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42CLASSIFIED / RECRUITMENT


THE GUESTLIST NETWORK | JULY 2010


GET YOUR PRODUCER ON


In reality there is a lot more to it. Audio engineering is a discipline, whose output touches almost every aspect of our entertainment-driven lives: albums, live sound, production, film, television, radio, web... virtually every aspect of entertainment has and an audio engineer somewhere in the creation chain. By nature, audio engineers love to tweak things. If you love sound and music; if you love how a great track


makes you feel, and maybe you al- ways seem to be adjusting the EQ or like to remix tracks, then you might have the right kind of personality to have career in audio. A lot of people jump onto the audio or producing path because of the potential glamour and excitement of working with great artists and mak- ing cool music. Yes, that’s a great part of it, but audio engineering, and really successful audio engineers


and producers, have to incorporate an understanding of the physi- cal behaviour of sound (physics of sound and acoustics), the technolo- gies used to record and manipulate sound, sound perception, and even how sound – not just beat and rhythm – can affect people listening to it. A great engineer uses those skills and knowledge, working side- by-side with the producer and art- ist to create the best track possible.


The process can be beautiful, and can sometimes blow up in your face – it’s a great job! Of course the technological ad- vancements are swift and ever changing, so you have to keep your- self continually up to date on new equipment, software, and produc- tion techniques. Coupled with the creative applications within which it is used, it makes audio engineering one of the most exciting and chal- lenging industries to work in, with an enormous sense of gratification (and often times an enormous amount of work). Truth is, you also need to be a bit of a computer geek to remain on the forefront of music production and engineering. It’s one thing to be able to write a great song, but like a musician has to learn his or her instrument, someone involved with music production has to be as good as possible with the tools they use. Audio production techniques for music, TV, film, multimedia, broad- cast and live events requires a broad knowledge of audio technology and a wide variety of skills in recording, editing, mixing and post production. If you have talent, drive and commit-


So what is audio engineering, and what does it mean to have a career in that field? Most people may conjure up images of the guy behind an array of controls at a gig, seemingly not doing much more than a tweak here and there... place the microphones, plug them in, record and mix some great music... piece of cake, right?


ment, then there are a thousand ways and venues to start and make a career.


OK... so how do you start? For au- dio engineering there are two paths: either go to school or find a studio that’s willing to take untrained in- terns and work your way up. Both require a significant commitment on your part. If you go to school, then you’ll learn a lot quickly, and have skills in a large number of different areas (equipment, production, etc.), whereas if you intern, you might get into sessions a little more quickly, but you’ll only know the equipment and techniques used at that par- ticular studio. If you want to make


a real go for it (a “serious career” rather than something you do on the side), and find a school that teaches what best fits your desires, then school is a good option because you’ll get a much deeper understanding and can therefore be more creative and skilled with the application of the tools and techniques. Above all else, you need passion and you need to commit to it 100%. Working audio in any aspect of the entertainment industry is NOT an easy job. It’s a lot of work, and there’s always pressure to work fast and make it perfect, but it can be one of the most rewarding careers you could ever have.


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