Empowering the Next Generation of Women in Audio

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The Sound Girls of Brazil!

By: Karrie Keyes

 

03-eng-audio-april-2013-300x225I recently had the chance to meet with some of the women of Mulheres do Audio while on tour in Brazil. Mulheres do Audio are a group of women audio engineers in Brazil, with membership around 126. They meet once a week to study, learn, and share their experiences. The women I met all have a passion for audio that drives them to succeed in not only a male dominated industry but country.

Mulheres do Audio – (Women’s Audio)

According to the United Nations Gender Inequality Index (GII), Brazil ranks at 62 amongst 187 countries. The United States comes in at number 23. Iceland has the narrowest gender gap, coming in at number one with Finland. Followed by Norway, Sweden, the Philippines, Ireland, New Zealand, Denmark, Switzerland, and Nicaragua. The report analyzes four key areas; health, access to education, economic participation, and political engagement. While North America comes in top for economic opportunity, education, and health, Asia and the Pacific lead the way in political empowerment.

10338877_10201355548845671_5785599704025000756_nAna Luiza Pereira a member of Mulheres do Audio shares with us some of the issues facing women in Brazil.

The majority of the population does not have access to good quality essential services such as education, health and transportation. For women, who traditionally have the role of taking care of the home and children, there are not good quality public childcare centers, so for those dealing with young children there’s no alternative other than housekeeping, occasionally doing day jobs like domestic work. Women that do work outside the home are not valued or respected.

The wage difference between men and women is up to 30% according to recent researches. Brazilian law condemns wage discrimination between men and women, yet contracts are made in a concealed way, considering different job positions for the same functions or anything else to justify a different wage.

There’s also the racial and ethnic discrimination. Although there is a lot of miscegenation, racism is a sad reality with black and poor women suffering more prejudice at work and school. Affirmative politics have been applied in public higher education schools in an effort to give more opportunities to the African descendants, but the population in general is still not conscious about the history and prejudice is very present even at the universities.

Unfortunately, sexist violence has been reaching extreme conditions at all social levels, but again, the poor suffer the most. Only recently we’ve been having campaigns against sexual harassment, but it’s an old practice which is rarely reported due to the embarrassment women suffer. There’s still a long way to go… Even though we have a woman president for the first time, the government has not been showing real results in politics for equality due to its commitment to bankers, international investors, corporations and all other capitalism agents to whom gender equality is not a primacy. Social movements have been making a great effort to denounce all those kinds of injuries. It is crucial to demand the government take immediate actions to acquire women’s rights and respect.

All of the women I met were willing to stand up for their rights and were vocal in demanding to be treated equally. Unfortunately, they face many of the same obstacles we face in the States and the rest of the world. Often silenced to keep a gig, not wanting to make waves, and just trying to prove yourself under heightened scrutiny because you are a woman. Many of the women were told over and over again that they could not be hired because they were not strong enough to load equipment and trucks.

06-casa-da-lua-may-2013-300x225In Brazil it is even harder to stand out or shine with a certain expertise or field. There are very few men or women working in audio that can consider themselves a FOH engineer or Mastering Engineer. I was told by the women that they must be well versed in all aspects of audio. There simply is not enough work. One day they will be working in the studio, the next a live show, then working on a broadcast. In live sound they are expected to be able to do everything, often times being responsible for the set-up of equipment while mixing FOH and Monitors. Although, not unusual in the States, especially when starting out, you will hopefully be given to the opportunity to hone your skills to a specialty.

