Opportunities in Audio
Producer - Recording Engineer - Assistant Engineer - Studio Technician - Studio Administrator - Foley Editor - ADR Editor - Sound Designer - Music Supervisor - Music Editor - Re-recording Mixer for film and video - Interactive/Gaming Audio Producer - Mastering Engineer - Digital Remastering (Archiving) Engineer - Forensic Audio Specialist - Live Sound Engineer - Studio Designer/Acoustic Consultant - Manufacturer's Representative/Product Specialist - In Store/Web Sales - Sound Recordist for film and video - Sound Supervisor
Producer: The producer of a musical project carefully details the overall sound of a recorded musical project. This may not only involve selection of recording engineers and the studios where the recording will take place, but the producer may also be responsible for the selection of musical material for the album release - whether it be originals or covers. The producer might also work with an aspiring artist on the selection of musical talent to work with the artist. Typically the producer works as a liaison between the record label and the artist and in today's world is typically working as a free-lance interface. Producers are generally paid in percentage "points" off the sale of a recorded work. They are also normally responsible for the recording project's administrative obligations, such as union contracts, sample clearances, approving studio fees, etc.
Recording Engineer: The recording engineer is the "knob turner" in the studio responsible for capturing the artist's performance. Typically the recording engineer is the main person behind the console, setting recording levels and making certain that all signals going to tape or the digital audio workstation are correct. The recording engineer must have an especially well trained ear to listen for any musical variations in tuning or tempo while the music is being recorded. Additionally the recording engineer must be aware of all recording levels and signal levels passing through the console and external signal processing devices. All session operations are under the purview of the recording engineer. The recording engineer also works with the producer on the final mix of the music.
Assistant (2nd) Engineer: The assistant engineer, as the name applies, works with the recording engineer to assure that the session is going smoothly. The position of the second engineer is typically the entry-level position for most graduates of audio engineering programs. Their responsibilities include: aligning tape machines, keeping mix notes, setting up for sessions, setting up and striking microphones, making sure that the artist, producer and any other clients are comfortable. As an entry-level position, the assistant engineer may also be called upon to help out at the front desk of the studio or may be required to run errands. Regardless, assistant engineers find this an extremely valuable way to "learn the ropes" at the recording studio and to extend their education beyond the classroom.
Studio Technician: The studio tech is hired to work on the technical and maintenance duties that keep the recording studio operational. This job often requires the installation and routine maintenance of the equipment in the recording studio. Other duties require studio wiring, trouble shooting and equipment repair. A technical background and education is generally required to work as a studio tech. Computer software, hardware and networking skills are increasingly important for studio techs to master.
Studio Administrator: The studio administrator is the person who organizes use of the studio and manages its operations. The studio administrator may also be the owner and is often responsible for the business plan of the studio. The studio administrator is also responsible for purchasing equipment and supplies for the studio. In addition to business operations, the studio administrator may also be responsible for the marketing plan for the studio. Assurance of client satisfaction, maintaining studio bookings and managing the studio's cash flow effectively are the greatestresponsibilities of the studio administrator.
Mastering Engineer: The mastering studio is the final stage of the recording process. The mastering engineer is the person who compiles all of the individual recordings that make up an album and prepares them for mass duplication. The role of the mastering engineer is somewhat shrouded in mystery since they possess the skills to take all of the final mixes of a project up a notch to lend them a composed overall and finished sound. The position of a mastering engineer requires an excellent sense of hearing and uncompromised equipment.
Digital Remastering (Archiving) Engineer: Since so many recordings have been made which are historically significant, it is imperative that they be archived in some long living and dependable format. It is the role of the digital archivist to transfer recordings from frail and aging formats to a more robust media in a faithful manner so that these recordings may be preserved. Major record labels, museums, archives and other facilities employ archival engineers.
Forensic Audio Specialist: A forensic audio specialist works with law enforcement, governmental agencies or other parties in several different capacities: first, they might prepare audio tapes so that they can be more readily understood by a jury if the original recording was marred by unwanted noise; secondly they may make judgments on how an original recording was made; and they may also be called upon to compare recordings to determine if voices or locations, etc. are identical or not. This unique trade requires an extensive background in critical listening and extremely specialized equipment. The forensic audio specialist may also hold degrees in law or law enforcement in addition to an audio degree.
Live Sound Engineer: The live sound engineer is the person who operates the concert production equipment including front of house consoles, monitor systems and ancillary equipment. The live sound engineer must be able to work quickly setting up speaker arrays with road crews, equalizing playback to match hall or venue acoustics, and is responsible for the artist's live sound.
