today’s news.  Matthew Shepard’s story is not on any of the major banned book lists in recent years, and Laramie has been quietly out of the news for many years.  With these lessons in mind, other theatres who want to support their communities can do so without drawing the ire of violent detractors.  It is what brings me hope.  H-O-P-E, hope.

Jessica Thompson — Mastering, Restoration, and Preservation Engineer

For more than two decades, Jessica Thompson has dedicated her career to the art and science of sound. As a mastering, restoration, and preservation engineer and founder of Jessica Thompson Audio, she has spent over ten years helping artists, labels, and archives bring recordings to life with precision, empathy, and deep musical understanding.

Jessica’s path to audio began not on stage, but behind the scenes. Growing up surrounded by records, cassettes, and the radio, she was drawn to music’s atmosphere and texture more than performance. It wasn’t until she discovered college radio in the 1990s—an era she calls “a real heyday”—that she found her place in sound. Immersed in the creative freedom of programming and production, Jessica learned to splice tape, run boards, and blend genres into thoughtful sonic journeys.

That early passion led her to public radio at WGBH  in Boston, where she found invaluable mentors—many of them women—who modeled what a career in audio could look like. Seeing women record, edit, and produce audio content was both inspiring and transformative, solidifying her commitment to pursue sound as a lifelong profession.

Jessica holds a bachelor’s degree in Anthropology from Wesleyan University, where she developed an appreciation for how culture, art, and technology intersect. Later, she earned a master’s degree in Media Studies from The New School, focusing on sound studies. Though her academic work helped her understand the philosophical and cultural side of sound, her true technical foundation came through hands-on experience—learning by doing, listening, and refining.

For Jessica, mastering is a craft that demands both patience and curiosity. “There’s no shortcut,” she says.

Career Start

How did you get your start? How did your early internships or jobs help build a foundation for where you are now? What did you learn interning or on your early gigs? Did you have a mentor or someone that really helped you?

My first internship at a mastering studio was a crash course in working in professional audio. The hours were punishingly long and the bar was sky high. I remember being taught the importance of every detail — from the precise, musical spacing between songs to spelling the artist’s name correctly. I did massive amounts of quality control listening, and there is no better way to train your ears than listening to hours and hours of music, closely, without distraction, every day.

In 2009, I landed at the Magic Shop in NYC, working with Steve Rosenthal who, to this day, is a friend and mentor. We worked on a lot of historical, archival recordings, everything from creating inventories to digitizing old tapes and discs to restoring and remastering the music, even field trips to basements and barns to assess collections. Steve is a brilliant producer and collaborator. He would give me mastering notes that truly made the project better, sometimes subtle and sometimes calling for a wildly different direction.

Since this is SoundGirls, I think it’s relevant to share this: I became pregnant with my first child while working at the Magic Shop, and not only did Steve not fire me, he graciously offered all the flexibility I needed, and then he gave me the crib his daughter had recently outgrown. I worked part-time after my son was born, and continued to devote myself to learning the craft and hitting my deliverables deadlines. I had a daughter 3 years later and kept up my part-time mastering schedule. Don’t get me wrong, I was not sleeping much, and there was a lot to juggle. But what a gift to be able to devote yourself to your career while having the flexibility to be present as a young parent! My point is: it is possible to cultivate that balance.

 

Career Now

What is a typical day like?

Now that I work for myself, my days are shaped by my never-ending “to do” list and my mood.

I can’t imagine having to arrive at a set time and work on whatever project was scheduled for that day. I let my energy and my mindset influence how I spend my day, so that means sometimes I hit the ground running at 7 or 8am and am in a state of flow mastering or restoring music. Sometimes I go to the gym, make breakfast, answer emails until 11am. Some days I don’t have the right energy to work on a challenging project, so I take care of creating deliverables and doing quality control listening. Also, I have two teenagers, so some days I take time to care for them or go to a school event. It’s the ultimate in flexibility, it’s deeply humane, and it only works because I have a very strong work ethic and actually do manage to deliver masters on time.

How do you stay organized and focused?

