Empowering the Next Generation of Women in Audio

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How to Find the Best Candidate for the Job

 

There’s been a lot of talk about equality, equity and diversity recently. I’ll discuss the pros and cons of a diverse workplace in my next blog (spoiler: they’re mainly pros), but first I want to tackle an idea that shuts discussion about diversity down before it even begins: “It should just be the best candidate for the job.” Of course, I am 100% in agreement with that sentiment, but unfortunately, as is so often the case in live audio, the theory does not match up with real life.

Is live audio a meritocracy?

In my experience, it is widely believed that our industry, and indeed our society, is a meritocracy. That is, “outcomes such as wealth, jobs, and power are distributed on the basis of hard work, strong motivation, and personal ability.” (1) Or, that the best candidate gets the job. While that may be the ideal, and some companies might be very conscientious hirers, it is not what’s happening on an industry-wide level. If you’re feeling philosophical you might like to read this article about the origins of the term and the arguments for why a true meritocracy is unsustainable. The myth of meritocracy: who really gets what they deserve? (2). From a more practical angle, just think about how most of us get new clients: word of mouth. By its very nature, a network based on word of mouth and personal recommendations is an enclosed system. Would you trust a government that was only ever appointed by other members of that government? There are definitely advantages to hiring people who have been recommended by respected colleagues, but it is a system particularly vulnerable to biases and personal preferences, with little opportunity for scrutiny.

I have heard of people getting gigs because a parent-owned the company because they worked for a favoured artist and the hire company wanted to “keep them sweet” while they weren’t touring, or simply because they were in the warehouse when a project manager was filling their crew lists. Often, these people are genuinely very good at their job, but it can’t be argued that those are fair or transparent hiring practises. It’s also statistically unlikely that they were the definitively best choice for the job.

Meritocratic beliefs actually result in more discrimination

It sounds counterintuitive, but if someone believes they are part of a fair system (when they aren’t), they are more likely to act unfairly. “The more individuals believe that Meritocracy exists, the more likely they are to deny economic inequalities and discrimination and to overestimate racial equality and less likely to have support for policies designed to reduce those inequalities” (1). In other words, if you believe that with enough hard work and talent anyone can achieve anything, then you don’t believe discrimination or even luck are significant factors in people’s lives (3). The people who aren’t successful simply mustn’t have worked as hard or be as talented as the people who are. Members who benefit from the system happily believe that it is solely down to their work ethic and aptitude, while those who do less well blame themselves for being incompetent or lazy. When this belief is widespread, it further reinforces the stereotypes about the high-status group (often white men) being innately better than the low-status group (e.g. women and/or people of colour).

A 2010 study found “When merit was emphasized, research participants provided, on average, higher rewards to a male employee over an equally qualified female employee (in the same job, with the same supervisor, and with equivalent performance evaluations).” It concluded that “Ironically, working in an environment that highlights meritocracy might make individuals believe that they are fair and objective, and as a result, make them more likely to display their biases” (4). If someone feels they are already egalitarian, they’ll go with their gut instincts rather than examining what is driving their decisions, and those instincts are often biased. The rags to riches fairytale, which is so central to the American Dream and so countless movie plots adored worldwide, actually justifies the unequal status quo. It “serves as a social glue, holding the status-based hierarchy, and importantly, making inequalities more acceptable, hence promoting stability within a stratified social system” (1).

“Fetishing brilliance” reduces the pool of candidates 

A report published in Science in 2015 found that academic disciplines that fetishise brilliance, i.e. where practitioners in that field believe that raw, innate talent is the main requirement for success, are likely to have fewer women and African Americans than those that don’t (5). This results from a trend of white men being more associated with being ‘gifted’, while women and African American men “are stereotyped as lacking innate intellectual talent”. Tellingly, Asian Americans, who are not stereotyped in the same way, were not underrepresented in those fields. Emphasising the need for brilliance can both put women off, who often feel they don’t possess that quality and make employers less likely to choose women or African American men even if they do put themselves forward. The study found no evidence to support the theory that these groups are truly less likely to be naturally brilliant, as some had suggested, or that men do better because they work longer hours (which they didn’t).

