Jennifer Ortiz is a Grammy Award-Winning Recording and Mixing engineer known for her work with TDE, Roc Nation, Warner Music, and Spotify's Studios LA. She has collaborated with Grammy-winning producer Dem Jointz and worked on projects such as Maeta, K.A.A.N., Halle Bailey, Doechii, Isaiah Rashad, K-Pop, and NoName. Notably, she was the immersive engineer for Rapsody’s Grammy-winning track 3:AM featuring Erykah Badu.
Can you tell us a little bit about your journey in the audio industry?What inspired you to pursue this career?
My journey in the audio industry began with a passion for music, starting with my initial instrument, the trumpet. After watching behind-the-scenes footage of one of my favorite alternative bands in the studio, I became fascinated with the technical aspects of sound. This fascination led me to pursue a degree in audio engineering at Cal State Dominguez Hills. After graduation, I started working in various recording studios across Los Angeles. I worked with a diverse range of music genres, starting with Jazz and Classical music, and eventually expanding to Hip-Hop, Pop, K-pop, and R&B.
What challenges have you faced as a woman in this industry, and how did you overcome them?
My journey in the audio industry has presented challenges such as limited job prospects and a need to work harder to prove myself, due to being a woman. To overcome these hurdles, I prioritized skill development, diversification, and advocacy for women in the industry.
When did you first discover Sound Particles products, and how do our products help you?
I discovered Sound Particles products during an extensive project, where I was searching for tools to improve my workflow and expedite my mixing process. Sound Particles' innovative offerings helped me enhance my workflow and create immersive audio experiences more joyful.
How do you see technology, such as AI, shaping the future of sound and music production? Are there any innovations that excite you?
AI and other cutting-edge technologies are revolutionizing sound and music production, making it more accessible and efficient. I'm particularly excited about advancements in spatial audio becoming accessible in consumer products.
What are your thoughts on Binaural? Do you feel it will make your workflow better if you could seamlessly move from speakers to headphones - if such a good quality binaural solution existed?
As a traveling engineer, binaural technology has the potential to greatly improve my workflow by enabling seamless transitions between speakers and headphones. A higher-quality binaural solution would allow me to create more immersive and consistent audio experiences across different listening environments, ultimately enhancing my ability to deliver exceptional results for my clients.
What advice would you give to young women looking to break into audio technology or music production?
My advice to young women looking to break into audio technology or music production is to focus on continuous learning, diversify your skillset, and advocate for yourself and other women in the field. Don't be afraid to seek out mentors or create your production team. Always network online and in person; that can bring you many opportunities. And don't let gender biases hold you back from pursuing your dreams. 
Thank you Jenny!
Topics: Interviews