I love a “to do” list. I have a clipboard and legal pad and I categorize and write down everything I need to do, from major mastering projects to administrative work like backing up hard drives. Sometimes I micro-manage myself and create a sticky note with hyper-detailed “to do’s” for the day. Writing tasks out by hand is grounding and helps me plan out my day. Then all of my projects are essentially triplicated in a spreadsheet and on my calendar so nothing falls through the cracks.

What do you enjoy the most about your job?

I love that each day brings new music, something I’ve never heard before, and it might be powerful, beautiful, fun, dark, delicate, pounding, aggressive, anything! Especially historic records, I mean, how did I live so long without hearing the heartbreaking, charmingly, clever, poignant songwriting of Norma Tanega or Margo Guryan, or the lightning bolt moment when Sister Irene O’Connor and fellow nun and recording engineer Sister Marimil Lobregat used synths, drum machines, and a tape recorder to create psychedelic hymns, or Woody Guthrie sitting on his couch, testing out different rhythms and lyrics on songs that are now iconic. I love taking an old recording that sounds muffled or dull and then working to pull forward some awesome musical performance. I love getting a single from an up-and-coming band and making it absolutely slam!

What do you like least?

Being my own tech support, marketer, billing department…

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

You belong here. Take up space, take your time, listen, learn, be open to opportunities, show up, be on time, ask for help, work hard. Put yourself in spaces where you can be your best self. Maintain healthy boundaries but don’t be afraid to dive in deeply. Value the process as much as (maybe more than) the final product.

Also, know yourself. One key to my success and happiness is that, very early on, I figured out that I’m good at working alone, good at immersing myself in the details and being a super-specialist. Mastering suits my temperament. If you thrive managing a room full of personalities, being in the room at the moment of creation, troubleshooting in front of a live audience, maybe producing, engineering, or live sound are your sweet spot. You can try different aspects of working in audio and find pathways that feel nourishing, not draining.

Must have skills?

Desire to learn, attention to detail, flexibility, humility, kindness.

Mixing and Mastering Feedback Session

SoundGirls Virtual and Women in Vinyl Virtual Conference is excited to announce an exclusive Mastering Feedback Session designed to provide an interactive and educational environment for attendees to receive professional feedback on their mixes. This session offers a rare opportunity to learn directly from some of today’s leading mastering engineers about tonal balance, translation, and loudness—all within a supportive community setting.

Have your mix or master critiqued by top mastering engineers in the music industry. Selected submissions will be reviewed live by Idania Valencia (Charli XCX, Benson Boone), Sarah Register (Meshell Ndegeocello, Garbage), Margaret Luthar (Soccer Mommy, Bobby Rush), and Jett Galindo (Elvis Costello, Billie Eilish).  Receive practical feedback and insight into improving your mixing and mastering skills within a supportive community setting.

Objective
The goal of this session is to help attendees understand the final stages of the production process and gain actionable insight into how mastering engineers approach tone, dynamics, and overall cohesion. Participants will walk away with a clearer understanding of how to prepare and evaluate their mixes for mastering.

Session Format
The live session will feature ten pre-selected submissions. For each submission, the moderator will play short excerpts—about 60 to 90 seconds—of both the pre- and post-mastered versions of a track. Each submission will identify the specific section of their music they would like reviewed. The panel of mastering engineers will then provide feedback focused on tone, dynamics, and loudness, followed by a brief opportunity for questions.

Submitting Your Tracks
Before the event, participants will be able to submit their work through a Google Form available on the SoundGirls website. The form will request basic information, including name, email, track title, genre, and a short description of what kind of feedback the participant is seeking. Applicants will also identify which part of their track should be critiqued and provide two files—before and after mastering.

Files should be stereo WAVs at 44.1kHz / 24-bit and named using the following format:
FirstName_LastName_TrackTitle-BEFORE.wav
FirstName_LastName_TrackTitle-AFTER.wav

Mixing Feedback will only need to submit one stereo WAV file (no before and after versions need for mixing).

