Berklee Career Paths Advice

Berklee Career Advice
Compilation (Feb 2020)

1. Assistant to the Composer
What Does an Assistant to the Composer Do?

Composers—especially those who work on films, television shows, and video games—require lots of additional
labor and support to accomplish their job. Most hire and employ a small team that works out of their home or
professional studio. The composer’s assistant is one member of this team: a jack-of-all-trades who does whatever is
necessary to support the composer, and in so doing gains insight into the composer's process.
Daily Responsibilities
It usually falls to the composer's assistant to keep the studio running efficiently. This might mean renaming and
organizing files, installing and updating audio software, straightening up the studio, managing cables, being a
messenger when needed, and bouncing stems at the end of the day.
Tech Tasks
The composer's assistant may also assist with recording sessions, mix and edit recorded audio, build custom
environments for the composer, redesign setups, program synths, or solve technical problems as they arise. Some
composers hire assistants particularly to use their knowledge of sample libraries to improve the composer's MIDI
sketches—a field known as MIDI orchestration.
Musical Assignments
Composer's assistants also sometimes assist with the composition process. This might mean notating a passage as
the composer plays it, reviewing notated passages as a proofreader, orchestrating from a composer's MIDI
sketch, arranging one of the composer's pieces for a specific purpose, booth reading during a recording session, or
even writing a short cue in the composer's style.
Assistant to the Composer at a Glance
Career Path
For a long time, working as a composer’s assistant has been touted as the first step toward a career as a composer,
serving as a sort of practical apprenticeship. Today, however, it's far from being solely an educational experience.
Most assistants are treated as employees first and foremost, with the consequence that they are expected to bring a
seriously developed skillset to the table from day one. The job of an assistant sometimes seems to have more in
common with the work of film orchestrators, copyists, and assistant engineers than that of a composer.
Still, the opportunity to learn from the composer—and the other members of the composer's team, which functions
almost as a small music production company—should not be undervalued. When assistants feel they have gained
enough, usually after a year or two, they break off and head in new directions. Some might join Hollywood music
production houses, others might start new freelance careers as orchestrators or copyists, and a lucky few might make
it as film, television, video game, or freelance composers.
Finding Work
Assistantships are fairly unlikely to be advertised on conventional job listing websites, so it might be a matter of
creating a position rather than finding one. As such, it's doubly important to be assertive and to advocate for one's
own importance and usefulness. Aspiring composer's assistants should reach out to established composers whose
work they appreciate with an explanation of their skills and abilities, as well as a proposal for how these abilities
could improve or aid the composer's process.
Professional Skills
• MIDI
• DAWs
• Audio mixing
• Audio engineering
• Music composition
• Orchestration
• Arranging
• Music preparation
• Organization
• Problem solving
Interpersonal Skills
Television composer Michael Price (Sherlock) explains it well: “It’s kind of unlikely that you’re going to want
anyone with an attitude. You’re going to be working closely together, through late nights, so a sense of humor is
going to be important. The composer is going to be dealing with lots of political and big-picture pressure that you
may not even be aware of, so they’re unlikely to want someone less organized than them. Or less committed. But
what they would, I’m pretty sure, appreciate, is someone who could be proactive, forward-thinking, and solve
problems, both technical and musical, before they came up."
Work Life
Most composers work in a home or external studio, where they're joined by a team that may be as small as one other
person (their assistant) or as large as ten employees with different professional specialties. Aspiring assistants should
expect early mornings, late nights, and long hours, especially when a deadline is approaching.
2. Composer (Film)
What Does a Composer (Film) Do?

If a few screechy violin chords conjure images of a knife, a shower, and a murder, you've experienced the power of a
film composer. Bernard Herrmann's 1960 score to Alfred Hitchcock's Psycho is one of the most famous in movie
history and a striking example of the film composer's job: to mirror and heighten action unfolding on screen using
the potent language of music.
Although many film scores are orchestral works rooted in Western classical music, increasingly they are influenced
by rock, jazz, folk, blues, world, and electronic music, and use their stylistic palette to illustrate the time period and
location in which the film is set; the emotional, psychological, and cinematic mood the director wants to create; and
the nuances of story and character playing out on screen.
The ability to engage in an exchange of ideas is vital for a film composer, as is the humility to ultimately defer and
adapt to a director's vision.
The composer's work typically begins after the film has finished shooting with a series of spotting sessions, when the
director, composer, and music editor gather to watch a rough cut of the movie, discuss the score's tone and style, and
take detailed notes about which scenes need music, what kind, and how long. In rare cases, a composer will be asked
to write a score before the film has been shot, and the spotting process will be performed based on impressions from
storyboards or a script.
Once the precise timing, narrative content, and emotional tone of each music cue has been determined, the composer
spends anywhere from two weeks to three months writing the score, which runs roughly half the length of the movie
(i.e., an hour of music for a two-hour film). Some composers work by hand with pencil and paper, performing
sections of the work in progress for the director on piano. Most, however, use music composition software to create
MIDI-based demos of cues, which are then reviewed by the filmmaker and fleshed out by orchestrators.
When it's time to record the score composers almost always attend the sessions, but aside from that, the extent of
their participation depends largely on personal preference and the demands of the score. Some are highly involved in
recording sessions, choosing some of the performers beforehand, providing electronic elements of the score in real
time, assisting in the booth, and even conducting some cues. Others choose to step away, leaving the recording
process in the capable hands of music contractors, instrumental performers, conductors, orchestrators, and recording
engineers.
Composer (Film) at a Glance
Career Path
In the world of stand-alone composers, education is highly valued and careers start late. Not so for today's film
composers, who don't necessarily need advanced degrees and often start working professionally shortly after
graduating from a conservatory or college. Early in their careers, most film composers try to work on as many
projects as possible, stringing together small and low-budget composing opportunities into a larger, upward-trending
trajectory. It's a small group of impressively talented, unbelievably hardworking, and enormously lucky composers
who manage to make the leap to regularly composing for big-budget films and studios. Film composers at the top of
the field develop enduring collaborative relationships with successful directors, enjoy a privileged position within
the film industry, and shape the next generation of film composers with their distinctive, iconic scores.
While working on their own film scoring projects, composers may supplement their income by working
as assistants to established composers or as film industry orchestrators, recording or mixing engineers, freelance
composers, video game composers, and more. Although creating the music for films can be quite different
from composing for a television show—with distinct budgets, needs, obstacles, and work cycles—the career paths
are deeply connected. Film composers often write for TV and vice versa, although many find that they prefer
composing for one medium over the other.
Finding Work
Aspiring film composers should make a point of getting whatever experience they can: working on a student or
lower-budget film, for instance, or writing their own score for an already existing film. The ultimate goal is to create
a reel that demonstrates an ability to compose cues in a wide range of emotional tones and musical styles. While all
work is good work for beginning film composers, they should also carefully consider how to get their name out
there; often, this means composing for films that are likely to circulate at festivals. Finally, film composers should be
sure to network as a matter of course. Sometimes, getting a "big break" is all about connecting with the right people
at the right time.
Professional Skills
• Compositional flexibility
• Reading and writing music
• Arranging and orchestration
• Music theory
• Instrumental performance
• Conducting
• Collaboration
• Filmmaking
Filmmaking is a collaborative art. Unlike composers of stand-alone music, who are beholden only to their own
muse, film scorers take inspiration from the creative work of writers, actors, cinematographers, and directors. The
ability to engage in an exchange of ideas is vital, as is the humility to ultimately defer and adapt to a director's
vision. Film composers must also be enthusiastic consumers of film in order to understand the way music can play
with and against the action on screen, and to stay on top of changes and trends in the industry. Finally, networking
skills are a tremendous strength within this competitive field.
Work Life
Usually based out of a home studio, private studio, or office, film composers work in concentrated bursts. Following
the comparatively relaxed tempo of the spotting sessions, where the film is screened and decisions are made about
tone, style, and cues, the composer works feverishly over the course of several weeks or months to write the score.
Less established composers usually spend time hustling for new composing gigs while working an additional job to
generate income. A-list composers, on the other hand, often have jobs booked years in advance.
3. Composer (Television)
What Does a Composer (Television) Do?