12-soundcraft-si-series-september-2013-300x225It is also important in Brazil to obtain a degree of some sort in show production, although programs at the Universities are limited. It is often the first question employers ask. Many of the women have pursued film school and working in film production. Others have pursued courses in recording and music production; one is a course in Tecnologia de Gravação e Produção Fonográfica (Recording Technology and Phonographic Production) at the Universidade Estácio de Sá, Rio de Janeiro;  and Produção Musical (Music Production), at Universidade Anhembi Morumbi, São Paulo. There is also a graduate course offered in the Cinema and Audiovisual called Imagem e Som (Image and Sound) offered at Universidade Federal de Sao Carlos a free university.There are other private universities that offer graduation courses in Radio & TV and Audio Visiual. Most employers want completion of programs at IATEC in Rio de Janerio and IAV in Sao Paulo

Ana Luiza works primarily on film sound post production, and as a sound editor and designer. She currently teaches at  Universidade Federal de Sao Carlos as a sound design professor.  Ana Luiza decided to teach to provide women with a role model and contribute her expertise so that students would have a specialized learning experience.

07-rf-trainning-june-2013-300x225All of the women take advantage of learning on their own, pursuing online tutorials and courses. They have maintain two facebook pages Female Pro Audio, which is a closed group and was created after AES in 2012 and Mulheres do Audio, which highlights how many women work in the field of sound in Brazil and around the world. Female Pro Audio was created to answer the questions all of us Sound Girls hear over and over again- ‘Wow, a woman in audio, you are the first one I have met. Are there other women? How many women? What got you interested in audio?’ Then they invited all the women they knew to join.

14-flapc4-rosa-class-feb-2014-300x224Eventually Female Pro Audio started to organize weekly meetings in Sao Paulo, and I was fortunate enough to be able to attend one of their meetings. They developed a study plan, outlined subjects to talk and learn more about, and found a recording studio to meet at. The meetings are held at FlapC4 and the women have been meeting since the fall of 2012 to share their experiences, impressions, and what actions they can take to reduce the sexism they face in professional audio. They are able to network and find jobs, it is also a safe place for them to blow of steam. Mulheres do Audio on Facebook is the SoundGirls.Org of Brazil. It puts a face to the women working in professional audio throughout the world and a place where they can meet each other.

13-fraternization-december-2013-300x288The Women’s Audio Mission and SoundGirls.Org have been sources on inspiration. Mulheres do Audio has also been a source of inspiration to SoundGirls.Org. It was truly a wonderful experience sharing the afternoon with these women and glimpsing a part of their lives. Several of the women came to see the monitor world on the Eddie Vedder solo tour and were able to watch the crew line check, again we shared tips and stories it was truly inspiring experience I will not soon forget.

SoundGirls.Org will be highlighting their stories and experiences in the future and I encourage anyone traveling to Brazil to get in touch with them.

SoundGirls.Org Summer Video Contest

Enter to win an XLR Sniffer/Sender from Sound Tools!

SoundGirls.Org would like to put an introduction video together about live sound production and the Sound Girls that make it happen. The video will be used on our website and for educational outreach. (more…)

Career Development

soundgirls

Career Development – Resources for Writing Cover Letters, Resumes, and Creating Professional Social Media

Student Loans – Student Debt

Cover Letter Mistakes

Tips on Writing your Resume

A top recruiter on what anyone can see after 30 seconds with your resume

How to set yourself apart from the competition and get the gig

Career Quitter: I’ve Quit More Jobs Than I Care to Remember

Company Man or Freelance Gypsy?

Why You Should Sometimes Work for Free

A Plan vs. an Attitude: How Dr. Webber Changed My Approach to My Career

On Women’s Issues

Power Struggles: Work and Physicality

Proving Yourself

Stevie Nicks Talks About Being A Woman in the Industry

How Women Sabotage Themselves

It’s a Man World? Darryn De La Soul on Being a Sound Engineer

About Women in Audio, AES Style, and Losing (or finding) Your Voice

The Blame Game: Why We Need to Stop Blaming Women for Gender Equality

Our World Needs Empowered Women

Debunking the Women’s Studies Myth

This is what Tech’s Ugly Gender Problem Looks Like

Booth Babes: How Casual Sexism Hurts the AV Industry

The Celluloid Ceiling: Behind the Scenes Employment of Women on the Top 250 Films of 2014

More Women Worked Behind the Scenes on Movies in 1998 Than Do Today

Lights, Camera, Taking Action: On Many Fronts, Women Are Fighting for Better Opportunity in Hollywood

The Ping-Pong Theory of Tech Sexism: A true (illustrated) story

Bjork Talks Feminism

5 Speaking Habits That Weaken Women’s Leadership

On Sexual Harassment

 

 

What does a sound engineer do?

