Tune in tomorrow for live coverage from Musikmesse!
[Terri founded WAM in 2003 while she was a tenured Professor and Director of the Sound Recording Arts Program at City College of San Francisco from 2001-2011. Her love of music and the recording arts spans 25 years as a songwriter, composer, recording engineer, and producer. Winston was signed as a recording artist, engineer and producer by Polygram and BMG subsidiaries, and has shared the stage with such acts as P.J. Harvey, Pixies, Throwing Muses, Flaming Lips, Fugazi, Cake, and Third Eye Blind. She has collaborated with Lenny Kaye of the Patti Smith Group and Greg Hawkes of The Cars and worked as a recording artist and producer for MainMan whose roster also included David Bowie, John Mellencamp, Lou Reed, & Iggy Pop. Winston has composed and produced theme music for KRON-TV’s “First Cut” series, Banana Republic and for various films that have shown on BRAVO’s Independent Film Channel, French Television’s Cine Cinemas and major festivals all over the world. She is a founding member of the seminal San Francisco band Her Majesty the Baby, a two-time National Lilith Fair Tour finalist, has received numerous awards including an ASCAP songwriting award, Boston Music Award and Bay Area Music Award nominations, is a voting member of the National Academy of the Recording Arts and Sciences and is active in the Producers and Engineers wing. Winston has a B.S. in Electrical Engineering from Purdue University.]
According to this article, women account for 5% of producers and engineers—why do you feel this is?
As I said in that article, I think 5% is actually generous, but I also feel like this is slowly changing. I believe this imbalance is largely due to differences in the way men and women are socialized around technology from a young age and if this is addressed we could see significant change. At Women’s Audio Mission, we try to demystify science, technology, engineering and math at an early age with our youth program, Girls on the Mic, which offers free training for girls ages 8-18 in the recording arts. We especially like to work with girls in middle school, as we find that’s a particularly formative time for young women in developing confidence, and discovering interests in technology. They pick up audio technology very easily at this age. We train over 450 girls a year in the recording arts and hope that the confidence they gain in creating their own media projects will create a wave of future music producers and recording engineers.
What inspired you to start WAM?
I started Women’s Audio Mission back in 2003 when I was a professor of sound recording at City College of San Francisco and I was tasked with getting more women into the classes. After I got the average up to about 43%, the largest in the country, I formed WAM to as a central place to share the best practices in addressing the gender imbalance. One of the most important methods, besides having more women professors, is in using balanced training materials such as the ones we provide in our online training library at SoundChannel.org.
What do you feel are some of the best resources, online and otherwise, for women to get encouragement and support in the field? [Of course WAM is your favorite, but who else? :)]
To be honest, Women’s Audio Mission is the only organization focused on advancing women in all disciplines of audio. We not only offer high quality education, but also career support, networking opportunities and loads of resources. We train over 600 women and girls in the recording arts a year in our professional studio located in San Francisco, which was actually selected for a “Best of the Bay” award in the San Francisco Bay Guardian last year. We also provide SoundChannel.org , an online library of animated, interactive audio e-textbooks, to over 6,500 men and women a year from all over the world. We have an exclusive jobs board for members where we post internships and jobs in the industry and we also offer our own internship program in which interns get hands-on experience in sessions. We recently had interns sit in on multiple sessions with internationally acclaimed clients like the GRAMMY-winning Kronos Quartet and the author Salman Rushdie.
We exhibit at the Audio Engineering Society Convention each year, increasing women’s visibility in the industry and providing networking opportunities for women at our booth and through our events, including the WAM Happy Hour party we throw every other year at AES in San Francisco and panels like the “Women of Professional Concert Sound” panel we hosted last year at AES. We’ve received enormous support and encouragement from the audio industry, and we are happy to report that they want to welcome women into audio career paths.
Within the aforementioned 5%, do you see more women in production roles than engineering roles? What about when it comes to mastering? Arranging? Songwriting? Session musicians?
We’re seeing an increase in general across the board with women entering different positions throughout the audio industry. We’ve placed over 200 women in internships and jobs since we started the organization in 2003—these positions range from live sound positions to video game sound production jobs. The video game industry is a sector where we’re seeing a lot of growth in jobs and potential—We’ve already placed two women in jobs in this sector over the past year.
What’s your take on the idea that even addressing this situation—through a blog series such as this—is a step in the wrong direction? It can be argued that discussing women in audio as if it’s some sort of big deal further cements the troubling idea that men are normal, and women are different.
I think that media exposure for women in audio amplifies the number of positive role models for women and inspires young women thinking about entering audio as a career. There are so few of us that sometimes that’s the only way we find out about each other. The more examples of women in audio we can showcase, the more normalized the idea of women in the recording arts will become for young women starting to enter the field. We also feel that it is important to note differences, rather than ignore them. Women and men are socialized differently and we believe that increasing the diversity in the industry is a very good thing—it includes and improves the representation of women’s ideas and perspectives in our culture.
WAM’s been very lucky to be featured in many media outlets, ABC 7 News, NPR, CNET, USA Today, The Huffington Post as well as the audio trade publications such as Pro Sound News, Electronic Musician and Mix, including the article you just sited. We feel it’s incredibly important to show positive representations of women in the field and let aspiring female audio professionals know that we’re here to support them.
Anything else you’d like to add?
We have an awesome and quickly growing community of over 9,000 audio folks happening on our social media networks where we share 6-8 audio tips and education sources every day. We hope everyone comes and joins the conversation. We love to hear what everyone is working on.