Like film composers, television composers use the language of music to help tell stories. Whether working on a
drama, comedy, sci-fi, documentary, or reality show, the composer's job is to write music that heightens the action
playing out on screen and enhances the emotional experience for the viewer.
While a television composer may be responsible for writing a show's theme—a memorable song or instrumental
passage played at the beginning of each episode that evokes the show's mood—their primary responsibility is to
write the score for each episode, which is made up of a number of short, discrete pieces called "cues." Cues vary in
style and tone and are used to highlight specific moments: a car chase, for instance, or a love scene.
Besides the theme and the score, television composers might also create "source music," music that exists in the
world of the show. Source music is much less common than background or themes, and often takes the form of
original songs that characters hear played on the radio or performed by fictional bands.
Composing for television means being deeply attuned to story and character, and skilled enough to translate
emotional and psychological nuances into effective musical soundtracks.
Compared to composing for film, wherein every creative decision is heavily weighed over the course of months,
composing for TV is fast-paced and intense. Television shows with hefty production budgets hire composers to write
custom scores for each episode, which means creating a tremendous amount of music in a relatively short time span.
For half-hour shows a composer might deliver 10–20 minutes of music, while hour-long shows may require 20–40
minutes of music, week in and week out if the show is serialized. As a result of these quick turnarounds, most
television composers have a team, including a number of composer's assistants and possibly
an orchestrator. Television composers usually answer to producers and/or showrunners, and may also coordinate
heavily with music editors. In the recording process, many composers also work as session conductors.
Not all television music is written by a television composer; many productions opt to license themes and cues from
music libraries, which are stocked with music in every style, written by freelance composers. In addition, music
supervisors work independently to find and license pre-existing songs for use in their shows.
Composer (Television) at a Glance
Career Path
While the rise of streaming and explosion of cable and niche networks have created more demand for television
music than ever before, the process for becoming a successful TV composer has remained mostly unchanged: work
on lower budget series, demonstrate talent and professionalism, network, get a job on a slightly higher-budget show,
and so on and so forth until one makes it to the mainstream.
Although creating the music for a TV show can be quite a different process than composing for film—with distinct
budgets, needs, obstacles, and work cycles—the career paths are deeply interlinked. TV composers often write for
film and vice versa, although many find that they prefer composing for one medium over the other. TV composers
might also work as freelance composers, submitting music to libraries or writing for advertisements, or compose for
a different visual medium, such as video games.
Most TV composers do this job because they want to, not because they're aiming to advance to some other position.
That being said, TV composers who do well can open up a number of new opportunities for themselves outside of
television, including film gigs or even touring productions based on their work (Game of Thrones and Crazy Ex-
Girlfriend are recent examples of this).
Finding Work
At the beginning of the career, one should seek to build a portfolio through whatever means necessary. It's common
to work for little or no compensation on student films, web series, or similar projects in order to get those initial
credits and demonstrate experience with the medium. From there, it's all about chaining together opportunities to
maintain momentum. Aspiring composers should aim to create a website with samples of their music; make audio
and video demo reels to send to television producers, showrunners, studios, libraries, and music supervisors; and
network vigorously.
While television composers are in-between shows, getting cues in music libraries such as Killer
Tracks, APM, Omnimusic, and De Wolfe can provide an additional source of income.
Professional Skills
• Composing themes and cues
• Music theory
• Orchestration
• Arranging
• MIDI
• Pro Tools
• General knowledge of instruments
• Experience composing for a visual medium
• Deadlines
• Teamwork
• Organization
Composing for television means being deeply attuned to story and character, and skilled enough to translate
emotional and psychological nuances into effective musical soundtracks. In order to advance in the world of
television, composers must be excellent networkers and self-marketers. Finally, it's important to be cool-headed,
productive, and consistent under pressing deadlines. After all, even if the music doesn't always come easily, the
show must go on.
Work Life
One of the main benefits of composing for television rather than film is consistency. While a film composer might
make a large one-time sum working on a major motion picture, that's no guarantee of future work. In comparison, if
a television show does well, then its composer can expect to be employed for a number of years. The flip side is that
television production cycles can be grueling; television composers who are composing for broadcast TV spend each
season, which typically runs somewhere between 12 and 22 episodes, working very hard under tight, demanding
deadlines.
However, even this is changing rapidly. As giants like Netflix and Amazon bankroll and release entire seasons in one
go, television composers today might compose music for the show as a whole rather than week to week. And, of
course, the popular practice of binge-watching television—rather than viewing week to week—is also changing the
medium, with a new emphasis on creating varied, but thematically cohesive scores. All in all, there's never been a
better time to jump into this field.
4. Music Editor
What Does a Music Editor Do?

Part sound editor, part project manager, and part musician, the music editor is an all-rounder who oversees the
creative, technical, and logistical aspects of composing and implementing music in film and TV. With numerous
duties including attending the initial spotting sessions, keeping the composer updated on picture edits, creating
temporary soundtracks to assist in test screenings, and representing the interests of the composer in the final dubbing
sessions, music editors guide the music from its conception to the final mix.
The scoring process begins with spotting sessions, initial meetings in which the composer and director discuss the
number, placement, and content of musical pieces, or "cues," in the film or show. Music editors both participate in
these discussions and take rigorous notes for the composer on the timecode, duration, and style of each cue. As the
picture undergoes countless re-edits, the music editor coordinates with picture editors to keep the notes (and by
extension, the composer) up to date.
Useful traits for a music editor include fastidious attention to detail, the ability to work with many different kinds of
people, and a passion for storytelling through music.

The music editor also may be asked to build a temporary score (called temp music) from prerecorded tracks; this
helps test audiences and studio executives preview the film even as the score is still in development. As the
composer completes MIDI mockups of the actual cues the music editor switches them into the temp score, getting
ever closer to the final film product.
When it's finally time to record the score, music editors prepare the composer’s Pro Tools sessions and oversee the
recording process. After recording is completed, and the music has been edited to match the final picture edits, the
music editor works with a re-recording mixer in the final dubbing, when music is mixed with dialogue and effects to
create the picture's soundtrack. Since the composer does not typically attend the dub, the music editor is the de facto
advocate for the score during this process.
Just before the film is released, spotting notes come in handy once again when the music editor creates a "cue sheet,"
a log of all the music used in a production that determines how royalties are paid. Music editors also sometimes
work with music supervisors to place original or pre-existing songs—for which the composer is not responsible—
into the show or film.
Music Editor at a Glance
Career Path
As a film and TV sound editor, music editors share a similar career trajectory with effects editors and dialogue
editors. Unlike the other two varieties of film sound editor, however, music editors tend to be a bit further along in
their careers and must possess a certain degree of musical training in order to communicate with composers and
choose temp music.
Many music editors start their careers as interns, apprentices, or assistants working in recording studios, mixing
studios, sound-editing houses, or major film studios. With experience and connections, music editors can climb the
ladder in their department. For most audio post-production engineers (a.k.a. sound editors) becoming a supervising
sound editor is the ultimate goal, but as this involves working with all sound sources (not just music) it's not ideal
for everyone. For a dedicated music editor, establishing a long-running relationship with a particular composer and
working with them consistently could be every bit as rewarding.
Finding Work
Aspiring music editors should look for internships and apprenticeships with the post-production audio departments
of major film studios, or with independent post-production studios that cater to the film and television industry.
Additionally, both independent audio houses and film studios offer entry-level positions, although they're unlikely to
be in music editing. Networking can be important for music editors, insofar as it helps them meet working film and
TV composers and create a rapport.
Professional Skills
• Music composition
• Deep understanding of musical storytelling
• Familiarity with film music and genre conventions
• Audio editing
• Audio mixing
• DAWs
• Pro Tools
• Listening
• Organization
• Written and spoken communication
• Good under pressure

