What Qualifications Do You Need To Be A Music Producer Why Are There So Few Female Studio Recording Engineers?

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Why Are There So Few Female Studio Recording Engineers?

As a female studio recording engineer and electronic music producer, I am often asked why there are so few women working in studio engineering. It’s a question that needs to be explored, and while it can be interesting and boring, it’s sometimes too responsible to expect my gender representation to answer from behind the glass.

I took this issue out of my own curiosity and to be better prepared to answer other questioners. I’m a little surprised at the statistics. In a recent study, I found an estimate that only five percent of studio recording engineers are women. Why should it be?

I can tell you now that this is not rocket science. Mastery of music requires a great mastery of acoustics and frequencies, and a well-tuned ear. But a typical studio recording engineer? To be honest, I’ve met a lot of male mediocre professional sound engineers. Most job roles require you to stick a microphone in front of an instrument or person. This signal is connected to a recorder, usually a computer. Also click on the post. Of course, this sounds crude, but as I explained to a BBC radio presenter the other day, if you can use a microwave oven or a mobile phone, you can reverse most recording studio equipment and signal networks. If you want.

This is the most important aspect of the problem here. Many jobs that require skills and knowledge are performed by women. Well, maybe not technology or science, but a recording studio doesn’t have to be such a complicated system to understand. Once learned and practiced, there is a logical and systematic approach that can be implemented relatively easily. Sound engineering is not only a science, but also an art. And human skills work. Given the women’s situation, I would say that we are well-trained to be good listeners, artists or midwives of the client’s wishes, and act in a self-disciplined way to help our clients (especially vocalists) achieve their best performance. for whom the studio environment is new and perhaps a bit uncomfortable).

It seems there are more women in the live music industry. And it’s a more physical job with less social time, including weeks or months of travel. To work in a studio environment, work can be stationary and certainly not physically demanding. And as a freelancer, you can control your working hours. So, working hours are not suitable and physical strength is not a problem here. Even training isn’t really necessary – I know a lot of female music producers and studio engineers who don’t have any experience in this field, but just learned how to do it because they wanted to.

I think the only conclusion that can explain the lack of women behind the mixing desk is confidence. It is a matter of faith. You need to believe in yourself, don’t be afraid of the tech conversation you’re about to start, and maybe even more capable male partners. I found that 99 percent of the professional male engineers I worked with didn’t expect any sexism, but I struggled to be treated with respect in sound engineering school.

Talking about problems is boring. I am more interested in exploring solutions. Initiatives like the Womens Audio Mission in the US and the Smart Women’s Recording Club in London. And increasing the visibility of female music producers and recording engineers is more effective than highlighting what we’re not doing. “Girls don’t think it’s an option,” one person put it to me very well. It’s a really fun job and you get paid to learn more about music, especially if you’re a self-taught creative music and electronic music producer like me.

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