Click on the links below for a description of each job.

Concert Sound:

FOH Engineers
Monitor Engineers
System Technicians, PA Technicians, Stage Technicians, FOH Tech and Monitor Tech

Studio Engineers:

Recording Engineers
Mastering Engineers
Post Production Engineers

Other Categories To Explore:

Broadcast Engineers
Video Game Sound Designer
Theater Sound Design
Location Sound technicians for Film and TV

April 2014

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Dear SG members and supporters;

It’s hard to believe that SoundGirls.org launched just over a year ago. There has been an incredible amount of support and we are grateful for that. We’ve been hard at work over the past year and we’d like to give you and update on what’s been going on. (more…)

Teaching the Next Generation: Barbara Adams

Barbara Adams has a full plate.  Not only is she the Full-time House Engineer at Tin Angel- a listening room in Philadelphia, part-time engineer at World Cafe Live, also in Phili, she occasionally works as a freelance Engineer/System Tech for two production companies and does freelance work mixing FOH for regional bands touring the North East and Mid Atlantic states.  Barbara is also the owner and business manager of Burn Down Studios in Germantown PA, Adjunct Professor of Sound Reinforcement at Drexel University AND as if that’s not enough she is a mother to a five-year-old son.

In the pages of the Rolling Stone

Even though she wasn’t a musician, growing up, Barbara Adams was all about music.  At around 14 years old, while flipping through a copy of Rolling Stone magazine, she came across an ad for Full Sail which sparked her interest in music production. As graduation grew closer, it wasn’t easy convincing her mother that audio engineering was what she wanted to do, but she was hooked on the idea of working in music production, and enrolling in Full Sail seemed to be the best route.  “ Being fairly shy at that time in my life, I wasn’t comfortable going to a studio and trying to learn that way. I was more apt to learn in school.” “When I was 20, I finally had the opportunity to go to Full Sail, and let’s just say, I learned not to be so shy anymore. I took every opportunity I could while I was there to get out and learn. When I graduated, I came home and started as an intern at a studio.”

She’s been going ever since

Following her graduation from Full Sail in 1995, Barbara started as an assistant engineer at Sonic Recording Studios in Philadelphia.  Three years later, she found herself feeling stuck and very unhappy. While attending Full Sail, she had found her passion was in Live Sound, and the studio life just wasn’t cutting it.  “ I was thrilled when I started working with local bands at various clubs in the Philadelphia area. Around 1998 I got a job as monitor engineer at the Trocadero and moved to doing live sound full time.”   “I love the challenges I face every show. It is what drives me to be better. This industry is constantly changing, and to move forward, you have to adapt. Although it is not given every time, one of the best things is to hear an audience member tell me how great the show I just mixed sounded. And band members who smile when they see me because they know it’s going to be a great night.”

Several years later, Barbara expanded on her education by receiving a Bachelor of Business Administration, Legal Studies & Entrepreneurship; Management from Temple University. “I had been working in the music industry for about five years, and I was seeing a lot of the businesses I worked for being run very poorly. I decided to get a degree in business because of that. I think it helped me to understand entrepreneurship better.”

During this time she was also working as a Monitor Engineer for Electric Factory Concerts.  “In 2005 I left Electric Factory for a production manager and front of house position at a smaller club called Grape Street, while still freelancing with bands and various production companies. When Grape Street closed in 2008, I started at the Tin Angel. “ At the Tin Angel, I work every show we have which can vary week to week, but averages about 4 shows a week.”  At World Cafe Live, where she’s worked since 2010, “I do mostly morning shows which can be private events, Live Connections sessions, or their weekly kid’s show. The kid’s show is one of my favorites because my son gets to come to work with me and helps me set up.” For the past ten years, Barbara has also been working freelance with DBS Audio and FSP Productions, doing monitor mixing and system tech for festivals such as DC’s Jazzfest, Boston’s Summer Arts Festival,  Appel Farm Festival, Bethlehem, PA’s Musikfest, and many other events.

