Leslie Ann Jones
“I am so happy to be working on this project. Great music with great women!”
Leslie Ann Jones has been a recording and mixing engineer for over 30 years. Starting her career at ABC Recording Studios in Los Angeles in 1975, she moved to 
Northern California in 1978 to accept a staff position with David Rubinson and Fred Catero at the legendary Automatt Recording Studios. There she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, Frankie Beverly and Maze, and Narada Michael Walden, and started her film score mixing career with “Apocalypse Now”.
From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. She recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows.
In February of 1997 she returned to Northern California to accept a position as Director of Music Recording and Scoring with Skywalker Sound, where she continues her engineering career mixing music for records, films, video games, television, and commercials. In 2003, Leslie was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet’s recording of Berg: Lyric Suite, which won Best Chamber Music Album. In 2005 Leslie received another Grammy Award for her work as engineer on Diane Reeves’ “Good Night and Good Luck” CD.
Leslie is a past Chair of The Recording Academy’s Board of Trustees, and a current Trustee. She is a former member of the Oakland Cultural Affairs Commission. She also serves on the Board of Institute for Music Arts, Music in Schools Today, and the Recording Arts Advisory Board for Expression College for Digital Arts.
Lenise Bent
Lenise studied film & TV production at USC & Cal State Long Beach, then engineering at SoundMasters Recording School. She started as an assistant engineer at The Village Recorders in Los Angeles working on several albums including “Aja” by Steely Dan, “Breakfast in America” by Supertramp and “Tusk” by Fleetwood Mac. Later she became chief engineer for producer Mike Chapman recording the platinum selling record “AutoAmerican” for Blondie plus several of Chapman’s other artists such as The Knack and Suzi Quatro, recording at a variety of studios which include The Record Plant, Air London and United Western, which later became Ocean Way, then Cello, and now EastWest Sound.
Lenise moved into post-production mixing, editing and supervising where she works with all types of audio, from music to voice-over, ADR and foley. She has traveled all over the world for Dreamworks, supervising & producing vocals and dialogue for their foreign language versions of films including SHREK, SPIRIT & SHREK 2. Lenise is a long-standing member of NARAS as well as the Producers and Engineers Wing of the Recording Academy and has recently been elected to the board of directors of the Los Angeles chapter of Women in Music. She is also a production coordinator with Active Music, a non-profit organization that raises awareness and money for other non-profits through the music community. Lenise periodically teaches classes at SAE Institute on “Studio Budgets, Protocols and Etiquette” and “Location Sound, Foley and Hard Effects”.
Five years ago Lenise returned to her true love, music, and is recording and producing up-and-coming independent artists as well as seasoned professionals. She believes ”there are only two kinds of music…good and bad. I love working on all styles…as long as it’s in the first group.”
Engineer/Producer Lenise Bent Talks About Her Career in Audio
