We tend to forget that behind all those big names in the music industry, there exist vast numbers of talented individuals who tirelessly work far from the glare of the spotlights to ensure that it everything sounds as close to perfection as possible. Maki Suzuki, an adventurous and successful recording engineer/artist who has worked with everyone from Coldplay to Missy Elliott, is one such individual. She’s one of the few women of the industry, proving that sound engineering isn’t just a man’s business. Chic Today recently caught up with her to discuss about the industry in general and what makes a good sound- and we can assure you, she can truly hear the difference.

How did you become involved in the world of audio engineering?

First of all, music has always been a part of my life and joy, just like people in general naturally love the sound of it. I grew up listening to my father’s flamenco guitar and classical music, and luckily I’ve had lots of opportunities to sing and play on instruments like the piano, as well as playing around with records that were sitting at home. By doing so, I became very curious and wanted to know how to make them as I had no clue. People usually can’t describe or get a glimpse into what’s going on behind the scenes of producing records that we generally hear through the radio, unless you’re in the sound engineering field. I used to record myself with my little boom box, but quality wise, the sound never turned out to be like a real record. I was basically just interested in finding out how to make music sound like a real record, and that curiosity brought me to where I am today.

Regarding education, what courses or programs have you completed?

First, I went to a private college in Tokyo and graduated with a BA in English and American Literature. It has nothing to do with audio technology, but it definitely helped me greatly in the States in terms of comprehending the school materials, communicating with people, understanding the diverse culture, and reflecting on the cultural background and history of music.

After graduating from the college in Tokyo, I moved to New York to obtain a second degree in Music Production and Audio Engineering. The school has seven private recording/mixing studios that are well-equipped and maintained. They basically allowed us to do anything to create music from scratch. The program provided not only audio technology classes, but also general music education classes such as theory, musicianship, orchestration, music, history, song-writing etc. This system actually helped us become flexible with creating music at every stage, from song-writing through to mixing records. Because of what I’ve learned, I can sometimes work as a musician, and sometimes as a sound engineer.

Do you think of yourself as an artist, an engineer or a musician?

I would like to call myself an artist, if I could. ‘Engineer’ sounds like a technical term and doesn’t seem to be artistic, but it actually does require a specific idea of how to describe or deliver the song not only with technical skills but also with musical abilities. Engineers are often not considered as artists, but we contribute our musical ear and perception in order for records to come out nicely and in a musical way. It’s a crystal of art that is done by all the people that are involved to make one thing. Sometimes we are required to be musicians, sometimes sound engineers. These roles both need artistic sense in music, therefore, I would like to call myself as an artist.

Have you come across many other women working within the audio industry?

No. So far, I’ve only met only a few female engineers. Most of the time, I meet male engineers.

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