Entertainment
8 Game-Changing Female Music Producers You Should Know
From TOKiMONSTA to Crystal Caines
A recent study by the USC Annenberg School of Communication and Journalism looked at 600 songs that made the Billboard Hot 100 from 2012 to 2017 and found that only 22.4 percent of the artists, 12.3 percent of songwriters, and a measly 2 percent of producers on the list were women. While all of those percentages are shocking—and a sign of how far the music industry has to go when it comes to gender parity—the minuscule percentage of women producers stands out as being particularly awful. Why? Well, because it implies that there aren't a lot of women behind the music; and that those who are there, aren't making quality work. But nothing could be further from the truth. The women are there—they’re just not being recognized for all they do.
In an attempt to give these influential women visibility, we spoke to a handful of female music producers doing big things. Read all about them, below.
How did you start producing?
I went on YouTube a lot and learned how to produce. Also, my writing partner and co-producer Jeremy Greenspan helped me a ton. My dad left me a lot of his instruments because he was a musician who collected gear, so I was lucky to have access to some really nice synthesizers early on—a Yamaha DX7 and a Polymoog. My friend Christie Sealey has helped me wrap my head around a lot of production stuff, too. We share a studio space, so if I get stuck with something that’s driving me crazy, I can go bug her.
What are some of the most exciting projects you’ve worked on?
Every project I work on is exciting because I can honestly say I’m never sure how it’s going to turn out. Sometimes, I’ll be working on a track, and I’ll love it right off the bat. I’ll be thinking to myself, Wow, this one is really good. And then I'll listen to it a few days later and realize I don’t like it at all. But then sometimes tracks will surprise me. I forget about tracks I’ve started and lost enthusiasm for all the time and then come back to them months later realizing they’re actually pretty good.
Have you faced any difficulties being a woman in your field?
It depends what you mean by difficulties. Have I had to put up with annoying shit that people I don’t really know say to me for no reason other than the fact that I’m a woman of a certain age? Absolutely. I’ve had people tell me I should do all sorts of things: dress skimpier, wear more makeup, even spell my name in a “cuter” way—Jessy spelled with an “i” instead of a “y” and a heart over the “i,” if you can believe that. At the same time, I am incredibly lucky that my experience in the music industry has been very positive with the people that are close to me and who actually matter to me being very supportive of what I want to do.
How can women become more of a force when it comes to producing music?
I think that question is too big for me to answer here. The absence of women in technical fields is a symptom of a much bigger problem that comes down to deep-seated misogyny and toxic masculinity within the culture at large.
What advice would you give to young women and girls looking to work in music?
When it comes to making music, do whatever you want. When it comes to production, ask questions and don’t be afraid to look foolish or be annoying or loud or vocal on the path to understanding something.
How did you get started producing?
At the suggestion of a friend from college. This all stemmed from my deep love for consuming music, which segued into creating.
What are some of the most exciting projects you’ve worked on?
I’ve been fortunate enough to be involved in lots of amazing projects—from scoring films and video games to remixing legends like Beck. However, I would say, the projects that are the most exciting to me are my own albums.
What are some misconceptions people have about producing?
That producers are DJs—DJing and producing are two different skills. Producers are music makers, whereas DJs play music in a live setting. Many producers are DJs and vice versa, but there are many producers who just stay in the studio and DJs that don’t create but just DJ other people’s music.
Have you faced any difficulties being a woman in your field?
I think the biggest issue I face is dealing with people who do not believe I actually produce and engineer my music. Some people falsely believe my success is attributed to men who either “taught me everything I know” or “do everything for me.” For the record, I learned everything I know through readings, YouTube videos, and producer circles where we all exchange little bits of knowledge with each other. I share any knowledge I’ve learned over the years to other budding producers—male, female, and others—through lectures, conversation, social media, etc. It’s unfortunate women get discredited, sometimes even by their friends and peers who also choose not to believe a woman can produce big songs.
How can women become more of a force when it comes to producing music?
Create with the music first and don’t think of being a woman as a handicap or a crutch. What your gender is shouldn’t matter if the music you make is quality.
How did you start producing?
I began in 2014 when I started to become more hands-on with my sound and direction. I not only wanted to share my artistry with the world but with other artists I engineered and worked with. as well.
What are some of the most exciting projects you’ve worked on?
Every project that I work on builds some sort of excitement. The joy of creating from scratch and with new individuals is always an exciting time. I get inspired by each artist.
What are some misconceptions people have about producing?
A lot of people think production is easy. There is a huge difference between a producer and a beat maker.
Have you faced any difficulties being a woman in your field?
I believe all women face difficulties in every industry. The key is believing in you and your talents, knowing that you're good enough no matter what the situation is, and knowing your worth. Go where you're celebrated, appreciated, and loved.
