Kallie Marie - Conversations with Women in Music Production: The Interviews

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Names: Marie, Kallie, 1980 interviewer, author.

Title: Conversations with women in music production : the interviews / Kallie Marie.

Description: Guilford, Connecticut : Backbeat, 2022. | Includes bibliographical references.

Identifiers: LCCN 2021054961 (print) | LCCN 2021054962 (ebook) | ISBN 9781493065066 (paperback) | ISBN 9781493065073 (epub)

Subjects: LCSH: Women sound recording executives and producersInterviews. | Women sound engineersInterviews. | Sound recording industry.

Classification: LCC ML82 .C68 2022 (print) | LCC ML82 (ebook) | DDC 780.82dc23

LC record available at https://lccn.loc.gov/2021054961

LC ebook record available at https://lccn.loc.gov/2021054962

The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

In 2016, when this research started, there was very little academic writing on the psychological, socioeconomic, and shared lived experiences of women functioning and succeeding (and in some cases struggling) within a very specific microcosm of the recording industry. During this research, I focused specifically on recording engineers and record producers. The term producer is used here in the traditional sense and not as it is used today, to encompass anyone who utilizes software to work on music or who has some means of production to produce their own work. Here the term delineates a person hired by either a studio, an artist or band, or a label to work on the production aspects of the music (including but not limited to the stages of preproduction, production, and sometimes extends to postproduction) and help oversee and guide the creative and technical aspects of music production as a whole.

(You will see that I do not include live sound engineers, mix engineers, mastering engineers, DJs, or self-stylized and self-producing artists on the whole. There may be more or fewer women and gender minorities in some of these professional spaces than in others. Although one or two producers interviewed here may also be music makers and artists and there are in some cases a crossover with self-producing artists, theirs is a different set of unique challenges. These I believe to have their own professional circumstances that present too broad a topic to address adequately within this work. My exclusion of these other career pathways allows me to focus on aspects specific to recording engineers, record producers, and audio engineers, like the ability to sell oneself to an artist, to thrive in networking situations, and to prove technical prowess.)