Setting The Levels
International Women’s Day has prompted me to have a moment of reflection, both personally and more generally about women in audio. There’s no denying, Audio Post Production is an industry that has a past of being male dominated in the studio.
I spent the first half of my nearly 15 years at Little Things as the only female employee in the office. When it came to my first pregnancy in 2017, I was the first EVER employee to take maternity leave, which although slightly daunting to be the guinea pig, we thankfully all sailed through it. Twice! I was incredibly fortunate to return from my first mat leave as a Company Director and was welcomed back to such a supportive environment, at a time when many women are left feeling vulnerable and forgotten in the workplace.
In recent years we've had some very talented women join our team and contribute to our success, most recently Vika who is looking to a career in sound design, the key area where women are under-represented.
Vika had a less traditional path into sound engineering after starting a career in finance, but her desire to work in sound was forever in the background, and luckily for us, she took the leap and changed career. She returned to student life and started her journey into creative sound design. I wanted to find out what challenges she has faced as a woman looking to break into the industry, so we sat down for a chat.
Lindsay > Did you face any challenges or have to break down any stereotypes while you were training?
Vika > I was fortunate to have great mentors at university, and it’s inspiring to see more encouragement for women to enter the field of sound engineering. However, it was still surprising to find that 70-80% of students in more technical classes were men. Occasionally, people expressed positive surprise when they saw me behind a mixing desk—something I had hoped would no longer be seen as "different" or "cool" in today's industry.
While I never had any unpleasant experiences, there were moments that highlighted underlying biases. For instance, someone once assumed via WhatsApp that I was a man as I was the sound engineer for the session, and in another case, I was told that a studio owner was hesitant to trust female engineers to run sessions, making career progression more challenging. One of the more surprising moments was during an interview for an assistant role, where I was asked if my boyfriend would be okay with late-night shifts. Any time anything like this happens, you just tend to see past it and focus on your capabilities and work so far to prove your skills.
The industry is at an interesting point—while female audio professionals are increasingly celebrated, many of us simply want to be recognized for our skills and expertise rather than our gender. Imposter syndrome can be a challenge, and I’ve noticed that many male peers tend to exude more confidence, even when we're at the same skill level. The best way to overcome this is again through continuous practice, hands-on experience, and trusting in your abilities.
Lindsay > Can you tell me how you got to applying for the role with us?
Vika > After submitting my final university project, I started looking for runner roles in audio post-production studios, aiming to begin in June. Having recently worked on sound design for my first two short films, I realized that sound design for short-form content was the area I wanted to focus on.
With that in mind, I reached out to a friend who’s a freelance producer. She knew I was keen on working in sound and had previously mentioned we could have a chat about it. She had experience as a runner at a Soho studio, so she shared some useful insights and pointed me towards the A.P.A. website, where I happened to find several runner roles listed—including the one at Little Things, which had just been posted.
So really, it was a combination of narrowing down my focus in sound design, reaching out for advice, and learning more about the industry that led me to apply!
Lindsay > What advice do you have for other female engineers looking to break into the industry?
Vika > When I first discovered sound engineering, I seized every opportunity to learn—whether by attending networking events, reaching out to professionals for shadowing opportunities, assisting with live sound, or volunteering at music events. Every experience, no matter how small, played a role in my professional growth and helped me build valuable connections.
I also found that working with female artists as a sound engineer fostered strong relationships and created a comfortable and collaborative environment. Additionally, connecting with other women in the industry has always been a positive experience that led to various opportunities like working as a sound designer on a short film or setting up sound for a small theatre production. For inspiration, I’ve always looked up to female pioneers in electronic music like Pauline Oliveros and Suzzanne Ciani. Their fearless approach to music technology encouraged me to experiment and push creative boundaries.
The support from other females, whether my colleagues or friends working in sound, has been invaluable. I truly believe that women supporting each other is key to driving positive change in the industry so reaching out to other females you might find on LinkedIn or Instagram for advice could always be beneficial. There are fantastic online communities that offer support, networking, and mentorship, such as Women in Film and TV, Women in Audio Mission and Women Who Are Sound. Additionally, Facebook groups like GiF Exchange (Girls in Film) regularly post opportunities for female sound professionals. These spaces help connect and empower women in the field, making it easier to find guidance and new opportunities.
With an increase in female credited engineers, it does feel like the tides are changing. Same for all technical roles in post production. But there’s still a way to go. So ladies… if you’re just at the start of your career or looking to break into the industry, keep banging those doors down and get your talent out there.
