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Carolyn Malachi: Producer, Engineer, Educator

Carolyn Malachi (she / her / hers)


Carolyn Malachi holds a master’s degree in Audio Technology from American University (2019), received a Fulbright-Hays award for her work in three Eastern Caribbean nations (2016), and celebrates the honorary doctorate bestowed by her undergraduate alma mater, Shepherd University (2015). Her music production work centers independent artists, filmmakers, and non-profit organizations. She is an Avid Certified Dolby Atmos Professional working as a freelance producer, engineer, composer and film sound editor under the moniker Call & Response. She is the creator of the eponymous, patent-pending interactive performance system and method for converting interactive data into money and sound (2022).  

As a professor in the Cathy Hughes School of Communications at Howard University, Malachi teaches audio production courses. Her mixed-method research, for which she has received support from the Howard University Center for Women, Gender and Global Leadership (2023), unites autoethnography and data analyses to develop counter-narrative sonic experiences.  

Carolyn Malachi advocates for women working in or aspiring to work the music industry’s technical professions. She serves as P&E co-chair for the Recording Academy’s® Washington, DC chapter where she co-created Remote Controlled (2021), the Academy’s pandemic-era, at-home recording instructional series. Malachi’s guest lectures, workshops, and panel contributions include “Digital Futurism” through the Smithsonian’s Natural History Museum (2022), “Post-Production Scoring, Sound Editing, and Sound Mixing for Documentary Film” at Drexel University, “Making Waves: We Are Moving the Needle at Berklee College of Music, "Equity Learning Series: Immersive and Inclusive – A Discussion of Representation in Immersive Audio" for Audio Engineering Society, and “Songwriting” at Johns Hopkins University (2023).  

Malachi’s extensive music performance history includes several engagements at the John F. Kennedy Center for the Performing Arts as well as international Jazz festivals and solo concerts in the UK, Japan, China, South Africa, Haiti, Papua New Guinea, Kuwait, Bahrain, Jordan, St. Lucia, Barbados, and Grenada. She received a Best Urban Alternative Performance GRAMMY Award nomination for her single "Orion” (2010). Through her own music, production, engineering, and educational instruction, Carolyn Malachi carries on in the tradition of musical excellence established by her great-grandfather, the legendary Jazz pianist, Howard University educator and posthumous recipient of the Benny Golson Jazz Masters Award, John Malachi. 

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Lost In The Mix: An Analysis of Credited Technical Professionals in the Music Industry Highlighting Women and Non-Binary Producers and Engineers Across DSP Playlists, Genres, Awards, Record Certifications & Distributors


The Fix The Mix Report is a pioneering study of gender representation in music production and engineering credits, focusing on women and non-binary technical creators. It examines credits across 1,128 songs in 2022, revealing representation levels ranging from 0% to 17.6% in specific sectors. According to the USC Annenberg Inclusion Initiative, women account for only 2.8% of all music producers credited across 1,100 songs on the charts from 2012-2022. Despite this low representation, the Fix The Mix report shows varying levels of representation across different genres, DSP playlists, awards, and certifications. The report expands knowledge on inclusion in the music industry and presents metrics and data-informed strategies for quantifiable change. The music industry can use this information to target collective efforts towards areas that need the most attention and measure progress more effectively. Although some genres appear more inclusive in their hiring practices, the overall numbers remain alarmingly low. This study presents metrics and data-informed strategies in an effort to realize quantifiable change.


Figure 1 - Oral history as counter-narrative responses to the 2022 Women in the Mix Study


Figure 1

Oral history as counter-narrative responses to the 2022 Women in the Mix Study