One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.
Mastering is your last chance to fix or address any issues that you may have before giving birth to this beautiful baby album or track.
I approach mastering a little differently than some of my peers: I spend a lot of time creating a dialogue with the artist and the producers and mixers to try and get what they really are looking for.
I have an artist background and I got into the field because I heard things in my own head that weren't happening and I wanted to have the control. So I learned to record and mix and do all those things. I found it as a means to an end, and I was fascinated by sound and creating sound. I very quickly became addicted to understanding everything there was to know.
I'm always excited and enthusiastic to have women join the technical side of the industry. Without making ridiculous stereotypes, which this might be, I have had clients - male and female - who said they feel more comfortable working with a woman in the mastering capacity for various reasons.
I'm aware of how difficult it is to work and be a mom - I have an 11-year-old son - and I would love to help anyone else who is trying to get into the field.
It's not that appealing when something sexist happens to you. But if you're strong enough, and you can push that aside and keep your goal in mind and remember that you're doing your job - whatever that is, whether it's a producer or an artist or a mastering engineer - because you love it, then all that stuff falls by the wayside.
People always complain about The Grammys because they're not a pop contest, but they're not supposed to be a pop contest. They're about excellence.
I'm always trying to mentor young women. I speak on college campuses and I have events in my own studio where I open it up to women's groups to learn. I feel really strongly about it.