Keep learning and keep forging on

Barbara has had some hurdles to overcome.  “Attitudes… sometimes it is my own. It took me a long time to realize you can’t please everyone all the time.”  Also, “Being a girl in the music business is an obstacle itself. I have been overlooked for positions I was well qualified for because I am female, and I have been through many instances of sexual harassment.”  Barbara has dealt with these situations by enduring and learning from every obstacle, forging on to better herself and her craft. “I get schooled every day I work. I am constantly learning, even after doing this for nearly 20 years.” She also says, “keeping her head up and growing a tough skin” have helped her survive in the business.  Working in sound reinforcement doesn’t leave much time for her to spend evenings with her family or social outings with friends. “ My schedule is the opposite of most people I interact with now, especially being a mom.”

If you want to enter the field of professional audio, Barbara recommends figuring out how you like to learn.   “For me it was school, but if that isn’t your thing, then go out and meet some people. Be outgoing, but not arrogant. Be open to learning, be open to trying things. When things get tough…don’t give up. Keep learning and keep doing it. Listen to the good advice and throw away the negativity. Learn from your mistakes, and you will become better than you ever imagined. “

Must have skills:

People skills are first and most important. This is a business of who you know and building a network is critical.

Listening skills, use your ears! Listen to the band and the audience and make adjustments where you can.

Know signal flow and gain structure.  It will make your job so much easier.

From Rolling Stone to AES and back.

“ While I was at Full Sail, I was able to attend my first AES conference as a representative from the school. The school took promotional photos of all of us who attended. The picture they took of me was used a year later in that very same ad that got me interested in production to begin with. It was my face that graced the Full Sail ad in the back of Mix Magazine in 1996.”

When asked about her long-term goals, Barbara replied “ At many points in my life, I have wanted to have my own venue. But knowing the amount of money and work that takes, I don’t know if I have that same strong desire anymore. Lately, education has been a focus of mine. I enjoy passing on the knowledge I have gained to the next generation. I am an adjunct professor at Drexel University and am currently looking for other opportunities to teach live sound.” Barbara is doing just that by creating SoundGirls.Org’s ‘Lessons in Live Sound.’

Barbara Adams can be reached at soundarella@verizon.ne

Since this profile ran, Barbara Adams has been busy. We caught up with her for an update!

Barbara Adams is an audio engineer and educator with twenty-five years of experience in the music industry. She specializes in live sound and production management. Her strong and varied experience also includes recording engineer, stage management, and artist management.

Barbara is an Assistant Professor at Rowan University teaching Sound Reinforcement and Audio Recording in their Music Industry Program. She also is the booking manager for Rowan Music Group, the program’s record label, and artist management services. By night she is busy as engineer and production manager at The Locks at Sona, Philadelphia’s premier listening room. She occasionally works as a freelance Engineer/System Tech for several production companies and does freelance work mixing FOH for regional bands touring the North East and Mid-Atlantic states.

As the SoundGirls Philadelphia chapter president, she is always looking for ways to help mentor and guide new engineers in the field of live sound and bring together the Philadelphia community of SoundGirls. And as if this wasn’t enough, she is the mom to a very busy pre-teen son who enjoys helping mom at gigs if he isn’t playing hockey, playing music, or in school.

Find More Profiles on The Five Percent

Profiles of Women in Audio

 

 

FOH ENGINEER

What does FOH Engineer stand for?
FOH stands for Front of House and the FOH Engineer, (sometimes referred to as Band engineer or soundman/soundwoman) is responsible for mixing the sound for the audience at a concert. What you hear coming out of the PA speakers is for the most part under the control of the FOH Engineer.  Other factors can have an impact on the mix such as; the quality of equipment, venue acoustics, stage volume, how well the band plays, etc…  These are at times beyond the control of the FOH Engineer.