Music editors must be technical, organized, and creative. Similar to a project manager, much of their job revolves
around organizing and distributing information. However, they also have to make their fair share of tough creative
decisions, whether it's choosing how to cut a cue in order to make it fit a scene or selecting the most effective temp
music to underscore an emotional scene. Useful traits include fastidious attention to detail, the ability to work and
communicate with many different kinds of people, and a passion for storytelling through music.
Work Life
Some music editors keep standard business hours, while others put in 70- to 80-hour weeks, especially as deadlines
loom during post-production on a major film. In-house editors usually work out of an office, while freelancers may
work from home or—more likely—commute to a film studio's sound editing space. Most music editors can expect to
work nights and weekends—this is Hollywood, after all—and some travel is possible.
5. Orchestrator (Film and TV)
What Does an Orchestrator (Film and TV) Do?

Film and TV Orchestrators
Although orchestration is a useful skill for any composer, composer's assistant, arranger, or bandleader, in the film
and TV industries it stands as its own career path. Film and TV orchestrators face unique challenges arising from the
conventions of these industries, and must develop a distinct skill set in response.
Although traditional music notation is still the primary language used by instrumental performers, film and TV
composers have come to prefer the ease of MIDI notation. An orchestrator typically receives two things from a
composer: a MIDI score and a synthesizer recording that demonstrates how it's meant to sound. Using these two
resources—along with advanced listening, transcription, and problem-solving skills—the orchestrator must figure
out exactly what the composer is going for musically, and how best to achieve this with the language of music
notation. Like any translation, it's far from an exact science, especially when some sections may be too difficult for
human players, or contain distorted and heavily modified sounds.

Additionally, orchestrators usually participate in recording sessions for the scores they orchestrate, performing vital
roles such as session conductor or score reader—following along with the score to ensure that the performance is
accurate. They may also make last-minute changes to the score in response to feedback from the director or
composer, or help the composer operate electronic elements of the score. They don’t handle printing and passing out
the scores; that task usually falls to a music librarian or copyist.

MIDI Orchestrators
MIDI orchestrators—whose only real connection to traditional orchestrators is the name they both share—specialize
in using the latest synthesized sounds and sample libraries to create high-quality renditions of the score for
composers and directors. These techniques are particularly useful for TV composers, whose lower budget prevents
them from recording every instrument live. This is a rapidly growing field, as film and TV directors increasingly
want to hear the cues exactly as they will sound when recorded in a studio.
Orchestrator (Film and TV) at a Glance
Career Path
Most film orchestrators find their feet in the industry by working film or TV sessions as an orchestral
musician or copyist, or by becoming an assistant to an established composer or orchestrator. Becoming well-known
as an orchestrator affords the opportunity to expand one's orchestration studio and team. Some orchestrators might
switch careers to become composers, conductors, music directors, or performing musicians.
Finding Work
Working as assistant to another film and television orchestrator or composer is the best possible way to develop the
initial industry contacts, skills, and experience required to find work as an independent orchestrator.
Professional Skills
Traditional Orchestrators:
• Orchestration
• Reading and writing music notation
• Notation software
• Music transcription
• Conducting
• Booth reading
• Deep knowledge of instruments
MIDI Orchestrators:
• MIDI
• Sample libraries
• Synthesizer programming
• Deep knowledge of instruments

Although the work of orchestration is often solitary in practice, the primary skill for any orchestrator is
collaboration. Composers entrust orchestrators with their creative work, which also happens to be their professional
product. A good orchestrator needs to know exactly what a composer is trying to accomplish with each note, and
facilitate that in the final score—even if the two don’t exchange a single word. At the same time, orchestrators must
consider the musicians who will end up playing the music, and what would make their jobs easier.
Work Life
Most orchestrators work freelance out of a home office or private studio. Established orchestrators are likely to have
their own teams who assist with the orchestration process. Even if all work up to that point has been remote—and it
frequently is—all orchestrators are expected to travel to and participate in recording sessions.
6. Copyist (Concert and Stage)
What Does a Copyist (Concert and Stage) Do?

The copyist is one of several roles involved in the larger field of music preparation. Copyists, who proofread and
organize written music for an upcoming studio session or performance, are one of the last in a chain of professionals
responsible for creating the finished scores that musicians play.
Their goal: to create polished and practical sheet music that can be distributed to each member of the orchestra or
ensemble, as well as to important figures like the conductor and music director. Copyists prepare music for everyone
from members of the musical theater and film industries to record label employees and jazz ensembles.
Traditionally, the copyist receives the finished master score from an orchestrator, who received a draft, sketch, or
outline of the score from the composer. However, this isn't always the case; copyists might also receive scores
from transcribers, arrangers, and music directors. Once they have the score, copyists use notation software such as
Sibelius and Finale to create, finalize, and bind individual parts for each musician or instrument.
While much of the job rests on aptitude with the aforementioned software, copyists must also consider various
factors while producing the parts, including the location of page turns, how rests are displayed, and—more generally
—how the music’s presentation will affect each musician’s experience playing it. The scores copyists produce are
not used solely by performers but also by sound engineers, recording engineers, and film or music video directors.
Copyist (Concert and Stage) at a Glance
Career Path
There are no formal educational requirements to work as a copyist, although a deep knowledge of music notation
and composition is essential. Copyists are usually self-employed, offering a number of related services to their
clients, including proofreading, transcription, orchestration, and arrangement. Some work full-time for music
preparation companies, where they perform similar duties. Copyists can also find a wealth of work in the film
industry.
While a small number of copyists make this job their entire career, most are just looking to make some additional
income and valuable industry connections while they work another angle; often, this means pursuing a career as
a composer, conductor, or music director. Still, those who devote time and energy to their careers as copyists have
the opportunity to work with higher-profile artists and composers, and are paid more for it.
A copyist who truly loves working around and preserving written music might also be interested in a career as
a music librarian.
Finding Work
Many copyists get their start by apprenticing under a music prep person (usually a copyist, proofreader, arranger, or
orchestrator), although some develop the necessary skills by working as composer's assistants. Most copyists work
freelance, making it important to develop connections and build a reputation in order to create a steady stream of
gigs.
Professional Skills
• Notation software: Sibelius, Finale, etc.
• Transposition
• Scoring
• Broad knowledge of instruments
• Networking
Copyists are organized and fastidious. They are dedicated and speedy, capable of receiving a request early in the
morning and having it finished by the evening. Flexibility is also important, as copyists must sometimes drop the
work they’ve done when a client contacts them with major changes. As this is a freelance career, cultivating
networking skills is important.
Work Life
Most copyists are freelancers, combining this work with another form of music prep, a regular teaching job, or part-
time work in music prep offices, where they may have more consistent hours. Still, very few copyists enjoy a regular
schedule. Work comes in at all hours of the day and needs to get done with a very quick turnaround. Rates differ
based on industry, but most copyists are paid by the page.
7. Copyist (Film, TV and Video Games)
What Does a Copyist (Film, TV, and Video Games) Do?

