Kathleen Chen’s path into the pro audio industry is anything but conventional. Born and raised in San Gabriel Valley, California, Kathleen moved to Berlin seven years ago, where she currently resides. “I\u2019ve always been surrounded by music, though it took time to find my way off the stage to FOH,” she shares. With a mother who was a music teacher, Kathleen seemed destined for a life as a classical violinist. She studied at the San Francisco Conservatory of Music, but her passion took an unexpected turn when she discovered jazz, hip-hop, and studio recording. This shift led her to Berklee College of Music, where she took her first live sound class and found her true calling.<\/p>\n\n\n\n
Getting started wasn’t easy, as typical audio engineering internships didn\u2019t pay the bills. Instead, Kathleen honed her craft doing live sound gigs at a comedy club in Los Angeles and DIY parties in Berlin squats. She grew to love the chaos and hands-on nature of live events. “This became my dream job because I liked the process of live mixing, not just the end result. Breaking down the stage and cable rolling at the end of the day? Meditative.” In 2024, Kathleen had the pleasure of touring as FOH\/Monitors for Busra Kayikci and C’est Karma, and she’s currently preparing for an upcoming arena tour with a circus and live band.<\/p>\n\n\n\n The Women in Pro Audio initiative has been instrumental in highlighting the talent and dedication of women in the industry. Kathleen hopes the industry can continue to move forward with tangible change. “The idea that there aren’t many women in pro audio simply isn’t true,” Kathleen states firmly. “We’re here! There are databases full of qualified women and gender-diverse people looking for work, and more are graduating from audio courses all the time.”<\/p>\n\n\n\n Kathleen believes that real change requires action, not just talk. “We need proactive hiring and training of women and other minority groups,” she insists. “And we need to invest in those already in the business with mentorship, accommodations for families, and safe spaces for professional development. It’s about uplifting people from marginalized groups into decision-making positions and having transparent consequences for discriminatory behavior. These initiatives benefit everyone,” she adds. “We can finally phase out that ‘grumpy sound guy’ stereotype and provide better experiences for diverse performers and audiences.”<\/p>\n\n\n\n Kathleen’s vision for the future extends beyond issues of equity and inclusion. She’s also passionate about sustainability. “I’ve noticed more festivals focusing on climate-friendly solutions,” she observes. “One band I’ve shadowed, Milky Chance, even tours with a sustainability manager! I’d love to see this thinking applied across the event tech industry. Think lighter PAs and amps, upgradeable components, and recycled materials… After all, live events are here to stay and will only get bigger as technology advances.”<\/p>\n\n\n\n However, for Kathleen, the industry’s most pressing issue today is the need for better working conditions. “I’d love to see broader collective action to improve things, especially for freelance workers,” she says. “So many of the day-to-day complaints about this job could be addressed by standardizing fair wages and working conditions. It’s crucial for the sustainability of both productions and crew members. I’m tired of seeing hard-working colleagues burn out, productions undervaluing FLINTA* (female, lesbian, intersex, non-binary, trans, agender, and others) crew, and this constant race to the bottom to secure gigs.”<\/p>\n\n\n\n Kathleen’s passion for her work and commitment to creating a more equitable and sustainable industry is evident in every word she speaks. She’s a powerful advocate for change, and her voice is one that deserves to be heard.<\/p>\n\n\n\n Kathleen faced numerous challenges in her career, and as a woman in the industry, some obstacles were unique. Learning live sound on the job meant imposter syndrome was her most significant hurdle, compounded by her status as a fresh immigrant in Germany. The turning point came when she joined Soundsysters, a feminist sound collective. “Finding my community has been instrumental in overcoming this,” Kathleen said. Soundsysters empowers FLINTA* individuals interested in audio. Kathleen is proud of the safe learning spaces they\u2019ve created, where asking “stupid questions” is welcomed and careers are born.<\/p>\n\n\n\n One defining moment tested her resolve and ultimately solidified her commitment to standing up for what she believes in. “It was at this progressive 70,000-capacity festival in Germany. I was working on a stage with an all-FLINTA* crew. It was a real victory for us \u2013 my collective, Soundsysters, had been pushing for this dedicated FLINTA* tech crew for ages…”<\/p>\n\n\n\n Soundsysters, a collective of female and non-binary audio professionals, has long advocated for safe and inclusive spaces within the male-dominated world of live music production.<\/p>\n\n\n\n “And it was amazing! We had such incredible feedback from the FLINTA* artists who played in the past. But then, one year, this band with a really problematic, macho reputation got booked…”<\/p>\n\n\n\n The band’s history of misogynistic behavior was “We approached the festival organizers and asked them to move the band’s set to a different stage. In response, they gave us an ultimatum: do the show or be replaced on the spot by an external, likely male crew. Can you imagine? In the middle of a festival, with no discussion about the handover.” The festival organizers’ uncompromising response left Kathleen and her crew feeling trapped and betrayed. They had to choose between serious safety concerns and the festival\u2019s \u201cshow must go on\u201d approach.