Over the next few months we hope to bring you recorded and live performances from solo artists and bands who are currently studying at West Cheshire College. If you do have any material you would like to be considered for future podcasts, or ideas for the site, please get in touch.
Sunday 25 July 2010
Friday 9 July 2010
Sunday 4 July 2010
Sound Engineer (Recording Industry)
Sound engineers work in recording and audio post-production studios, operating sophisticated electronic equipment to record music, speech, sound and other audio effects for music CDs, radio, film, TV, commercials, corporate productions, websites and interactive media.
The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:
•plan recording sessions with producers and artists
•position microphones
•operate equipment for recording, mixing and sequencing
•balance sound and add effects
Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.
Hours can be long and unpredictable, and night and weekend work is common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.
Most of the work is carried out in recording or post-production studios which can be air conditioned, spacious and well equipped, but smaller studios may be more uncomfortable.
Earnings may range from around £15,000 up to £75,000 a year.
A sound engineer should have:
•excellent hearing
•the ability to listen and to differentiate between sounds
•a good sense of pitch, timing and rhythm
•a knowledge of sound recording and post-production processes
•a good knowledge of and interest in different types of music
Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country. Many sound engineers are freelance. Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.
It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may eventually work their way up to become a sound engineer. Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels.
Sound engineers who have built up a reputation may become producers. Others may specialise in a particular area or go on to set up their own recording studios.
What is the work like?
Sound engineers work in recording and audio post-production studios making high- quality sound recordings. They operate sophisticated electronic equipment to record music, speech, sound and other audio effects for music CDs, radio, film, TV, commercials, corporate productions and websites, and for computer games and other interactive media.
The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:
•plan recording sessions with producers and artists
•position microphones
•help to set up the artists' instruments
•set and maintain the right sound levels and dynamics
•operate equipment for recording, mixing, sequencing
•balance sound and add effects
•mix tracks to produce a final master track
Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.
The sound engineer works closely with producers and artists. In film and TV, where they are putting sound to images, they may also work with the director, editor and other members of the post-production team. The process may involve a number of versions, each requiring further refinement of the audio mix, until the final soundtrack is achieved.
Hours and environment
Hours can be long and unpredictable and night and weekend work are common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.
Most of the work is carried out in a recording or post-production studio. Conditions vary from large air-conditioned, comfortable, spacious, well-equipped facilities to smaller studios which may be less comfortable.
Control rooms are often small, crowded and lit by artificial light. This can be uncomfortable, especially when the work lasts for many hours.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
•A new sound engineer may earn around £15,000 a year.
•Experienced sound engineers may earn between £25,000 and £35,000.
•Senior and freelance sound engineers may earn up to £75,000 or more
Rates for freelance work vary. The Broadcasting, Entertainment, Cinematographic and Theatre Union (BECTU) can advise.
Skills and personal qualities
A sound engineer should have:
•excellent hearing
•the ability to listen to and differentiate between sounds
•a good sense of pitch, timing and rhythm
•an understanding of electronics and acoustics
•the ability to cope with long hours and tight deadlines
•excellent communication skills
•patience, tact and negotiation skills
•the ability to work effectively under pressure
•knowledge of health and safety procedures
•a good knowledge of different types of music (the ability to play an instrument being an advantage)
Interests
It helps to have an interest in:
•music
•computers and electronics
Getting in
Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country.
Nearly half of sound engineers are freelance, working on short-term contracts or for the duration of a project. Changes in technology have resulted in the wider availability of professional quality equipment, with a significant increase in self-employment.
Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.
Jobs are rarely advertised. There are some websites that specialise in music industry or audio-visual jobs, such as www.uk.music-jobs.com and www.jobsav.co.uk Sound engineers also register in trade directories and post their details on trade association websites. Many find work through word of mouth or by recommendation.
Entry routes
It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may get the chance to use studio equipment and assist on sessions and eventually work their way up to become an engineer.
Practical experience is essential. Some people start off by working as unpaid volunteers in a studio. Other relevant experience can be gained from recording and mixing music in a home studio, hospital radio or community media or involvement in community music projects.
Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels, including:
•VRQs
•National Certificates and Diplomas
•HNCs/HNDs
•foundation degrees
•degrees
Course titles include creative media production, music technology, audio technology, media and sound technology, and sound engineering.
There may be specific subject requirements for entry onto diploma and degree courses. Relevant subjects include maths, physics and music. Entry requirements vary so applicants should check with the college or university.
The Joint Audio Media Education Services (JAMES) has details of courses on its website. The most useful training involves a lot of practical studio time, so when choosing a course it is important to consider how much access there will be to studios and equipment.
Some students go on to specialise in sound at postgraduate level and courses are available at a number of universities.