What does an FOH Engineer do?
Simply put: Each individual instrument on stage has it’s own microphone and input, from the lead singer all the way down to the individual drums and cymbals on the drum kit. The FOH Engineer manipulates the levels and equalization of the various instruments and vocals blending them together, adding reverb and effects as needed, to produce a mix of the band which is amplified through the PA system.

The level of creativity and freedom a FOH Engineer has with the mix varies from artist to artist.  Sometimes a band or artist has a clear vision of what they want to sound like live. It is the FOH Engineers job to interpret and re-create this via the sound system.  Sometimes a band leaves their sound entirely up to the FOH Engineer.

It is usually up to the FOH Engineer to decide or at least recommend what microphones to use on each instrument and vocal.  On large tours the FOH Engineer provides a technical spec of what the sound system requirements are. This generally reflects their preferences in microphones, mixing console, outboard gear, plug ins, PA system, etc… and any other details pertaining to how the system should be set up.

FOH Engineers can be very involved in the set up and tuning of the PA System or they can rely on the system tech to do that and just mix the soundcheck and performance.

How is a FOH Engineer different from Monitors Engineer?
A FOH Engineer mixes the the band to be amplified through the PA system for the audience to hear. A Monitor Engineer mixes the instruments and vocals on stage for each individual performer to hear. A FOH Engineer is only responsible for mixing one mix for all of the audience to listen to while a monitor engineer is responsible for many different mixes depending on what the performers need to hear. They listen to these mixes through either speakers on the stage or in ear monitors, or a combination of both.

What kind of background or skills do you need?
An understanding of the basic concepts and terminology of audio and sound reinforcement, signal flow and proper gain structure as well as the technical knowledge to operate various mixing consoles and equipment.  A well trained ear and ability to recognize frequencies.

You should comprehend the principles of equalization well enough to be able to create the tonal picture that is desired.

Good communication and people skills are a must.  Not only will you be dealing with the artist but also various other representatives of theirs including but not limited to: their management, label reps, agent, family, and friends.  Tact and diplomacy are incredibly beneficial.

A background in electronics, physics of sound, and mathematics is also helpful but not necessary.

Mastering Question and Answer with Jett Galindo

Jett Galindo Assistant Mastering Engineer for The Mastering Lab

Jett Galindo Assistant Mastering Engineer for The Mastering Lab

What is the thought process to Mastering?  How is it different from recording or mixing?

In a way, I think of the thought process behind mastering as a good 180° from mixing. (more…)

From The Philippines to Ojai

Jett Galindo

Jett at The Mastering Lab

Joanne ‘Jett’ Galindo hails from Quezon City in the Philippines. Quezon City is the largest of the metro cities that make up Manila. Raised by professional musicians and encouraged to become computer-savvy, Jett developed a love for music and technology. Growing up in a fairly progressive country in regards to gender equality, (ranking at number six on the 2013 Global Gender Gap Report and electing two women for president since their independence) Jett did not feel there were barriers to pursuing a career in Audio. Jett followed her love of music and technology and is now the mastering assistant to multiple Grammy award winner Doug Sax.

Jett grew up surrounded by music, both parents are professional musicians, and her father encouraged all his children to be well versed in the technology of computers. Jett has always been drawn to music and technology. She started a band with her siblings and cousins when she was in third grade, took piano and voice lessons, and designed her own website in 1998. Jett initially wished to pursue a degree in music or computer science in college. Her parents wanted her to have a stable career and discouraged her from pursuing a degree in music. The computer science program at Ateneo de Manila University strictly limited the number of students they accepted. Jett settled on a degree in Psychology, as the science of human behavior intrigued her and would allow her to pursue music on the side.

Jett often joined choirs while she was in school, but her passion intensified in college, where she became part of Ateneo College Glee Club and later the Ateneo Chamber Singers. The Ateneo Chamber Singers would go on to tour the U.S., Europe, Japan, and Singapore and forever change the path Jett was on. During the tour she met up with a friend and fellow alumnus of the Ateneo Chamber Singers. This friend was pursuing a degree in the music business and contemporary writing and production at the Berklee College of Music. It dawned on Jett that a career in audio engineering was what she wanted. It was the perfect way for her to combine her love of music with technology.

