It makes compelling reading when it comes to the outright prejudice and its consequences for various genres, and the history of music in general, particularly in the case of the female pop star. Reddington’s research on songwriting, production and the mediation of women’s voices, and the concept of gender ventriloquism, is a need-to-know for women in the music business. DIY or professional. The book goes some way to normalising roles of women in the music industry. For example, Reddington takes for granted things like women artists also work as engineers or producers to supplement their living.
Loud Women

She’s At the Controls is essential reading. Helen Reddington reshapes our knowledge of sound engineering and music production in the twenty-first century, foregrounding the power and limits of feminism in a male-dominated industry while offering hope for a more egalitarian future.
Louder than War

This is a fantastic book that illuminates an area of the music industry that doesn’t tend to be exposed as often, or as thoroughly, as it needs to be. Hopefully She’s at the Controls will prove to be a useful handbook for aspiring sound engineers and producers, just as it also lays out areas that need to improve, or where there may be trouble in the future.
The f Word: Contemporary UK Feminism