The copyist is one of several roles involved in the larger field of music preparation. Copyists, who prepare and
organize written music for an upcoming session or performance, may also work as or
alongside orchestrators, arrangers, proofreaders, transcribers, and music librarians. Copyists usually work freelance,
for a music preparation company, or—in rarer cases—as a member of a composer's team.

After an orchestrator is finished with the film score, its next stop is usually with a copyist. In order to fully prepare
for the session, the copyist must proofread the entire score and produce and transpose individual parts for each
instrument. In the process, the copyist might make small adjustments to the score, such as adding in measure
numbers.

Copyists do not always perform the physical task of printing and binding the parts themselves; today, they're just as
likely to send PDFs off to another professional who will handle that task. Copyists who do print and bind parts take
special care to produce full copies for the composer, conductor, music editor, and music publisher. Copyists might
also take part in the recording session itself: distributing copies of parts to musicians, keeping track of them
throughout the session, and collecting them at the end. Ultimately, a copyist's specific duties depend greatly on the
budget and time frame of the project.
Copyist (Film, TV, and Video Games) at a Glance
Career Path
The copyist is one of many roles involved in preparing music for films, TV shows, and video games, and shares a
skill set with some others, such as the orchestrator. Copyists can be freelance or employed by a music preparation
company. Sometimes, a member of the composer’s team, such as an assistant, performs the role of copyist.
While a small number of copyists make this job their entire career, most copyists are just looking to make some
additional income and valuable industry connections while they work another angle.
Finding Work
Unlike orchestrators, who may be hired directly by the composer, copyists are typically hired by the music
contractor, who also hires all of the musicians for a session. As a result, performing musicians have a leg up on
finding freelance work as a copyist—they're already connected with music contractors. For more composition-
oriented musicians, working as a composer's assistant can provide a necessary introduction to the world of film, TV,
and video game recording sessions, and supply the contacts necessary to locate initial gigs. One can also apply for
posted positions at music preparation companies—or reach out directly to see if they would be interested in an intern
or apprentice. Film and TV copyists might also work gigs in the world of concert and stage music.
Professional Skills
• Proofreading music
• Music notation software
• Transposition
• Orchestration
• General knowledge of instruments

• Knowledge of industry conventions
Copyists must be organized, detail-oriented, and cool under pressure. Due to the characteristic quick turnarounds of
these industries, copyists will sometimes have to produce completed and error-free cue sheets only a few hours after
receiving a score from an orchestrator.
Work Life
Copyists who work for music-preparation companies might have a common office space and fairly consistent work
hours, but this is the exception to the rule. For freelance copyists, the majority of work is done at home and
scheduled around other jobs and endeavors (e.g., sessions as an orchestral musician, gigs as an orchestrator, or
performances as part of a band or ensemble). Although this wasn't the case even 10 years ago, today's copyists are
expected to be available to work on a score at all hours of the day—even working through the night when necessary.
8. Synth Programmer
What Does a Synth Programmer Do?

Synth programming is an almost mythic career with a paradox at its core: despite most music industry professionals
agreeing that it's impossible to make a living as a synth programmer, the skill continues to be in exceptionally high
demand. The truth is that synth programming is not a career so much as a constellation of opportunities based
around a particular skillset—and so-called synth programmers are multitalented musician-engineers who use their
flexibility to find a wide variety of work.
Synth programmers are obsessed with the technical aspects of creating and shaping sound, and curious about new
methods and technologies for doing so.
Synth programming as a skill can be complementary to almost any musical endeavor, which is perhaps why synth
programmers perform so many different roles. Synth programmers might be hired to play keyboards as touring
musicians, to care for and prepare synthesizers on tour as concert techs, to design new sounds for recording
artists and record producers, or to maintain and repair finicky synthesizers for studio maintenance
engineers or studio managers. They might also work with film and TV composers to beef up their MIDI sketches
with the best samples around (a process called MIDI orchestration), or be employed by video game studios as sound
designers. Some have their own studios, where they work as songwriter-producers and experiment with their craft,
while a small number work full-time for major synthesizer companies, where they either design and refine preset
packages or work as product representatives.
Synth Programmer at a Glance
Career Path
There's not much of an established career path for synth programmers. The common thread is that successful synth
programmers use their synthesizer skills to forge unique collaborations and creative partnerships
with composers, recording artists, producers, studio engineers, and sound design teams. "Making it" as a synth
programmer usually means finding consistent sources of work that enable the programmer to continue exploring
new sonic territory and growing as an artist. The top synth programmers provide vital support to other successful
creatives or become eminent songwriter-producers.
Finding Work
Because basic synth programming skills are covered in the education of most engineers and producers, synth
programmers looking for work in the record, film, TV, or video games industries generally need to bring some
additional skills to the table. An aspiring synth programmer should accumulate experience in related roles
(e.g., orchestrator, beat maker, composer, sound designer, session musician, or touring musician) in order to make
connections with artists, engineers, and composers who may one day come to rely on the programmer’s expertise.
Synth programmers can also take part in synthesizer programming contests hosted by major synthesizer companies,
which can be great sources of exposure. Additionally, major synthesizer companies hire a small number of
extremely skilled engineers to design their sonic products full-time, as well as technology educators and product
representatives to expand the user-base.
Professional Skills
• Digital signal processing (DSP)
• Digital audio workstations (DAWs)

• MIDI
• Logic
• Ableton
• Cubase
• Pro Tools
• Sequencing software
• Analog synthesizers
• Audio engineering
• Audio production
• Sound design
Synth programmers are obsessed with the technical aspects of creating and shaping sound, and curious about new
methods and technologies that assist in doing so. Innovators and experimentalists, they would rather go to the source
and program their own sounds than use presets. They’re humble and team-oriented, capable of listening closely to
the needs of collaborators and willing to put in the work to support them without sharing evenly in the glory. Often,
they are artists and musicians in their own right, which influences their more technical work as programmers and
engineers.
Work Life
Finding a steady source of work is the real challenge for synth programmers, who are usually employed as
freelancers and perform a number of distinct roles depending on the needs of the project. While most synth
programmers have a home studio, the certainties end there; synth programmers lead eclectic work lives based on the
types of gigs they're pursuing. Some mostly play or assist in local studio sessions, while others go on tour, work in
an office, run music production companies, or even own successful studios.
9. Music Coordinator
What Does a Music Coordinator Do?