Jett had just turned 18, and with no formal audio engineering programs in the Philippines, she did the next best thing – applied for internships. She was hired on at SFX Digital Sound Studio, much to the dismay of the senior engineer who did not realize Jett was a girl. Jett earned his trust by being present at every recording session no matter how long they ran. She slowly moved up the ranks and eventually engineered her own sessions, recording, mixing, and mastering. Jett immersed herself in as much multimedia as possible as she prepared to study abroad. She eventually enrolled in the Berklee College of Music.

At the Berklee College of Music, Jett completed a degree in music production and engineering, with a minor in acoustics and electronics. She gained valuable skills and insights and was involved in location recording sessions. She also enrolled in Grammy award-nominated Jonathan Wyner’s Mastering Class.

Jett’s experience with mastering at this point had been hands-on training in the studio, for studio clients. She observed the senior engineer at SFX Studios using Wavelab, making minute eq adjustments. How he used limiting and stereo compression and noise-shaping to complete the final process of a studio album. Jett would eventually master her own recordings, but her knowledge was limited to the resources that were available in the studio. Jett’s eyes were opened in Jonathan’s class.

Jonathan engaged his students and was able to take technical topics and make them less daunting. He introduced his students and Jett to mastering in the analog domain, using standard outboard gear such as the Weiss MKII equalizer and compressor, Millenia NSEQ-2, TC6000 limiter/effects unit, and many others. Jonathan gave Jett a firmer grasp on the standard signal chains and routing used in mastering and she gained a deeper knowledge of the various techniques used to tackle specific problems (M/S, linear phase vs minimum eq, etc.). Jett was also exposed to more mastering DAWS, such as Sound Blade and Sequoia.

vinyl01

After graduating from Berklee, Jett secured an internship in Avatar studios in New York and eventually was hired as a recording engineer for resident producer Jerry Barnes. During her time engineering for Jerry Barnes at Avatar, Jett was able to work with renowned artists Roberta Flack, Nile Rodgers, and Brazilian Band- Jota Quest. Her years spent in choral groups paid off as well and she was invited to provide background vocals for Grammy-winning producer David Kahne. Engineering for Jerry Barnes challenged Jett as both an engineer and musician and pushed her to be the best she could be.  

Avatar Studios

Avatar Studios

 

When asked about the skills she obtained at Avatar, Jett says “Oh, tons, but the first few things that come to mind are time management, consistency, and attention to detail.

Jett goes on to explain:

“Every recording facility has its own set of protocols and idiosyncrasies (from the way you arrange mic stands in the live room, to how the mic cables are wrapped). As an intern, you are also responsible for thoughtfully tracking every piece of gear that goes in and out of the extensive microphone/outboard gear inventory. Coffee and food runs happen every day. It’s also a known fact in-studio internships that part of your job is to maintain the upkeep of every studio in the building, this includes cleaning the toilets, mopping the floors, vacuuming the carpets, you know the drill. You have to systematically accomplish these tasks throughout the day. Attention to detail is critical, as different sessions running simultaneously will ask for different things throughout the day. Studio C would request you to bring over a U87 (not a U87Ai), whereas Studio A would ask for 2 monk stands (rather than regular mic stands). Maintaining a high quality of work while attending to other tasks is tricky, but you eventually come up with your own rhythm and strategy. If you ever make a mistake, don’t let it get into your head and just focus on doing a good job hereafter.”

Jett originally planned to stay in New York, working as a producer’s engineer, when she decided to apply for a position at the Mastering Lab. She knew she was ready for a new set of challenges and mastering would provide them. She also felt that the time spent working with Jerry had taught her how to critically listen for the nuances needed for mastering. She now works as mastering assistant to Grammy award winner Doug Sax, founder of the first independent mastering facility, built-in 1967. Originally based in Hollywood, The Mastering lab relocated to Ojai, CA in 2003. The Mastering Lab is most famous for mastering artists such as Pink Floyd, Ray Charles, The Rolling Stones, Diana Krall, and Paul McCartney.