We are obsessed with the idea of innate talent in audio. How many times have you heard people say that you have to have a musical ear for mixing, or you have to have the knack with technology? You’ve either got it or you don’t? Throughout music in general, skill is far more highly valued if you’re born with it. If you have to work at it, it’s almost embarrassing. When someone claims that to shine in audio requires skills that just can’t be taught, they’re subconsciously contributing to the underrepresentation of women and ethnic minorities in the field.

The limitations of word of mouth

If meritocratic beliefs and fetishising brilliance are two common factors in the industry, which have been shown to reduce the likelihood of success for large proportions of the population, why do we think the best candidate for the job is someone we already know? It’s not even a case of needing more diversity; how does an enclosed system recruit the best talent (innate or learned), regardless of identity? I understand that it is very difficult to judge aptitude for live audio just from a résumé. There are a lot of skills that can’t be measured by qualifications, résumés are vulnerable to exaggeration and finding a good personality fit for a team can be as important as finding someone with the right knowledge. The freelance, last minute and temporary nature of the industry also make it less suitable to recruitment methods used in more “corporate” settings. If you need eight people to work for just one week, starting 4 days from now, it isn’t practical to mount an advertising campaign for the roles then rigorously review each candidate and fact check their résumés.

However, we need to acknowledge that word of mouth and personal networks really limit the available talent pool, especially when it comes to newer people trying to make it in the industry. What are the odds that the best person possible for a job went to the same school as you? Knows a friend of yours? Goes to the same church as you? Or the old favourite, happens to be in the same room as you? If we can acknowledge the limitations of this approach we can start to do something about it.

Take control of the pipeline

Live audio is so highly competitive that it might seem like there’s little incentive to bother seeking candidates out rather than letting them come to you. Even if you get to the bottom of your call list, there’s always a pile of résumés waiting in your emails, right? It’s still likely that those résumés are from people who are already in the industry, often friends of people who work for you. You might be expanding the number of candidates, but they’re still likely to have quite similar attributes, especially if you’re looking for people who will “fit in well”. There’s a growing body of evidence that having diverse teams, not just measured by gender or ethnicity but a diversity of thinking improves performance (6). According to research discussed in Scientific American in 2014, “Being around people who are different from us makes us more creative, more diligent and harder-working.” (7) I will revisit this in more detail in my next blog but suffice it to say it is good to work with a wide variety of people, both from a company perspective and as a freelancer.

More “traditional” business sectors understand the importance of nurturing talent well before candidates reach the interview stage. If you want to attract the best of the best, you’ve got to see recruitment as an investment. I don’t know about you, but any career advice I’ve ever had was awful. There were about five jobs on their list, and none of them was “sound engineer.” The best engineer of the future might not even know the role exists. You could go into schools (not just your own) and do demonstrations, hold open days at your premises, have an active online presence where anyone who is curious can learn more about the industry and your part in it. Offering work experience and internships can help both parties assess each other, and you can teach potential employees good habits before they have the chance to learn bad ones.

As for finding candidates who are already in the industry: treat maintaining your freelancer pool as a year-round task. It’s easy to not see it as a priority when you’re busy with more immediate concerns, but if you leave filling positions to the last minute, you’re highly unlikely to find the best candidate. If you’re in a rush you won’t be thorough in your considerations, and to be frank, if someone’s available at short notice, they’re unlikely to be high quality. When reviewing cover letters and résumés, try to focus on objective things like qualifications and experience, and avoid making snap judgments based on less relevant aspects, like names or age.