Participants must confirm that they consent to having their track played during the SoundGirls Virtual Conference and that they have submitted the correct files for review. The submission deadline will be tentatively set for November 25, 2025.

Participant Selection
Submissions will be reviewed for technical quality, file format, and completeness. The selection team will then narrow down to six to eight participants, ensuring a range of genres, technical approaches, and representation. Selected participants will be notified one week prior to the session with playback confirmation and an access link. Even if not selected, all attendees are encouraged to join the session to listen and learn from the feedback provided.

Featured Panelists
 Maggie Luthar
 Mastering Engineer / Studio Owner, Dark Sky Mastering
Vinyl Cutting Engineer, The Lathe Room
Credits: Soccer Mommy, Jamestown Revival, Low Roar

Sarah Register
 Mastering Engineer
Guitarist and collaborator with Kim Gordon, contributing to Gordon’s Grammy-nominated album The Collective
 Credits: Black Midi, Faye Webster, Tune-Yards

Idania Valencia

Mastering Engineer  – Charli XCX, Benson Boone –  Sterling Sound

Jett Galindo
 Los Angeles-based Filipino Grammy-winning mastering engineer and vinyl cutter
Credits: Elvis Costello, Pinar Toprak, Billie Eilish, Lena Raine

This session promises to be an invaluable opportunity for anyone looking to strengthen their understanding of mastering and receive professional, constructive feedback in a collaborative and encouraging environment.

Register now to take part in the SoundGirls & Women in Vinyl Virtual Conference

Use code Members for 25% off

Use code audiostudentdiscount for 50% off

Submit your tracks here

The SoundGirls Podcast and Living History Project is Seeking Volunteer Editors

 

The SoundGirls Podcast and Living History Project are volunteer-run and features interviews with audio professionals (from all walks of life) to learn how we can better support one another towards a more diversified industry. We are seeking podcast and living history editors to assist with post-production.

Editors will be responsible for:

Required skills:

Preferred skills:

If you are interested in volunteering you can apply here

SoundGirls and Women in Vinyl Virtual Conference Seeking Sponsors

We’re Still Seeking Sponsors — and We’d Love to Have You!

The SoundGirls & Women in Vinyl Virtual Conference brings together audio professionals, students, and creators from around the world for two days of education, mentorship, and community.

We’re inviting companies, organizations, and individuals to join us as sponsors and help ensure that no one is turned away due to financial barriers.

There are multiple ways to get involved:

Grant Sponsors — For every $100 donated, we provide two grants to audio students or individuals needing financial assistance.

Gift Bag Sponsors — Contribute digital assets such as plug-ins, software trials, or discount codes for our virtual gift bags.

Gear Donations for Raffles — Donate gear, tools, or accessories to be raffled off during the conference. These raffles create excitement and highlight your brand while directly supporting our scholarship fund.

Sponsorship Levels — From Friend to Platinum, each tier includes valuable visibility, conference passes, and recognition opportunities.

Your support helps us build a more inclusive future in audio, empowering the next generation of engineers, producers, and creators.

For questions or to get started, contact us at soundgirls@soundgirls.org.

SoundGirls & Women in Vinyl Virtual ConferenceSponsorship Opportunities

Grant Sponsor – $100

For every $100 donated, we will provide two grants to audio students or individuals needing financial assistance. Proceeds go to our scholarships funds. Donate Here

Gift Bag Sponsors

We’re seeking digital assets to include in the virtual gift bags for all attendees and presenters of the SoundGirls & Women in Vinyl Virtual Conference.

These can be anything from plug-ins and software trials to discount codes for products or services. We’re happy to collaborate with you to design your contribution and ensure it shines!

Sponsorship Levels

Platinum Sponsor – $5,000+

Gold Sponsor – $2,000

Silver Sponsor – $1,000

Community Sponsor – $500

Friend of SoundGirls & Women in Vinyl – $200

Why Sponsor?

To discuss sponsorship opportunities, please contact Karrie at: soundgirls@soundgirls.org

Together, we can create an inclusive and inspiring space for the next generation of audio professionals.

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