In the film and television industries, music coordinators work closely with music editors, composers, and music
supervisors to create and deliver cue sheets, ensuring that the film’s music royalties are distributed correctly. They
might also negotiate and acquire synchronization rights for the film’s music. In certain cases, due to a tight music
budget, a production might hire a single individual to perform the duties of both music coordinator and music
supervisor.
Live-performance-oriented music coordinators, on the other hand, work with theater companies, dance companies,
churches, and schools to provide assistance with budgeting, hiring, contracting, licensing, and music direction. In
both live performance and film/TV, music coordinators sometimes work with or as music contractors, hiring and
contracting musicians for a session or performance.
Music Coordinator at a Glance
Career Path
An advanced degree in music isn't always necessary to work as a music coordinator, but some productions prefer
one. For the most part, music coordinator as a film and TV industry career path is on its way out. This is because the
coordinator's duties overlap significantly with those of the music supervisor and music editor, and limited budgets
inspire many productions to hire these more specialized professionals instead.
Still, the term gets around: it's common for music supervisors to work gigs as music coordinators, and occasionally
to be credited as music coordinators even when the work they contributed was actually music supervision.
Ultimately, all of these jobs are part of the same work ecosystem, which revolves around finding, securing, and
crediting the pre-existing music used in a nonmusical production.
Finding Work
Music coordinators won't often find work on a job board; they're more likely to land a position through hard-won
industry connections. Those aspiring to become music coordinators, or the more creatively oriented music
supervisors, should seek experience working on student and indie productions. Music coordinators usually work for
film studios, theater companies, and independent music-production companies. They may also be freelance.
Professional Skills
• Budgeting
• Music licensing
• Contracting
• Creating cue sheets
• Project management
• Music supervision
• Negotiation
• Organization
Music coordinators are highly organized jacks-of-all-trades. They are open-minded, knowledgeable, well-connected,
and—most importantly—flexible. They come ready to do whatever needs to be done to move the production's music
along.
Work Life
The lifestyle of music coordinators varies greatly depending on their industry and employers. In most cases,
coordinators work on one or two productions at a time, their daily hours dictated by meetings with others about the
production and a timetable of long-term goals. Music coordinators who haven't yet "made it" may work a day job,
while almost all music coordinators also perform small gigs as music supervisors, music contractors, session
conductors, copyists, or even music editors.
10. Music Supervisor (Film, TV, Video Games)
What Does a Music Supervisor (Film, TV, Video Games) Do?

A recently popularized field, music supervision is the art of selecting and licensing preexisting songs or recordings
for use in visual media like film, television, video games, and advertising. A skilled music supervisor might choose
the perfect song to enhance a dramatic television moment, help an advertising producer make smart, inspired music
choices, or find a cost-effective workaround when a film's plot requires a particularly expensive, hard-to-license
recording. Music might be selected based around a central guiding aesthetic, a sense of how the music would
complement a specific scene, or knowledge that a certain new track is well positioned to succeed.
Music supervisors must possess a natural sense of the emotional and narrative nuance of music, lots of experience
with music synchronization and licensing, and strong verbal communication skills.
In order to use a piece of pre-existing music—a song or recording—music supervisors must negotiate the rights and
costs with licensing representatives employed by record labels, music publishers, and the
original artists or songwriters themselves. Sometimes these negotiations are purely about cost, whereas others it's
about convincing the artist—who may not like the project or the music's context within it—to license the song at
all. When music placements are successful, the results typically benefit both camps: the songwriters, artists, and
record label receive exposure and royalties, while the movie, television, or video game producers piggyback on the
value of the artist's brand, or simply use the emotional depth and poignancy of the music to tell their stories.
In addition to selecting and licensing music, music supervisors might also draw up a production's list of musical
credits, maintain cue sheets, and take part in spotting sessions—meetings with the project's director, composer,
and music editor during which the details of the music's placement, style, tone, and duration are discussed. If the
project necessitates recording a cover version of a song—often the case for famous songs with expensive or
unattainable licenses—the music supervisor oversees the entire process, including recruiting and contracting musical
talent, booking the studio, and attending the recording sessions. In rare cases, a music supervisor may act as the
music director for the project, hiring the composer and overseeing the direction of the score in addition to the
soundtrack.
Music Supervisor (Film, TV, Video Games) at a Glance
Career Path
As a professional field, music supervision has only come into the spotlight relatively recently, making it difficult to
define a typical career path for a music supervisor. Music supervisors tend to be musically trained, extremely well
connected, and knowledgeable about music licensing practices. However, the only real job requirement is to be an
avid music listener with connections in the music industry (and failing that, persistence and dedication). The most
successful music supervisors can be paid large sums for a single project and rarely lack for work.
There is some crossover between music supervision and music coordination, a similar, but more administratively-
oriented, field.
Finding Work
Aspiring music supervisors should do whatever they can to get their first credits—performing music supervision for
student films, for example. Keep in mind that music supervision isn't just about picking the right song for the job; it's
also about negotiating the rights to the song, a task that requires strong professional connections and a reputation in
the music licensing world. Aspiring music supervisors might consider doing an internship at a music publisher,
possibly in the licensing department.
Professional Skills
• Encyclopedic music knowledge (different genres, periods, etc.)
• Film knowledge
• Music licensing laws
• Connections in the music recording and publishing industries
• Negotiation
• Deadlines
• Research
Music supervisors possess an unusually far-reaching and diverse knowledge of music history and recording artists,
an intuitive sense of the emotional nuance of music, and a developed relationship with visual media. Generally, they
are people who seek out, listen to, and remember as much music as they possibly can, and can organize and recall
this information at will. In addition, music supervisors should be excellent communicators with strong networking
skills. Finally, it's helpful to be tapped into the cultural and musical zeitgeist, with natural instincts about musical
and visual trends.
Work Life
Most high-profile music supervisors are freelancers who work on a project-by-project basis. However, music
supervisors can also be employed by production companies; film, television, and video game studios; advertising
companies; or even small music-supervision companies. The majority are based in either Los Angeles or New York
City.
Unsurprisingly, work hours for music supervisors vary considerably. As they don't necessarily need an office for
their work, many work from home or do the majority of their job on the go, moving from meeting to meeting. On
the other hand, music supervisors who are acting as full-time music directors for a show or movie tend to be much
more involved in the filming process and almost always spend some time on location.
11. Sound Eﬀects Editor (Film and TV)
What Does a Sound Effects Editor (Film and TV) Do?

Sound effects editors are critically important figures in the entertainment world. Without them, the sounds that
accompany real life and the noises that make fantasy worlds seem real—from rustling leaves to a spaceship landing
—would be missing from movies and television shows. Whether they're sourcing and modifying effects from sound
effect libraries, synchronizing effects created by foley artists with the on-screen action, recording their own sounds
in the field, or creating so-called designed sounds—unnatural audio that cannot be captured from real life—effects
editors make visual worlds come alive.
A sound effects editor might begin a project by making a master plan that details all sounds mentioned in a script or
indicated by the action, or simply be assigned certain effects to cover by a supervising sound editor. Some effects
can be sourced from libraries, which are stocked with thousands of digitally stored background sounds, such as
birdsong or traffic. When natural sounds that correspond with specific action visible on screen need to be recreated
for a film, such as footsteps or a closing door, effects editors collaborate with foley artists. For designed sounds,
effects editors create patches to modulate or manipulate existing recorded sound into the desired effect, or synthesize
the sound from scratch.
Sound Effects Editor (Film and TV) at a Glance
Career Path
As a variety of sound editor, film and TV effects editors might also work freelance gigs as dialogue editors or music
editors—the other two primary branches of post-production sound. Those with experience in all three areas are well
suited to work as re-recording mixers, balancing every element of the soundtrack for a film or show, or
as supervising sound editors, leading the design, creation, modification, and implementation of all audio elements in
a project.
Finding Work
Although the majority are freelance, sound effects editors can also be part- or full-time employees of an audio
production house, movie studio, or TV production company. Beginning effects editors may gain experience and
begin to build their resumes by working for little or no pay on student films, independent films, and webseries.
Professional Skills
• Audio editing
• Basic acoustics
• Audio recording
• Audio mixing
• Sound libraries
• Avid
• Pro Tools
• DAWs
• Time management
Although there are collaborative aspects to the job, sound effects editors spend the bulk of their work days at an
audio workstation with headphones on, so the ability to be alone for long stretches of time while maintaining
exceptional focus and meticulous attention to detail is vital. Also important is a passion for visual media and a real
feel for how sound and images work together to create compelling art and entertainment. Effects editors in particular
benefit from having an adventurous and curious spirit that drives them to find new ways to (re)create sound.
Work Life
Effects editors generally work different hours depending on the project they're working on and where it is in its
production cycle. TV effects editing might require a few inconsistent hours each week on a long-term basis, while
film effects editing could require many months of a dedicated, consistent work schedule. When deadlines are
pressing, effects editors must be ready to work as much as necessary to have the assets completed in time. In
between projects, freelance editors might find a week or two to catch their breath before tackling the next one.
12. Supervising Sound Editor (Film and TV)
What Does a Supervising Sound Editor (Film and TV) Do?