The Mastering Lab Main Room

The Mastering Lab
Main Room

Jett has been at the Mastering Lab for just eight months and is a rookie compared to her colleagues, Robert Hadley and Eric Boulanger. Both Robert and Eric have worked on Grammy award-winning projects and both are highly acclaimed engineers in the industry. Jett works in all facets of mastering formats: CD 44.1 kHz / 16 bit, vinyl, Mastered for iTunes, surround sound, and high-resolution audio. Jett has always been passionate about the full scope of audio engineering but was drawn to mastering because of the unique experience of listening to multiple songs, with the objective of making the whole gamut sound cohesive as one full album.

Jett finds that in mastering she can immerse herself in a lot of diverse music. One day you’re working on a rock track, then the next day, a concept folk album about Moby Dick. You get to expose yourself to a lot of music as a mastering engineer. Jett finds the level of precision and consistency needed in mastering to be both challenging and rewarding.

Jett reflects on the process of the signal chain “ it has to be set up accurately before the actual mastering takes place–choice of word clocks, line amps, AD/DA converters, etc. If you don’t get the setup right, there’s no shortcut but to redo your mastering from the start”.

Jett Galindo, Doug Sax, and Greg Calbi

Jett Galindo, Doug Sax, and Greg Calbi

Jett’s long-term goals are to be an independent and reputable audio mastering engineer with her own loyal clientele. She looks up to other female mastering engineers who have made it in the industry, such as Darcy Proper of Wisseloord Studios, Emily Lazar of The Lodge Mastering, and Mandy Parnell of Black Saloon. For Jett, these women reaffirm the fact that with passion and dedication, gender does not become a deciding factor when it comes to success in the audio industry.

Jett has faced a few obstacles because of her gender, she explains “a few individuals I’ve come across have treated me differently based on the assumption that I don’t know as much as them. One guy told me upfront that I didn’t know what I was doing, when in fact, I was following setup instructions correctly and he wasn’t. In these instances, I just assure myself that as long as I focus on doing a good job as an audio engineer, any negative assumption/stereotype as a woman in this industry will ultimately be irrelevant. It’s helped me get through a lot of these types of barriers. In fact, people who treated me differently, in the beginning, have eventually realized that I’m just as able as any professional and I eventually earned their trust and friendship”. For the most part, though Jett has been surrounded by awesome colleagues that have been very supportive.

Jett offers this advice to women wishing to enter into professional audio – “It’s already a given that you have to love this field if you want to become an audio professional. But in addition to that, you have to remember to love the journey. There will be a lot of obstacles but it’s all part of the experience, and you should learn to thrive amidst these setbacks. Keep your eye out for opportunities, make sure to work on your portfolio, keep track of your achievements and put them on a resume, learn to promote yourself.”

“There’s a lot of online resources for anyone to get a head start on learning about audio production and I highly encourage getting yourself immersed in that environment. I’m glad organizations like SoundGirls.Org and Women’s Audio Mission exist because it empowers women to pursue a career in audio.”

Jett’s Recommendations:

Must have skills: Communication skills (highly underrated). Resilience to the ever-changing technologies we face as audio engineers

Favorite gear: ATC SCM-150s. In surround. Also a huge fan of the Mastering Lab’s custom mod’d LA2A limiters.

Jett plans to stay in the United States and be as close to the action and latest in technology as possible but wants to make sure she gives back to the music industry and audio engineering in the Philippines.


Jett Galindo has been busy since our 2014 profile. She currently has engineering credits spanning different genres and with several legendary artists (Bette MidlerRandy Travis, Nile Rodgers, Roberta Flack, and Gustavo Santaolalla, to name a few), Jett 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.

For more information about Mastering and a Q & A with Jett Galindo see the following links:
The Art of Mastering
Q & A with Jett Galindo

Jett is a contributor to iZotpe contributing several articles on Mastering. Check out all her articles

 

 

 

 

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