Wood’s special areas of expertise are producing singer- songwriters and tracking vocalists, acoustic instruments and mastering.
Q: Does providing engineering, production, and composition services differ quite a bit between the TV and film industries? If so, what are the main differences? A: The main difference between TV vs Film compositions, engineering, and production services is the timeline. When I worked in audio post-production for high-profile commercials, the ads in-studio that day would often air the same day. One theme song I co-wrote, produced, and engineered for ESPN was completed in three days. Some source cue music recorded for HBO at my studio was completed in a half day with about five options for the director of Perry Mason, Timothy Van Patten (Game of Thrones, Boardwalk Empire). That means recording and mixing a quartet with same-day delivery. A score might be recorded, as mentioned earlier, over weeks. There also tends to be the use of Production Music (pre-recorded underscore) in TV — with custom scores used more often for Film. Q: Are there any unique challenges to navigating the music industry as a female composer/producer? What would you say to women aspiring to be composers/producers? A: The main challenge as a female composer/ producer in our current industry, in my opinion,
is rarity. Female composers and producers both come in at around 2% of the professional industry population - and around 5% of engineers, respectively. In an industry where there are very, very few women in these roles — many artists, labels, and hiring parties are unaware of the female talent that is available. I recently had some USC Thornton School of Music engineering students in my studio — and one of my favorite questions asked was: “how has your experience been as a female in the music tech field? Do you have any suggestions for women who want to follow your path?” I absolutely love music+audio, and in the 20 years in LA, I’ve been celebrating the journey. Everyone has their own path - but my suggestion? Find passion in the skills you’re uniquely good at, produce quality work and earn respect. This is a relationships business — and in this current climate where female producers still make up under 3% of the professional music industry — the glass ceiling is only broken by respect. As an LA Chapter Recording Academy Governor on the Board (Grammys®), I encourage women interested in music+audio to participate in any kind of mentoring sessions available (SoundGirls. org, Women’s Audio Mission, We Are Moving The Needle, She Is The Music, AES, The Recording Academy #WomenInTheMix).
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