After filming has wrapped, sound effects have been added, the music recorded or licensed, and all cuts and changes
have been approved, a movie enters the production stage called picture lock. That's when the supervising sound
editor begins the painstaking process of fashioning a final soundtrack from a film's many sonic components. These
include production sound (the dialogue and ambient noises captured during shooting), foley (reproduced
sounds), ADR (automated dialogue replacement), walla (crowd noises), sound effects, and music.
While supervising sound editors may do a certain amount of editing themselves, their primary job is to oversee the
work of a full team of dialogue editors, sound effects editors, and music editors, ensuring that post-production sound
stays on schedule.
Once the effects and dialogue are pristine and perfectly situated within the film, the supervising sound editor stitches
them together with the composer's score and the music supervisor's song selections, creating a complete sound
experience to accompany the moving picture. The work is done using a DAW (digital audio workstation), which
stores all the sounds in separate files and allows the editor to synchronize each one with particular frames in the
film. When the sound editor's job is finished, the completed soundtrack is sent off to a re-recording mixer to be
balanced and mastered, a process for which the supervising sound editor is likely to be present.
Supervising Sound Editor (Film and TV) at a Glance
Career Path
This is the highest position in the audio post-production team in the film and TV industries. Many supervising sound
editors start out as audio interns with a network or studio. From there, one must typically choose a path: focusing
on dialogue, music, or effects. Those who become supervising sound editors are likely to cycle through at least two
or possibly all three of these tracks, gaining deep knowledge of the art of sound editing and the film industry's
conventions. Eventually, a senior editor may be selected as an assistant supervising sound editor on a film, and in a
subsequent project become the supervising sound editor.
Comparable work in the video game industry is handled by audio directors, who oversee a mix of sound
designers (also called audio developers), dialogue editors, and audio implementers.
Finding Work
Sound editors usually work as freelancers, hired by film and television producers on a per-project basis. They can
also be employed full-time by post-production sound studios, and in rare cases by film or television studios.
At the beginning of the career, an internship with a television network or film studio is the best way to gain initial
experience, sharpen skills, and get a feel for this kind of work. It can also be helpful to edit sound on a student film,
independent film, or web series. While openings may sometimes be posted on online job listing sites, as with many
gigs in the entertainment industry, getting a job in sound editing is largely dependent on networking and word-of-
mouth recommendation. This is why attending film events and panels—where connections can be made with
industry figures—can kick-start one's career.
Professional Skills
• Sound design
• Audio editing
• Film/video editing
• DAWs
• Foley
• Scheduling
• Leadership
• Communication
• Exceptional ears
While the other sound editors spend the bulk of their work days at an audio workstation with headphones on,
supervising sound editors do not have that luxury. Their primary responsibility is the soundtrack, and they must
communicate, set goals, build long-term schedules, and motivate the rest of the team so that it's ready in time. In
other words, they must lead. Because deadlines are often pressing in this industry, it's vital to remain clear-headed
and focused while under pressure. Also important is a passion for visual media and a real feel for how sound and
images work together to create compelling art and entertainment.
Work Life
Supervising sound editors have intense schedules when working on a film, which might last anywhere from a few
weeks to several months, and sometimes toil more than 12 hours per day. Fortunately, they get to take a break from
this rapid pace when the work is done, as most sound editors are freelance and will need to find a new project.
Sound editors in the television industry do similar work, but on a smaller scale, in a shorter time frame, and with
more consistent employment prospects, although that depends on the success of the show.
13. Dialogue Editor (Film, TV and Video Games)
What Does a Dialogue Editor (Film, TV, and Video Games) Do?
While the specific duties of a dialogue editor can vary widely based on industry or the project's scope and budget,
the core job is to ensure that dialogue audio is clean, matches the visual action, and fits with the world of the
production. This could mean cleaning up pops, clicks, and artifacts; adjusting levels; equalizing voices; devising
process patches in order to modulate voices (e.g. so that a voice sounds like it is coming from a walkie-talkie or
belongs to a humanoid creature); and reviewing the visuals to make sure that every miniscule mouth movement
syncs with the sound.
Because post-production sound is entirely separate from production sound in the film and TV industries, film and
TV dialogue editors tend to focus on editing raw voice recordings that were captured beforehand by boom
operators and production sound mixers on set. However, in some cases, dialogue editors might also be involved in
recording dialogue audio in-studio with ADR recordists.
In comparison, video game industry dialogue editors work almost exclusively with studio-recorded audio, which
means they have the opportunity to assume broader creative oversight of the game's dialogue, including leading
recording sessions with voice talent. It also means that additional effects often need to be applied to match the in-
game spaces in which dialogue takes place (e.g., a cramped cave or a dense forest). Additionally, because video
game dialogue is usually responsive to a player's choices, the dialogue editor may work closely with game designers
to define the events and states to which the in-game speech system will respond; the outcome of these choices may
determine the content of the voice-over recording scripts.
Dialogue Editor (Film, TV, and Video Games) at a Glance
Career Path
Film and TV
As a variety of sound editor, film and TV dialogue editors might also work freelance gigs as music editors or effects
editors—the other two primary branches of post-production sound. Those with experience in all three are well-suited
to work as re-recording mixers, balancing every element of a soundtrack for a film or show, or as the supervising
sound editor for a project, leading the design, creation, modification, and implementation of all audio elements.
Video Games
Dialogue editors for video games may also work as sound designers, a catchall position that largely revolves around
finding, creating, and modifying sound effects. They are also likely to have some experience in video game audio
implementation. Senior dialogue editors may be picked as the audio director or audio lead for a project.
Finding Work
Although the majority are freelance, dialogue editors can also be part- or full-time employees of an audio production
house, video game studio, or movie studio. Beginning dialogue editors may work for little or no pay on independent
and student games and films in order to build their résumés.
Game audio is a growing field, and aspiring video game dialogue editors will need to be avid networkers who can
make connections with industry figures to get a foot in the door. Veterans recommend attending gaming events such
as the Game Developers Conference to make personal connections with developers.
Professional Skills
• Audio editing and processing
• Audio mixing
• Audio recording
• Avid
• Pro Tools
• DAWs
• Good ears for detail and nuance
• Time management
Like most sound editors, dialogue editors must be focused, detail-oriented, and perfectionistic. As a member of a
larger audio editing team, it's essential that dialogue editors have strong communication skills and work well with
the group. Also vital is the ability to remain clearheaded and focused while working under pressing deadlines, which
are all too common in the worlds of film, TV, and video games.
Work Life
Depending on the project and their responsibilities, dialogue editors may spend the bulk of their time hunched over a
workstation with headphones on, or be absorbed in meeting with the story department, brainstorming with designers,
receiving progress reports from editors, and directing voice actors.
Schedules generally adhere to standard business hours although workdays can be quite long, especially when
deadlines are looming. Independent contractors might work on a project for anywhere from a month to many years,
and take short breaks between projects to catch their breath.
14. Licensing Representative
What Does a Licensing Representative Do?