Freelancers benefit from less homogenous working environments too, so it’s in our interests to help expand the search for coworkers. If you’re asked for recommendations, bear in mind that it’s natural to suggest people who are like ourselves (8). Make the effort to think about who would actually be the best fit for the role. If everyone you know is like you, get out more! Interacting with a wide variety of people benefits your professional and personal development anyway (more on that next time). Companies, employees and freelancers can all work to foster environments that value differences of opinion and experience, not just to attract but also retain and develop the best people in the industry.

So, if you’re looking for the best candidate for the job, I hope I’ve convinced you that our current methods are not enough to find them. Our industry is not a romantic comedy where the person we needed was right there in front of us all along. Idly believing that the best people should get the job is not going to change this. The good news is there are plenty of ways to find great techs and increase your competitive edge, productivity and profits in the process.

  1. Primes and Consequences: A Systematic Review of Meritocracy in Intergroup Relations. Madeira et al., 2007 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6761281/)
  2. The myth of meritocracy: who really gets what they deserve? K. A. Appiah. 2018 https://www.theguardian.com/news/2018/oct/19/the-myth-of-meritocracy-who-really-gets-what-they-deserve
  3. A belief in meritocracy is not only false: it’s bad for you. C. Mark, 2019 https://aeon.co/ideas/a-belief-in-meritocracy-is-not-only-false-its-bad-for-you
  4. The Paradox of Meritocracy in Organisations. Castilla & Benard, 2010 https://gap.hks.harvard.edu/paradox-meritocracy-organizations
  5. Expectations of brilliance underlie gender distributions across academic disciplines. Leslie et al., 2015 https://science.sciencemag.org/content/347/6219/262.full
  6. Why Diverse Teams are Smarter. Rock & Grant, 2016. https://hbr.org/2016/11/why-diverse-teams-are-smarter
  7. How Diversity Makes Us Smarter. Phillips, 2014 https://www.scientificamerican.com/article/how-diversity-makes-us-smarter/
  8. Word-of-mouth recruitment isn’t the best path to top research talent. ResearchGate, 2019 https://www.researchgate.net/scientific-recruitment/blog/post/word-of-mouth-recruitment-isnt-the-best-path-to-top-research-talent

A Guide to Supporting Women in Sound

A resource for men and all people interested in social equity in audio

Women in Sound includes All women, non-binary genders, LGBTQIA people, and people of colour (we also point you to this fantastic website White Accomplices)

We are often asked ‘How can men proactively support gender equality in the audio industries?’ We’ve put together a list of concrete actions you might take.

These recommendations are for people working in education, industry, audio production and other related fields.

They are summarised under three action headlines:

● Collaborate – offering support to the feminist collectives who are already helping girls and women in sound. Adopting new interventions. Also, understanding and addressing unconscious bias.

● Perspective – doing your own research, checking your assumptions, and recognising that women of colour are subject to a double hit of bias due to racial discrimination

● Changing environments – creating environments that are truly fit for purpose.

We invite you to make an #audioequitypledge:

● Read this document and identify three or more interventions that you would like to make to supporting women in sound

● Post this document on your website/blog with a summary of your interventions using #heforshe and #audioequitypledge

● Post an update six months later.

Please do something, because if you’re leaving this work to a few (almost always women), then you are part of the problem.

Collaborate

Identify and offer support to groups/collectives/non-profits

To be supported but not in a way that that seeks to promote your own organisation: Identify groups that are already supporting women and ask what kind of help you can offer.

Examples include:

Volunteer your time and expertise for background administrative support:

Undertaking advocacy work (especially if armed with data about what specific organisations have accomplished, highlighting what they need in order to further their work)

Paying for consultancy on diversity and inclusion

Amplifying work on social media

Checking if your organisational values align with the values of an organisation that you wish to support (before putting them in a position of explaining that it isn’t a good match)

Aurélie Salvaire’s book Balance the World: Tactics to help you launch a gender revolution offers many really great examples and resources.