The Diploma in creative and media may be relevant for this area of work.
Training
Even with a qualification, most sound engineers start their careers at a junior level and learn on the job.
Sound engineers need to keep up to date with changes in technology throughout their careers. Short courses and masterclasses may be available through trade associations, the BBC, the National Film and Television School and some local colleges.
Getting on
This is primarily a creative profession, where personal skills, experience and the ability to make contacts are just as important as qualifications.
Sound engineers who have built up a reputation may become producers. Others, once they have experience and can afford the set-up costs, may open their own recording studios.
The skills learnt as a sound engineer are highly transferable and can be used in radio, film, television and the theatre and for multimedia work. With experience, some sound engineers specialise in a particular area. Others may go on to work for equipment retailers or manufacturers.
Further information
Association of Professional Recording Services (APRS), PO Box 22, Totnes, DevonTQ9 7YZ. 01803 868600. Website: www.aprs.co.uk
BBC Training and Development. 0370 010 0264. Website: www.bbctraining.com
BPI, Riverside Building, County Hall, Westminster Bridge Rd, London SE1 7JA. 020 7803 1300. Website: www.bpi.co.uk
Community Media Association, 15 Paternoster Row, Sheffield S1 2BX. 0114 279 5219. Website: www.commedia.org.uk
Creative and Cultural Skills, Lafone House, The Leathermarket, Weston Street, London SE1 3HN. 020 7015 1800. Websites: www.creative-choices.co.uk and www.ccskills.org.uk
Hospital Broadcasting Association, PO Box 341, Messingham, Scunthorpe
DN15 5EG. Website: www.hbauk.co.uk
Joint Audio Media Education Services (JAMES). Website: www.jamesonline.org.uk
Music Producers Guild (MPG), PO Box 38134, London W10 6XL. 020 3239 7606. Website: www.mpg.org.uk
National Film and Television School, Beaconsfield Studios, Station Rd, Beaconsfield, Bucks HP9 1LG. 01494 671234. Website: www.nftsfilm-tv.ac.uk
Professional Lighting and Sound Association (PLASA), Redoubt House, 1 Edward Road, Eastbourne BN23 8AS. 01323 524120. Website: www.plasa.org
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline: 0808 030 0900. Website: www.skillset.org
Further reading
Access All Areas - BPI
Careers Uncovered: Music Industry - Trotman
CRAC Degree Course Guide: Music, Drama and Dance - Trotman
Music Week Directory
Showcase - Hollis Publishing
The White Book - Ocean Media Group
Working in music - VT Lifeskills
Working in the Music Industry - How To Books
Magazines/journals
Computer Music
Future Music
Sound on Sound
The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:
•plan recording sessions with producers and artists
•position microphones
•operate equipment for recording, mixing and sequencing
•balance sound and add effects
Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.
Hours can be long and unpredictable, and night and weekend work is common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.
Most of the work is carried out in recording or post-production studios which can be air conditioned, spacious and well equipped, but smaller studios may be more uncomfortable.
Earnings may range from around £15,000 up to £75,000 a year.
A sound engineer should have:
•excellent hearing
•the ability to listen and to differentiate between sounds
•a good sense of pitch, timing and rhythm
•a knowledge of sound recording and post-production processes
•a good knowledge of and interest in different types of music
Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country. Many sound engineers are freelance. Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.
It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may eventually work their way up to become a sound engineer. Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels.
Sound engineers who have built up a reputation may become producers. Others may specialise in a particular area or go on to set up their own recording studios.
What is the work like?
Sound engineers work in recording and audio post-production studios making high- quality sound recordings. They operate sophisticated electronic equipment to record music, speech, sound and other audio effects for music CDs, radio, film, TV, commercials, corporate productions and websites, and for computer games and other interactive media.
The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:
•plan recording sessions with producers and artists
•position microphones
•help to set up the artists' instruments
•set and maintain the right sound levels and dynamics
•operate equipment for recording, mixing, sequencing
•balance sound and add effects
•mix tracks to produce a final master track
Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.
The sound engineer works closely with producers and artists. In film and TV, where they are putting sound to images, they may also work with the director, editor and other members of the post-production team. The process may involve a number of versions, each requiring further refinement of the audio mix, until the final soundtrack is achieved.
Hours and environment
Hours can be long and unpredictable and night and weekend work are common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.
Most of the work is carried out in a recording or post-production studio. Conditions vary from large air-conditioned, comfortable, spacious, well-equipped facilities to smaller studios which may be less comfortable.
Control rooms are often small, crowded and lit by artificial light. This can be uncomfortable, especially when the work lasts for many hours.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
•A new sound engineer may earn around £15,000 a year.
•Experienced sound engineers may earn between £25,000 and £35,000.