The rights to use music are bought and sold every day, and not just to Hollywood music supervisors curating killer
soundtracks or shoe companies searching for the perfect pop song to sell sneakers. Whether it's the tune that plays
when a child pushes a button on a toy, the songs serenading skaters at an ice rink, or the backing track in the latest
viral video, nearly all of the musical recordings we hear in our daily lives are owned and copyrighted—and these
copyrights are, in turn, serviced by licensing representatives.
A friendly, outgoing demeanor is an important trait because licensing representatives spend a lot of time talking and
meeting with people, discussing music, and making small talk.
Licensing representatives deal with four kinds of licenses: the mechanical license, which grants the right to record
and distribute a song; the public performance license, which grants the right to play a song in a public space; the
synchronization license, which grants the right to use a song in a visual media format such as film; and the master
license, which grants the right to use a specific recording of a song. Different organizations control different rights,
and grant licenses accordingly. Major performance rights organizations (PROs) such as BMI, ASCAP, and SESAC
trade in performance licenses, while record companies control master rights, and music publishers usually control
both mechanical and synchronization rights.
This means that licensing representatives do quite different jobs depending on what kind of company they're
employed by. Representatives at PROs work in large teams that almost resemble call centers, pitching access to their
company's entire catalog to businesses including amusement parks, nightclubs, and radio stations. On the other
hand, representatives at record companies, music publishers, music libraries, or copyright administration companies
tend to work with creatives who are looking for a certain kind of song or instrumental track to use in a television,
film, advertising, or online project. These representatives pitch and field offers for specific artists or tracks in their
catalog and, if the pitch is successful, negotiate a fee for the license.
Licensing Representative at a Glance
Career Path
Although general knowledge of licensing laws, contract laws, and the music business is vital to the job, there's no
specific education program or degree that qualifies one to jump into a career in licensing. Rather, most licensing
representatives begin their careers as interns or assistants in the licensing department of a publishing company, or at
an independent copyright administration company. With time and experience, they may advance to the role of
representative, and then move up to become the director of the department or company. Licensing representatives
might also explore different sides of the industry—working for a PRO is quite different from working for a
publisher, for example. Licensing representatives with Hollywood connections are well positioned to become music
supervisors.
Finding Work
Licensing representatives are employed by music publishing companies, record labels, music libraries, PROs, and
independent licensing companies such as the Harry Fox Agency. Aspiring licensing representatives should seek
internships and entry-level positions at any of these businesses.
Professional Skills
• Music licensing
• Contract law
• Sales
• Written and verbal communication
• Deep knowledge of music
• Negotiation
A friendly, personable demeanor is an important trait for licensing representatives, who spend a large amount of time
meeting with people, discussing music and negotiating licensing fees. Licensing representatives should also seek to
cultivate good business sense, a great memory for names and faces, and a clear and straightforward verbal
communication style.
Work Life
Licensing representatives usually work during normal business hours in an office setting. At night and on weekends,
they're likely to attend music business networking events such as private concerts.
15. Music Contractor
What Does a Music Contractor Do?

Music contractors are best known in the film and television industries, where they’re responsible for finding
the session players and conductor to record a film score, television score, or a show’s theme. However, they can also
work in the theater industry—finding pit orchestra musicians for a play, musical, or opera—or in the live and
recorded music industries, where they might hire backup singers and touring musicians for a recording
artist or music director, or connect a songwriter recording an album with skilled session musicians. In all
cases, these musical matchmakers thrive in the space between industries, reaching across the divide to connect
supply—seasoned musicians and conductors—with demand.
In order to do their job, music contractors must be good at making new connections, maintaining old ones, and
leaving a positive impression in any social encounter, no matter how brief.
In addition to connecting musicians with clients seeking musical talent, music contractors also act as liaisons
between the musicians, the client, and the union. It's their job to ensure that the musicians they provide work under
good conditions and receive fair pay. Contractors may also facilitate contract agreements for the musicians, book
studio time if the job involves a recording, and assist in the recording process if necessary. In order to field a wide
range of requests, music contractors must be able to supply musicians who work in every genre and on every
instrument, no matter how obscure.
Music Contractor at a Glance
Career Path
It must be emphasized that this is a late-career position for a former professional musician who has worked in and
around a specific industry for a long time. Music contractors build their local professional network—which is their
primary product—out of a long list of peers and collaborators from their previous career. But while any working
musician in Hollywood will likely encounter a music contractor at some time or another, there's a reason that few
will enter this career themselves: there simply isn't enough work to support many music contractors in a single
industry. In Hollywood, for example, only a handful of impressively well-connected music contractors broker the
majority of work for musicians in the industry—and the proliferation of sampling technology has only decreased
this number.
Finding Work
It's very rare for an individual to actively attempt to find work as a music contractor. Most music contractors find
their way into this niche field after a long career as a professional session musician, conductor, pit musician,
or touring musician, during which time they make thorough connections among the local music community. It's
these preexisting connections that music contractors use to do their job when they retire from playing music.
Professional Skills
• Hiring/casting
• Networking
• Instrumental performance
• Written and verbal communication
• Contract law
• Principles of film/TV scoring

• Knowledge of union standards
The product that music contractors sell is their connections. They not only need to know the best local musicians on
every instrument, but also who among them is currently available for work, who works well together and who can't
be in the same room, and who could fill in when someone gets sick. In order to gain this knowledge, music
contractors must be sociable, attentive, and good at making new connections and maintaining old ones.
Being a skilled music contractor also means balancing two sides that are often at odds: the musicians who are
looking for honest, well-paid work, and the clients who are looking for excellent (and cheap) musical labor. Good
judgment is critical.
Work Life
Travel is minimal for music contractors, as most duties can be performed at a home office in Los Angeles or New
York City. But like many freelance positions, this job comes with its fair share of unofficial job duties, such as
constant networking at industry parties and events in order to stay on top of the scene. Music contractors must, by
necessity, lead an active and engaged social life; any contractor who ceases to actively pursue new contacts may be
pushed out of the scene quickly.
16. Music Director (Television)
What Does a Music Director (Television) Do?