Perspective

Check Unconscious Bias

Understand your own implicit/unconscious bias; that you may be inclined to hear some voices more clearly than others. Implement unconscious bias training

Understand the various types of unconscious bias: conformity bias, beauty bias, affinity bias, the halo effect, the horns effect, similarity bias, contrast effect, attribution bias, and confirmation bias, and others

If hiring, check that you have a qualified and diverse team looking at resumes. Look at diversity in your organisation and take steps to build a diverse team (non-binary, women, people of colour, people with disabilities)

Seek to anonymise the application process where possible.

Doing this with integrity means centring others – listening mindfully while checking your goals and assumptions.

The Audio Engineering Society is making proactive steps on diversity, and welcomes new members to its Diversity and Inclusion committee.

Listen

Listen to experiences of marginalised groups when they provide examples of what marginalising behaviours look and sound like

Centre women by listening to our values and experiences, but especially women of colour. Listen, and keep listening without debating, diminishing or deflecting. Just listen. Really take the time to digest each lifetime of experience and insight if you want to centre women  in the process of supporting change.

Relieve the burden and contribute to proactive social intervention

Don’t make women responsible for addressing gender. We need to work together to shape change:

Open your studio and employ female sound engineers to deliver workshops for girls in partnership with an organisation like the Yorkshire Sound Women Network and SoundGirls in particular are always looking to partner for workshops, and to provide internships

Offer internships specifically for women (employ consultants to advocate that you are providing an environment that is suitable to all people). The Women’s Audio Mission  offer some good examples but you don’t need to be an all-women organisation to do this

Set equity targets i.e., to be recording an equal ratio of female artists, works by female composers, and working with sound engineers by a specific date. You might subscribe to the PRS KeyChange initiative. Huddersfield Contemporary Records at The University of Huddersfield have done this. See this excellent statement and commitment from Professor Aaron Cassidy.

Wear the T-shirt – literally! The Women’s Audio Mission, SoundGirls, Gender Amplified and Beats By Girlz sell their T-shirts. Help normalise and advocate for diversity in audio

Provide allyship and bystander training for staff.

Changing Environments

Understand how to create supportive environments for women

Make sure your physical environment is welcoming to all people. See this paper on feminist hackspaces or ‘Barriers to women’s involvement in hackspaces and makerspaces’by Dr. J Lewis.

Consider how your environments are biased towards certain groups –  perhaps find diverse images of women in sound for your studio walls and remove images of musicians who are associated with sexism/racism. Imagine a space full of images like these from the female:pressure Tumblr!

Think about who you want to come to your events and support them:

Ensure that the venue is physically accessible by all people

Institutions are employing more men, so provide grants for self-employed people who are not funded by an institution (i.e., University academics are funded and independent practitioners and scholars are not)

Understand the barriers around childcare (offer funding to cover childcare and access to gender neutral baby changing facilities)

Be a responsible host (understand what marginalising behaviors are and be ready to address them – examples include everything from misogynist or sexist behaviours, through to constant overtalk and interruptions)

Make sure you share your events with Women-Led Organisations, inviting their members (and listening carefully to their feedback). You can find a few of them here

Work collaboratively with venues, clubs, studios, festivals, journals that subscribe to an inclusive agenda

Look for and/or insist on an explicit anti-harassment statement that is welcomed by the community that you support. Help draft it and work with others to check it is inclusive for all. This challenging work needs a robust, resilient, and diverse community. See this example from The Seraphine Collective

Women often know they will be a minority and this is exhausting

Conferences – don’t comment on someone’s gender, take interest in their work

Support people online, not only when they are diminished or marginalised for no other reason than gender, but also to bring out their positive contribution.