•Senior and freelance sound engineers may earn up to £75,000 or more
Rates for freelance work vary. The Broadcasting, Entertainment, Cinematographic and Theatre Union (BECTU) can advise.
Skills and personal qualities
A sound engineer should have:
•excellent hearing
•the ability to listen to and differentiate between sounds
•a good sense of pitch, timing and rhythm
•an understanding of electronics and acoustics
•the ability to cope with long hours and tight deadlines
•excellent communication skills
•patience, tact and negotiation skills
•the ability to work effectively under pressure
•knowledge of health and safety procedures
•a good knowledge of different types of music (the ability to play an instrument being an advantage)
Interests
It helps to have an interest in:
•music
•computers and electronics
Getting in
Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country.
Nearly half of sound engineers are freelance, working on short-term contracts or for the duration of a project. Changes in technology have resulted in the wider availability of professional quality equipment, with a significant increase in self-employment.
Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.
Jobs are rarely advertised. There are some websites that specialise in music industry or audio-visual jobs, such as www.uk.music-jobs.com and www.jobsav.co.uk Sound engineers also register in trade directories and post their details on trade association websites. Many find work through word of mouth or by recommendation.
Entry routes
It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may get the chance to use studio equipment and assist on sessions and eventually work their way up to become an engineer.
Practical experience is essential. Some people start off by working as unpaid volunteers in a studio. Other relevant experience can be gained from recording and mixing music in a home studio, hospital radio or community media or involvement in community music projects.
Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels, including:
•VRQs
•National Certificates and Diplomas
•HNCs/HNDs
•foundation degrees
•degrees
Course titles include creative media production, music technology, audio technology, media and sound technology, and sound engineering.
There may be specific subject requirements for entry onto diploma and degree courses. Relevant subjects include maths, physics and music. Entry requirements vary so applicants should check with the college or university.
The Joint Audio Media Education Services (JAMES) has details of courses on its website. The most useful training involves a lot of practical studio time, so when choosing a course it is important to consider how much access there will be to studios and equipment.
Some students go on to specialise in sound at postgraduate level and courses are available at a number of universities.
The Diploma in creative and media may be relevant for this area of work.
Training
Even with a qualification, most sound engineers start their careers at a junior level and learn on the job.
Sound engineers need to keep up to date with changes in technology throughout their careers. Short courses and masterclasses may be available through trade associations, the BBC, the National Film and Television School and some local colleges.
Getting on
This is primarily a creative profession, where personal skills, experience and the ability to make contacts are just as important as qualifications.
Sound engineers who have built up a reputation may become producers. Others, once they have experience and can afford the set-up costs, may open their own recording studios.
The skills learnt as a sound engineer are highly transferable and can be used in radio, film, television and the theatre and for multimedia work. With experience, some sound engineers specialise in a particular area. Others may go on to work for equipment retailers or manufacturers.
Further information
Association of Professional Recording Services (APRS), PO Box 22, Totnes, DevonTQ9 7YZ. 01803 868600. Website: www.aprs.co.uk
BBC Training and Development. 0370 010 0264. Website: www.bbctraining.com
BPI, Riverside Building, County Hall, Westminster Bridge Rd, London SE1 7JA. 020 7803 1300. Website: www.bpi.co.uk
Community Media Association, 15 Paternoster Row, Sheffield S1 2BX. 0114 279 5219. Website: www.commedia.org.uk
Creative and Cultural Skills, Lafone House, The Leathermarket, Weston Street, London SE1 3HN. 020 7015 1800. Websites: www.creative-choices.co.uk and www.ccskills.org.uk
Hospital Broadcasting Association, PO Box 341, Messingham, Scunthorpe
DN15 5EG. Website: www.hbauk.co.uk
Joint Audio Media Education Services (JAMES). Website: www.jamesonline.org.uk
Music Producers Guild (MPG), PO Box 38134, London W10 6XL. 020 3239 7606. Website: www.mpg.org.uk
National Film and Television School, Beaconsfield Studios, Station Rd, Beaconsfield, Bucks HP9 1LG. 01494 671234. Website: www.nftsfilm-tv.ac.uk
Professional Lighting and Sound Association (PLASA), Redoubt House, 1 Edward Road, Eastbourne BN23 8AS. 01323 524120. Website: www.plasa.org
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline: 0808 030 0900. Website: www.skillset.org
Further reading
Access All Areas - BPI
Careers Uncovered: Music Industry - Trotman
CRAC Degree Course Guide: Music, Drama and Dance - Trotman
Music Week Directory
Showcase - Hollis Publishing
The White Book - Ocean Media Group
Working in music - VT Lifeskills
Working in the Music Industry - How To Books
Magazines/journals
Computer Music
Future Music
Sound on Sound
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