Engaging the Female Ear praxis [1], this paper investigates how the presence of audiovisual technologies in a gendered space interacts with the way in which music producers and sound recordists feel about the co-creation of art, defined here as musicking [2]. It scrutinizes the extent to which the preconception of the male lens manifests itself regardless of the gender of the person doing the postproduction. This analysis enables us to deconstruct the impact of the production ideals having been developed over time for men, on men, by men.
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