[This just in from Sudhin Prabhakar of Pro Musicals, our distributor in India!]
Lesle Lewis is one of India’s well known pop stars, being one part of the Colonial Cousins, a rock/pop act that took the country by storm in the 80s, and has continued their run for decades.
PreSonus LIVE—Building Loops in Studio One with LoopLoft now up on YouTube! This is a great video with some incredible performances, as well as some incredible drum sounds recorded at JT Studios.
Don’t forget that If you use PreSonus Studio One and want to upgrade to Studio One Professional 2, do it now! Because from April 1 to 30, 2013, if you upgrade to Studio One Professional 2 from any version of Studio One Artist or Producer or from Studio One Pro 1.x, you get The Loop Loft’s Simon Phillips Loop Library—a $79 value—for free!
Click here for more info!
Hey PreSonus! Wanted to let you know I’ll be speaking and answering questions at the ASCAP Expo in Hollywood, April 18 – April 20. You don’t have to be an ASCAP member to attend. Other speakers there will be Katy Perry, Steven Tyler, Akon, RJD2, Jill Scott, Lionel Ritchie, and Josef Gordon-Levitt!
Also, the next Music Success Workshops are being planned for Charlotte, NC in June, and Los Angeles in July. Exact dates and locations will be announced soon. People can sign up here to get the details once they are in place.
I also have some new Music Success Nuggets with great information on career advancement for FREE—people can sign up at JoeSolo.com.
Do you like your music a little bit electronic? And a lot experimental? If so, this may be an event for you, and in case you can’t make it to MIT, you can check out the steam on April 13 at 8pm EST.
Ramon Castillo, who leads the event, says:
“We’re using the StudioLive 16.0.2 as a super flexible interface. We’ve got a chain of moogerfoogers, piano, violin, iPad, Dave Smith Tetra, Mbira and more all hooked into the mixer. Some processing is done using a Mac running Ableton Live, and the rest is done with the MoogerFoogers and the iPad.”
“The routing varies greatly between each piece do we take heavy advantage of scene programming. Sound checks couldn’t be done without SL remote on the iPad.”
“I may try to get some good video of our setup on our concert on the 20th. I haven’t begun to promote that show yet, but the 1602 will be used in much the same way.”
Bleep Blop Electroacoustic Ensemble led by Ramon Castillo presents music by Ramon Castillo, PoChun Wang, Deepak Gopinath and Ryan Meyer
April 13th, 2013 at 8PM EST
The concert will feature works for electronically manipulated piano, analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video and more. Our performances successfully merge the art of acoustic music with the mystique of audio technology.
This event on April 13 promises to deliver the same mix of ambitious musical forces.
Selection of works to include:
We have a LOT of promos going on this month. Even we’re having a hard time keeping track of them all. That’s all Rick’s fault, really. But it’s because he likes you all so much! Here’s the gist of it:
We’ve dropped the prices on two of our StudioLive mixers! Get the 16.4.2 for $1,799 and the 24.4.2 for $2,999. No rebates, no buy-two-get-one-free, just a lower price. Wow!
Studio One Professional 2.5, $100 off through April! Get with the best for a low low price! This is an instant rebate that will be available through your local PreSonus dealer or StudioOne.PreSonus.Com.
Save a whopping $50 on the PreSonus Studio Channel. This is another easy instant rebate available at your local PreSonus dealer.
Last, but certainly not least, if you upgrade from any other version of Studio One to Studio One Professional 2.5, you are entitled to the Simon Phillips Session Tracks drum loop library for FREE! Click here for the rebate form so you can grab your copy—ASAP!
Hey there! I got something for ya. Here’s a pile of 30-second tracks from the sessions we did recently with Briana Tyson. Every signal on this recording was recorded direct via an ADL 700 or ADL 600 preamp. Because we could.
No other processors were used in these recordings. The guitars were recorded with Shure SM57s and Royer R-121s, and the bass was ran direct into an ADL 700. The stereo sources—keys, drum overheads, and two room mics were ran through the ADL 600s.
Here’s the mic list for this session:
Kick (Shure Beta 52)
Snare (Shure SM57)
Hi Tom (Sennheiser 421)
Low Tom (Sennheiser 421)
Stereo Overheads (Neumann K184’s)
Stereo Room Mics (AudioTechica 4080)
Bass Guitar (Direct)
Electric Guitar (SM 57)
Electric Guitar (Royer 121)
Female Vocal (Brauner VM1)
Keyboard (Yamaha P100 direct)
These tracks are available via SoundCloud for download. Help yourself to them and do with them what you will. Mix ’em up! Or down.
We hope you think they sound as amazing as we do.
Here’s the tracks:
Here’s video of this session:
John Mlynczak, PreSonus Education Market Manager, has been appointed to the Board of Directors as Chairman of the Marketing and Communications Committee for the Technology Institute for Music Educators (TI-ME).
TI-ME was founded in 1995 to establish standards for music technology education, create a certification program for educators teaching music with technology, and form an organization to train and support teachers in music technology. The mission of TI:ME is to assist music educators in applying technology to improve teaching and learning in music. PreSonus whole-heartedly supports this mission and is committed to supporting music education with technology. Having our education manager serve on the board of TI-ME is a great honor for the company, and validates our mission of providing support to all music educators and students in order to promote learning reflective of current and evolving practices in the fields of music education and the music industry.
This position provides John the opportunity to champion the message of both TI-ME and PreSonus to further support educators in teaching with technology.