Recreational Love (The Bird and the Bee) - Greg Kurstin & Alex Pasco, engineers Emily Lazar, mastering engineer Undercurrent (Sarah Jarosz) - Shani Gandhi & Gary Paczosa, engineers Paul Blakemore, mastering engineer No Shape (Perfume Genius) - Shawn Everett & Joseph Lorge, engineers Patricia Sullivan, mastering engineerĭig in Deep (Bonnie Raitt) - Ryan Freeland, engineer Kim Rosen, mastering engineer Flay) - Brent Arrowood, Miles Comaskey, JT Daly, Tommy English, Kristine Flaherty, Adam Hawkins, Chad Howat & Tony Maserati, engineers Joe LaPorta, mastering engineer Head Over Heels (Chromeo) – Nathaniel Alford, Jason Evigan, Chris Galland, Tom Gardner, Patrick “P-Thugg” Gemayel, Serban Ghenea, John Hanes, Tony Hoffer, Derek Keota, Ian Kirkpatrick, David Macklovitch, Amber Mark, Manny Marroquin, Vaughn Oliver, Chris “TEK” O’Ryan, Morgan Taylor Reid & Gian Stone (engineers) Chris Gehringer & Michelle Mancini (mastering engineers)Įvery Where Is Some Where (K. Efforts are being made towards inclusivity-the Recording Academy launched a Diversity Task Force and hosted open forums in multiple cities, and a growing number of producers and studio owners have pledged to focus on diversifying their staff.Īll The Things That I Did And All The Things That I Didn’t Do (The Milk Carton Kids) – Ryan Freeland & Kenneth Pattengale engineers) Kim Rosen (mastering engineer)Ĭolors (Beck) – Julian Burg, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Greg Kurstin, Florian Lagatta, Cole M.G.N., Alex Pasco, Jesse Shatkin, Darrell Thorp & Cassidy Turbin (engineers) Chris Bellman, Tom Coyne, Emily Lazar & Randy Merrill (mastering engineers) In 2019, three of the five projects up for the award have featured female tracking, mixing, and/or mastering engineers. Women have been consistently represented in Best Engineered Album, Non-Classical for the past four years in a row. The past decade has seen more female engineers receiving Grammy nominations than ever before. The good news is that our numbers are going up. Breaking into and advancing in the studio environment continues to be challenging for women, especially as the competition to get into the room is already fierce even among men.
Women only comprise about 3% of studio engineers.
Even so, it’s a bit shocking that there was a complete absence of female presence in the Best Engineered Album, Non-Classical category for 40 years, until Trina Shoemaker was nominated for and won the first award in 1999. Seeing as women have been systematically gatekept from STEM fields, this makes historical sense. Stories of Delia Derbyshire, Ethel Gabriel, and Cordell Jackson occasionally glimmer through to the surface, but they’re few and far between. When we shuffle through the history of recorded music, it’s hard not to notice that female engineers are largely unaccounted for.
Though audio has made many advancements, women’s representation is still playing at a low volume: Out of 415 nominations, only 10 women have been counted as nominees for Best Engineered Album, Non-Classical. The quality of a production can-and often does-make or break a record. The audio engineer, in turn, has become more than just a technician.
Sound engineering has come a long way since the days when creative usage of variable tape speed was a cutting-edge production technique. The first person to win a Grammy for Best Engineered Album, Non-Classical was Ted Keep for “The Chipmunk Song” in 1959, the year of the inaugural ceremony. Since the original publication of this article, we’re happy to announce that Emily Lazar won the Grammy, and is the first female mastering engineer to win in this catagory! YEAH! Written by Ainjel Emme for SOUNDGIRLS.ORG, February 2019.
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