How can women become more of a force when it comes to producing music?
I think women have to be more open to with working with other women. Collaborations are just the start, building with one another and passing opportunities can help. No one can do it all alone and, with unity, we can become a force.
What advice would you give to young women and girls looking to work in music?
Remain passionate and inspired no matter how tough things get. Remain consistent and keep swimming.
How did you start producing?
In college, when I realized I needed more creative power over my work instead of being confined to performing someone else’s writing. I ended up taking a music technology class as a requirement for the program I was in, and as soon as I started using Ableton, the floodgates opened and my mind wouldn’t shut up about this new medium. I was completely obsessed with the program and all of the possibilities that were now at my fingertips. Producing and performing my own music gives me the greatest sense of freedom I’ve known in this lifetime.
What are some of the most exciting projects you’ve worked on?
It might not have been too exciting at the time of its creation, but one of my favorite songs I’ve ever made is an instrumental that SZA used on one of her early records. I was still living with my parents at the time, and just churning out beats from my bedroom with very low expectations for anything I was making, which is why I think that music feels so pure to me and ended up in cool places later on. I’ve had the privilege of making music in some beautiful studios and homes, but all of my favorite work seems to come from my own bedroom or hotel rooms. No pressure, just practice and experimentation.
What are some misconceptions people have about producing?
I don’t think people realize the immense range of musical skills and level of ear training that the top producers of our generation have. The job requires so much more than making beats on a laptop. You have to have impeccable knowledge of music theory, ideally be able to play multiple instruments, understand composition, arrangement, engineering, not to mention leadership skills, the ability to bring out the very best performances from your team, business acumen, powerful vision, and the ability to communicate it… the list goes on and on.
Have you faced any difficulties being a woman in your field?
I’ve lost count of the number of times that I’ve been treated as subordinate, less knowledgeable than my male peers, or just blatantly disrespected, but it’s all fuel for this fire in me. My negative experiences in the music industry have taught me strength, integrity, and self-worth like nothing else could, and they drive so much of the work I do as an artist and entrepreneur. Rather than sit around in blame or frustration, I decided to start my own record label for women artists to share their voices exactly as they wish, and for them to retain ownership of their music. Unspeakable Records has now expanded to include online artist development programs and Ableton tutorials to empower anyone who wishes to learn, so we support musicians from the ground up.
How can women become more of a force when it comes to producing music?
There is strength in numbers! Collaboration changes the game. The more we raise each other up and join forces on common goals, the faster our industry will evolve.
What advice would you give to young women and girls looking to work in music?
Know your worth, and never settle. If you are truly called to music, then you must understand that the gifts you offer to the world are so much more valuable than just “entertainment” for the masses. This art form has the power to create real change and healing in our world, which we desperately need now more than ever before. Hold this power in your heart whenever you come up against obstacles or closed doors along the journey, and you will be unstoppable.
How did you start producing?
I’ve always been surrounded by music. My mom was into classical music, my brothers are also in the arts and attend performing art schools, my uncles sang in groups back in the day. I've been influenced by music heavily. I just didn't take the "traditional" route.
What are some of the most exciting projects you’ve worked on?
I loved working with Jhené [Aiko], she's one of my favorite creatives. She's so authentic, and her music is so true. I’m thankful to have worked on her Trip album. I also have an entrepreneurial side to me. I've been building a movement called PAY US TODAY, which focuses on creatives' compensation and their worth. Our brand started off as apparel, and now it's shaping into an education platform.
What are some misconceptions people have about producing?
That producers get super-rich quick and that it's easy. It's not a "quick" business, there are times when I didn't get paid for anything in the beginning. There seems to be a systematic issue today when it comes to producer compensation. Producing a full song takes a lot of work, time, effort... it's art. It's not easy. Producing is a journey, I don't think it should be rushed. There have been times when I've pulled all-nighters in studios to meet deadlines. There's a lot of work that goes on behind the scenes of your favorite songs.
Have you faced any difficulties being a woman in your field?
I feel like everyone faces difficulties when starting out in their career. As a creative, opening up your art to others can be a difficulty. We're artists… and we’re sensitive about our shit. In the beginning, when I would hit the studio, I was asked, "What do you do?” They automatically assumed that I'm a singer or rapper.
How can women become more of a force when it comes to producing music?
I think we just have to continue to stick together and collaborate more. Building a strong community that can provide resources to other women is a priority for me. This year, I plan on collaborating with other women organizations and fellow women producers and engineers. I hope to continue to share knowledge and create more access for us. I enjoy using my platform via speaking engagements and panels to inspire upcoming producers and creatives.
What advice would you give to young women and girls looking to work in music?
