Inside The Mix With Eva Reistad

Q: What was it like starting out as a young woman in the industry?
A: I was very blind to the whole idea of women not being in this industry at first. I was 17 when I started out, so I was very young. At that age, you don’t think about gender or any of the obstacles that come with being female. Audio school was fun and easy for me, so I decided to follow that path. After moving to Los Angeles, I realized early on that whenever you’re in a studio as a woman, unless the people know you, they will usually assume that the guy knows more.

Q: What are you doing now?
A: I specialize in Atmos, film and record mixing. It was Alan Meyerson who got me into film scoring. While it was hard work (he works every day of his life!), it was also very rewarding, and I loved it. I eventually moved on to freelancing and dictating my own schedule, which is very liberating. It works for me because I love to work hard on a project, go all in and then finish it off and give myself a release before moving on to the next job.

Q: What types of NUGEN Audio software and plug-ins do you use to problem-solve on your projects?
A: I work in film scoring, so we’re often given stereo stems. If we need to do a surround mix, we need to upmix it. So, NUGEN’s Halo Upmix has been extremely helpful. Scott Michael Smith, a popular film score mixer, got me into it. He has this template where he’ll take certain sounds and copy and paste them to a new track with Halo Upmix on it.

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