Education: create intelligent, inclusive environments for learning

Reflect on approaches to teaching and learning. From a young age, girls seem to be more socialised to collaborate, so integrate more problem solving, communication methods, and peer learning tasks into music technology education. Erin Barra’s Beats By Girlz lesson plans are great examples of this, and they encourage collaborative learning

Be demanding as all students can become experts. If you teach a minority of girls (who are also less confident), create environments that build up their confidence but also don’t shy away from being demanding. Evidence suggests that those girls will need to be confident and to prove that they have excellent technical knowledge (see unconscious bias) – and anyway, knowledge is power

Support the least confident. Notice where less confident students aren’t contributing, take the issue seriously and consider why this might be happening. Perhaps some students need other (more private) opportunities and spaces to feel comfortable to take risks and make mistakes, because they may not have had the same opportunities to work with technology in the past, or because they have been pushed away by other more confident learners. Some students may just need more assistance with working their way back into practical collaborative projects where they need to feel confident in order to be more assertive with peers

Provide equal visibility of women and especially women of colour. Just because we know about Björk, Delia Derbyshire, Wendy Carlos and Mandy Parnell we can’t simply assume that some kind of gender balance has been achieved. This is tokenism, and it is a big part of the problem. Help to address this by inspiring young people to understand that the default identity of a music producer is not a white man.

See the websites: ManyManyWomen , shesaid.so, female pressure, Her Noise Archive and SoundGirls Profiles. This also means visibility in literature. When you claim a social study of studio practice which includes a particular demographic, acknowledge it and make it clear

Employ women. Advertise roles in the right places and make proactive inclusion statements in the advert. Provide clear opportunities for prospective applicants to contact you directly for further information about the role. Think carefully about how to bring female experts into education. If you find that women aren’t applying for particular roles, undertake consultancy and ask why this may be.

In Higher Education, seek out people you can invite in to deliver guest lectures/workshops/supervisions. Some may be part-time university academics also working in live electronic music, or in a studio, or in other areas of sound – so look beyond your network, and beyond conventional academia where possible. This helps to bridge the divide between self-employed artists and academia, and provide pathways for women to have the option of engaging in academic practices

Invite conversation. Talk with colleagues to check what your institution is doing to engage students who may have experienced discrimination and, if necessary, seek consultation from staff at other institutions who are clearly addressing this well. Some institutions have called meetings with students, then set up women led or feminist groups supported by staff (i.e., Steinhardt NYU) and some work collaboratively with industry bodies such as The Audio Engineering Society (i.e., University of York #HEFORSHE)

Learn a bit more about how gender informs place and space making across our music industries

Homework: Read Sam De Boise’s Men, Masculinity, Music and Emotions and other literature on music/sound/audio/electronic music and gender

Understand the statistics by reading academic articles and education research, and drawing on websites of all-women groups. Try to avoid asking women to explain it – because this is exhausting and the resources are all available. There are some excellent resources on the Gender Research in Darmstadt website

You Can’t Be What You Can’t See. Challenge the media representation of women in sound and music. Women do not see themselves in the trade magazines, in panels at conferences or in advertisements. Digico ran a fantastic ad campaign last year called Excellence Exposed which featured a diverse group of women engineers in both their ethnic backgrounds and musical genres.

SoundGirls has a monthly feature profile of women in audio to offset this, and all their tri-weekly blogs being written by women.

Other initiatives include the PSN Europe Women in Audio podcast.

These are just a few recommendations and the issue is much more nuanced and layered, however, we’re asking you to make a start by stating your pledge. Be proud that you are a part of this important audio industry initiative.

This battle will be won by men championing diversity, standing shoulder to shoulder and making a difference together. #audioequitypledge #heforshe

Further recommendations and guidance can be found here: How Men Can Be Allies, Sexual Harassment and More Inclusive Industry Here.

Co-ordinated by Dr. Liz Dobson and written in collaboration with: The Audio Engineering Society,  Mariana Lopez of University of York Big Bear Audio, SoundGirls, The Yorkshire Sound Women Network, and The University of Huddersfield

Together we offer this, our #audioequitypledge

The Yorkshire Sound Women Network


 

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