Just be your most authentic self. Never compromise. Work hard. Continue to be a student of your craft.
How did you start producing?
I’ve always wanted to make music, my entry point was through DJing and teaching myself what I could.
What are some of the most exciting projects you’ve worked on?
700 Bliss. I like booking parties, both my own locally and helping friends book tours, projects that contribute to IRL spaces/vibes.
What are some misconceptions people have about producing?
Everything in music production is relative. You can choose a misconception and call it truth, it still won't matter.
What advice would you give to young women and girls looking to work in music?
Seek balance constantly. Identify your goals and make sure what you do is leading you there. Treat people well. Connect with strong people you can learn from.
How did you start producing?
I was lucky enough to have very supportive parents who not only bought me a copy of Logic while I was in high school but sent me to MIDI camp at Oberlin College one summer! At the time, I didn't know any other women who were producing or interested in these kinds of things—when I went to that MIDI camp it was all guys—but I knew guys, and I constantly pestered them and asked to work on music together. I learned a lot from working on tracks together with people, being hands-on, experimenting, fucking up, and asking a ton of questions.
What are some of the most exciting projects you’ve worked on?
I was really proud of a remix I did of Armin Van Buuren's "Ping Pong." I was having an awful day and couldn't bring myself to go to a party I had committed to. Instead, I stayed home and decided to work on a track to try and channel some of the bad feelings I couldn't shake. "Ping Pong" has a breakdown where the plucky melody plays without any other elements. So, I sampled one note, and then re-drew the melody, flipping it from a big room song into twerk. I got tunnel vision and finished the whole thing in the span of a few hours. Then, on a whim, I sent it to a couple friends, it got sent to some higher-ups, and Armin Van Buuren's label wound up actually signing it as an official remix!
What are some misconceptions people have about producing?
That it's easy and that there are overnight sensations. I've been working on making music for years and am still learning new things every time I start a new project. Like mastering anything, there's no shortcut. It takes time to do something well enough to where the way your brain connects dots to solve problems and create becomes second nature. That ties into the second portion—the people who are great at what they do and come into the spotlight "out of nowhere," they probably slaved away for years perfecting their craft before anyone noticed! The rewards are so gratifying though. The first moment you're working on a song where something's not right and you automatically adjust a parameter without thinking about it, or you know how to actually make the sound in your head come to life... that's when you can really start to show who you are through the music you produce. And there are few better feelings.
Have you faced any difficulties being a woman in your field?
I've been victim to sexual harassment while in a working environment, lowballed for events compared to male counterparts, been asked who made my songs, accused of sleeping with a promoter to get a booking, the list goes on. For a long time, guys would tell me I was overreacting to these sort of things. I'm happy the conversation is starting to shift and there's been a wake-up call for many men in music. I'm tired of having to work harder than guys to get the same amount of recognition, I just want to work! It's a starting point—voices are being heard, and the courage, strength, creativity, and prowess of women in music is being thrust in the spotlight and celebrated. The more we talk about it, the more change will happen.
How can women become more of a force when it comes to producing music?
We are a force already—women are already producing and making great music. We need to demand that guys be better allies, that they be mindful of including women on projects, that they give proper credit to the women they work with, that they reach out and afford opportunity to aspiring women artists.
What advice would you give to young women and girls looking to work in music?
Seek out other women you can create with, be friends with, and have as mentors. Call out BS when you see guys saying or doing something sexist. Get your guy friends to understand why they should do this too. Don't be afraid to ask for anything. Know your worth and don't sell yourself short. Network, network, network.
How did you start producing?
I started writing melodies at age nine on an analog keyboard and memorizing them. Gradually, I recorded them on cassette. I continued that process until college when I did a course on studio production. I really had no idea how to compose using software—that was a big technological hurdle for me. It took me about ten years of trial-and-error using Logic to become comfortable using it as a production tool.
What are some of the most exciting projects you’ve worked on?
Future Brown is probably the most exciting project I've ever worked on. All the dream vocalists we got to meet and work with as a group of producers, that was major for me!
What are some misconceptions people have about producing?
That it’s easy. Like anything, it’s a craft, and you’re always learning something new. I still have so much to learn.
Have you faced any difficulties being a woman in your field?
Women face difficulties in every field, that goes without saying. And yes I have, but listing them here would be too damn long for this interview...
How can women become more of a force when it comes to producing music?
How can anyone become a force in the music industry? It's about investment and opportunity from the most powerful people in the business, which are all men incidentally. Record exes, A&Rs and publishers need to sign, pay, and promote more women to produce music. It's a no-brainer.
What advice would you give to young women and girls looking to work in music?
Concentrate on advancing your technical and production skills. You gotta grind. Everything else is secondary.