<\/p>\n\n\n\n Just a few months later, that same band was accused of assaulting an audience member at another show and then fleeing the scene. \u201cThat whole experience really solidified something for me. It taught me that sometimes you must stand your ground and hold onto your convictions, even when it feels like you’re the only one.\u201d<\/p>\n\n\n\n Even with the industry’s challenges and the need for change, Kathleen’s passion for live sound shines through. Her dedication to creating a more inclusive and sustainable future for audio professionals indicates her deep love for pro sound.<\/p>\n\n\n\n “One of the most thrilling things about live sound,” Kathleen explains, “is getting to push your own mix out of a truly great-sounding system. I was doing FOH and monitors for this German punk band, KAFVKA, at Rock am Ring and Rock im Park. Their music is just so full and punchy, incredibly satisfying to mix. And getting to work with those massive K2 and KS28 mains was amazing!”<\/p>\n\n\n\n But Kathleen’s appreciation for sound isn’t limited to the high-energy world of rock and roll. \u201cI grew up playing in orchestras and chamber ensembles. So, I love the transparent acoustics you find in classical venues.”<\/p>\n\n\n\n When describing mixing a show for pianist B\u00fc\u015fra Kay\u0131k\u00e7\u0131 at the Elbphilharmonie in Hamburg, Kathleen said: “It was such a treat working in a space like that.\u201d Beyond the technical achievements and audio triumphs, Kathleen finds joy in the simpler moments that connect her work to her personal life. “Honestly,” she confesses, “I was pretty proud when my mom came to one of my gigs and actually thought my work was cool. For a long time, she thought live sound was the same as that of DJing! It just means a lot to me that she can finally relate to what I love doing.”<\/p>\n\n\n\n Kathleen\u2019s passion for live sound shines through when she talks about the world of professional audio. “Live sound is truly my favorite job,” Kathleen says. “I feel incredibly engaged, locked in, and present in ways that I can\u2019t compare to any other activity. I\u2019ve always loved live music, and having a varied taste in music makes any gig all the more fun. I love that this job requires a balance of technical and creative skills, is team and service-oriented, and operates in quick feedback loops.”<\/p>\n\n\n\n As a musician herself, Kathleen has a unique perspective on the role of a live sound engineer. “I feel really lucky to work closely with insanely talented and passionate people,” she shares. “It\u2019s always inspiring to see an artist move an audience and an honor to be a part of that process.”<\/p>\n\n\n\n Looking ahead, Kathleen is excited about the future. “I hope to continue doing what I enjoy – making events and performers sound their best,” she says. “I look forward to new challenges and learnings \u2013 whether it\u2019s adapting to technological updates in our field or delving deeper into the theory and processes of existing workflows. I definitely want to continue taking seminars in system design and deploy one of my own designs on a large system someday.”<\/p>\n\n\n\n Kathleen is quick to acknowledge the support she’s received along the way. “I’m incredibly grateful for all the support I’ve received. My mother and partner have always been there for me, and I wouldn’t still be here if it weren’t for the Soundsysters community helping me realize my potential. I’m inspired by the pros that graciously let me shadow them on the job (Maya Finlay, Marcus Wimmer, Paula Trounce, the 1975 production team), as well as the artists that trust me to amplify them.”<\/p>\n\n\n\n To follow Kathleen’s work and stay connected with her, find her on Instagram @audio.kat<\/a> or contact her at iamaviolin.com<\/a>.<\/p>\n\n\n\n <\/a>Read last month’s Women in Pro Audio interview here<\/a>.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Check out our latest Women in Pro Audio series, where Kathleen Chen, a freelance live sound engineer, advocates for more inclusivity and sustainability.<\/p>\n","protected":false},"author":7,"featured_media":245135,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"news_tags":"","footnotes":""},"news-tag":[],"class_list":["post-541912","story","type-story","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n![\"\"](\"\/wp-content\/uploads\/2024\/12\/Kathleen-Kara-II-and-SB18-stack-WienKonzerthaus-826x1024.jpg\")
<\/figure>\n<\/figure>\n\n\n\nWomen in Pro Audio: A Vision for the Future<\/h3>\n\n\n\n
Industry Changes<\/h3>\n\n\n\n
![\"\"](\"\/wp-content\/uploads\/2024\/12\/Kathleen-Headshot-credit-Anastasia-Iampolskaia-1-1024x684.jpg\")
<\/figure>\n<\/figure>\n\n\n\n<\/a>Challenges and Community Support<\/h3>\n\n\n\n
<\/a>Overcoming Obstacles and Standing Her Ground<\/h3>\n\n\n\n
well<\/s> known, and their inclusion on the FLINTA* stage felt like a betrayal to the crew.<\/p>\n\n\n\n![\"\"](\"\/wp-content\/uploads\/2024\/12\/Kathleen-Chen-FOH-Overhead-credit-Anastasia-Iampolskaia-1-1024x684.jpg\")
<\/figure>\n<\/figure>\n\n\n\n<\/a><\/a>Why She Does It<\/h3>\n\n\n\n
<\/s><\/p>\n\n\n\nFinding the Joy<\/h3>\n\n\n\n
<\/a>Looking Ahead<\/h3>\n\n\n\n
![\"\"](\"\/wp-content\/uploads\/2024\/12\/Kathleen-Chen-FOH-Rock-am-Ring-768x1024.jpg\")
<\/figure>\n\n\n\n![\"\"](\"\/wp-content\/uploads\/2024\/12\/Kathleen-Chen-Monitors-EdoSaiyaTour2023-768x1024.jpg\")
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