Studio Designer /Acoustic Consultant: Recording spaces require good acoustic and aesthetic design. It is the function of the studio designer and acoustic consultant to design and facilitate the building of recording studios, live concert venues, churches, concert halls and so forth. In addition to a complete knowledge of audio recording and live sound processes, the studio designer and/or acoustic consultant will normally also hold a degree in architecture or physics.
Manufacturer's Representative/Product Specialist: Professional audio and music product manufacturers require the services of the manufacturer's representative, who may also double as a product specialist. This person is the interface between manufacturers and product retailers. Also, the manufacturer's rep may act in a customer service capacity directly to end-users. Therefore, the rep must have an intrinsic knowledge of the equipment being represented. Both a highly technical understanding and an ability to deal with customers are required of the manufacturer's representative/product specialist.
In Store/Web Sales: Most pro and semi-professional audio and music equipment is sold to end users through storefront or web-based retail outlets. Productive sales require extensive knowledge of the entire product line available to end-users through that facility. Salespeople in these areas require not only the knowledge and capabilities of the products they represent, but also a keen sense of customer relations.
Sound Recordist (film and video): The sound recordist (sometimes also referred to as the mixer) is responsible for the collection of sound while a film or video shoot is in production or on location. The recordist will work with microphone boom operators to get as clean a dialogue recording as possible on the set. Additionally the recordist will record location sound and room tone that is used later in the post-production process. It is necessary for the sound recordist to be able to work quickly in all types of environments and to work well with the directors and camera people. Sound Supervisor: The sound supervisor is most often hired by the film director and is responsible for putting together the post production sound team including sound effects/design editors, Foley editors, and dialogue editors. The supervising sound editor works directly with the film director to identify or "spot" all of the sounds necessary for the film. The supervising sound editor, in addition to a complete knowledge of film sound must also be a team leader and an effective communicator.
Foley Editor: The Foley editor works with Foley artists who are replicating many of the sounds heard in a film that were not recorded on location. These sounds may include footsteps, clothes rustling, fight sounds and many incidental effects that are performed in real time while the Foley artist is watching picture. The Foley editor must be able to quickly record and later edit all of the sounds recorded on the Foley stage so that they fit the picture.
ADR Editor: The ADR (Automated Dialogue Replacement) editor works with principal actors in the re-recording of dialogue in the post-production process. The re-recording may be necessary to clean up dialogue tracks or to replace tracks that have to be re-built. The ADR editor must be able to record the dialogue in such a way that it matches any other dialogue which remains from the on- location recordings. The ADR editor must also have a keen ear and eye to tell when voices "sync" to picture while recording.
Sound Designer: The sound designer (a term coined by Walter Murch) is the person responsible for the blending or creative manipulation of sounds that will work with the film. An extensive knowledge of recording procedures, sound properties, a keen sense of hearing, and a high degree of creativity are required to be a sound designer.
Music Supervisor: The film producer and director hire the music supervisor to select appropriate music for their film. The music supervisor is not only responsible for finding existing music complementary to the film, but is also responsible for supervising recording sessions, obtaining proper licenses, negotiating usage fees for its use. In some cases the music supervisor may also hire and work with the film music composer to produce original music for the soundtrack. The music supervisor must not only be aware of the recording and legal processes, but must also possess
excellent musical abilities.
Music Editor: The music editor works under the supervision of the music supervisor and is responsible for editing the sync music and original music score so that it synchronizes with the picture. In order to be an effective music editor, it is necessary to be aware of the manner in which music can be utilized to heighten the drama unfolding on the screen. Music editors must be adroit at the synchronization/editing process. Strong musical abilities are a must for the music editor.
Re-recording Mixer (film and video): The re-recording process is the final stage of film post-production. This is the final mix of a film prior to its mass duplication. The re-recording mixer works with the director and all of the previously recorded tracks to come up with the final mix of the film. Re-recording mixers are often broken down into one of three specialty areas: dialogue, effects, and music. Much of the sonic signature of a film is attributable to the capabilities of a re-recording engineer. The re-recording engineer must be a master of the entire film sound recording procedure and maintain a strong working relationship with the director.
Interactive/Gaming Audio Producer: One of the fastest growing areas requiring the services of recording engineers is in interactive gaming and multimedia/web applications. More and more, game designers are becoming aware of the important role sound plays in game design. Audio may also be put to good benefit in web and multimedia applications. The audio engineer working in these areas must be creative and know the capabilities of the entire digital delivery system. Quite often the audio files used in these applications must be compressed. The interactive gaming audio producer must have an intrinsic knowledge of audio compression codecs and put them to their best ability.
Written by Doug Mitchell, Middle Tennessee State University
Edited by Keith Hatschek, University of the Pacific
This site provides information about careers in music production and jobs in the music industry.