There is no simple job description for television music directors; the types of shows they work on—as well as their
contributions and responsibilities—are far too varied to sum up in a single phrase. Television music directors fall
into three main categories based on the kind of show they work on: talk shows, talent competitions, or broadcast
events.
Talk Show Music Directors
Within the larger group of television music directors, the most visible by far are house bandleaders on late-night
television, many of whom (e.g., Questlove, Reggie Watts, Fred Armisen, and Jon Batiste) are celebrities in their own
rights. These talk-show bandleaders typically double as sidekicks, bantering with the host and participating in comic
bits on top of their musical duties, which include selecting and arranging the music used to introduce guests and
bridge show segments; writing charts; rehearsing and leading the band during the show's taping; and sometimes
accompanying musical guests.
Talent Competition Music Directors
In contrast, music directors for weekly talent competitions such as American Idol are off-screen creative forces who
lead teams of arrangers, orchestrators, copyists, and instrumental players in the preparation and performance of
music to accompany contestants. As a season progresses, music directors work personally with finalists, helping
accentuate strengths and conceal limitations. As the final rounds of these competitions are typically broadcast live,
music directors must be able to adapt quickly to changes, which may occur right before the show begins or even
while it's happening.
Live Broadcast Event Music Directors
This category includes both one-time televised musical events and annual awards shows. One example is the
monster curatorial job undertaken for a special televised event such as the Olympics opening ceremony. For an event
like this, music directors must conceive, select, and prepare (in collaboration with the creative director) a program of
music that reflects the host country's spirit and identity while also hitting certain dramatic marks. Similarly, an
awards show such as the Oscars is a one-night affair requiring months of preparation by the music director, who—
along with a handpicked creative team—composes, arranges, and rehearses the roughly 135 pieces of music that
make up the show. These pieces are used in various ways: as presenter play-ons, as segues in and out of
commercials, and as accompaniment for all of the awards categories.
Music Director (Television) at a Glance
Career Path
This is a senior position on a television or event production team. Anyone breaking into the field of television music
direction already has a long résumé as a player, arranger, composer, bandleader, or conductor. The specifics of one's
career path vary based on the type of music direction. An instrumental player in a talk show band, for example, can
progress to become first bandleader, and then hybrid bandleader/music director, of the show. On the other hand, the
music director for a broadcast event doesn't need top-notch skills as an instrumental performer, but must have
copious experience in event production, broadcasting, arranging, and personnel management.
Finding Work
Television music directors work for television networks, television producers, event producers, and creative
directors. Due to the high level of responsibility inherent in a role like this, aspiring music directors must have a
minimum of five to 10 years of experience working in and around the music side of the film and TV
industries. Landing a first gig is largely a function of industry connections, while finding subsequent gigs has more
to do with having a stellar reputation for consistency and effectiveness.
Professional Skills
• Arranging
• Composition
• Bandleading
• Conducting
• Reading and writing music
• Instrumental proficiency (if playing in the band)
• Strong knowledge of all instruments
• Leadership
• Versatility
• Time management
This demanding job is suited to someone who is an effective leader and an avid team player—able to formulate and
communicate a strong musical vision and then motivate colleagues to produce high-quality work under tight
deadlines. Perhaps more importantly, however, music directors must be flexible and quick-thinking; in many cases,
their success or failure is determined by their ability to adapt to and handle different ensembles, last-minute changes
to the lineup or music, or even catastrophic equipment failures. The ability to remain cool under pressure is a must.
Work Life
Like most musicians, music directors have a busy, high-intensity work life. A music director for a one-off televised
event might spend several months of nonstop work, including on evenings and weekends, in preparation for the big
day. On the other hand, the bandleader for a nightly talk show or talent competition is likely to have a more regular
schedule, following the rhythms of the television season. For the most in-demand music directors, travelling
overseas for events and filming is likely.
17. Session Conductor
What Does a Session Conductor Do?

It's a common question: How is conducting in a recording session different from conducting on stage? While stage
conducting involves working night after night with a specific orchestra, session conducting is usually a contracted,
one-time-only job performed by professional composers, orchestrators, and conductors who work in or around the
film, television, and video game industries. For these professionals, session conducting work is a repeatable way to
earn money while networking and staying involved with their field.
Orchestrator and film conductor Pete Anthony says, "It's very rare for someone to make a living just as a film music
conductor; almost all of us have to do different things.”
In the film industry, everything moves very quickly. Film scores are ready only moments or at best a few days before
recording sessions, and are far from being set in stone. As a result, session conductors have to come to sessions
ready to work hard and learn fast. At the top of the session, conductors usually take the opportunity to discuss the
music with the composer and orchestrator, touching on specific concerns including tempo, sonic balance in the
performance, difficult passages, and electronic elements of the score. Then, session conductors assist musicians, who
may be seeing the score for the first time, by correcting wrong notes, unpacking difficult parts, and clarifying the
intentions of the piece. Occasionally, session conductors must also adjust to last-minute changes to the score, usually
due to the director's request.
"The conductor is like the director of a play... He takes suggestions and gives directions; but for the most part, he
lets the great talents perform without interfering."

— Film conductor and music director Mike Nowak
When it's finally time for the recording, the job of a session conductor is quite similar to that of a stage conductor: to
keep the group unified, to make adjustments, and to serve as the emotional center of the performance, shaping the
music. Every session is unique, with its own rules, requirements, and challenges. Ultimately, a session conductor’s
job is to help the orchestra play well, aid the recording engineer in getting a clean take, and support the composer
and director in achieving their goals for the work.
Session Conductor at a Glance
Career Path
The professionals who work as session conductors are usually also composers, orchestrators, arrangers, stage
conductors, orchestral musicians, or some combination of the above. Because experience in a film or television
recording session is critical for a session conductor, it's rare for seasoned stage conductors to suddenly dive into
session conducting without prior experience in those fields. On the contrary, most session conductors work in or
around the film, television, and video game industries for some time before they conduct their first session, getting
their start as composers' assistants, film orchestrators, or orchestral musicians. Session conductors who manage to
build a strong industry reputation and work well with music contractors can count on a steady flow of gigs.
Finding Work
Finding work as a session conductor is all about connections—not just with music contractors and music directors,
who usually hire conductors, but also with film composers, who have a lot of power in choosing who conducts their
work. Aspiring session conductors should start by working as a film orchestrator, composer, or orchestral musician
to learn the ins and outs of the process. Occasionally there are gigs for an assistant session conductor, which can
serve as an excellent bridge for those who are ready to transition into conducting. It can be difficult to land those
first gigs but good work in a few sessions is sure to produce more opportunities.
Professional Skills
• Conducting
• Music notation (reading and writing)
• Instrument skills
• Music theory
• Orchestration
• Scoring
Like their stage counterparts, session conductors serve as the emotional center of the orchestra. They must be
affable, soothing, and likable, while also capable of intense passion for the music they conduct. Unlike stage
conductors, session conductors must be particularly humble. Film conductor Mike Nowak says, “A conductor on the
concert stage is the star; that's not what I do. My opinion of what the music should be is irrelevant. I'm only doing
my job right if I'm helping the composer get exactly what he wants."
Work Life
Depending on how much music is being recorded, a conductor’s job on a given film can take anywhere from one
day to more than a week. A very small field of regulars consistently conducts for film and television. Film conductor
Pete Anthony says, "It's very rare for someone to make a living just as a film music conductor; almost all of us have
to do different things.” The profession is often combined with work as an orchestrator, instrumental performer,
arranger, or copyist. It’s a good idea to choose two or more jobs (like these ones) with complementary networking
opportunities.
18. Broadcast Engineer
What Does a Broadcast Engineer Do?

Broadcast engineers play an integral role in the radio and television industries, where they're responsible for keeping
scheduled broadcasts running, setting up live broadcasts in the field or studio, maintaining and updating
broadcasting hardware and software, and addressing broadcasting problems as they arise. Historically electrical
engineers with major problem-solving skills, today's broadcast engineers also incorporate computer engineering
skills in order to configure tools and software for broadcasting, or to manage live web broadcasts.
Broadcast engineers must be cool-headed under pressure, have excellent diagnostic and problem-solving skills, and
be able to manage their time efficiently.
Because broadcasting systems have become highly reliable and automated over time, broadcast engineer positions
have become less about maintaining everyday broadcasting operations and more about troubleshooting major or
minor problems when they arise, maintaining (or improving) the equipment, and preparing for outside broadcasts.
A broadcast engineer for a major news channel might be quite frequently engaged with setting up and improving
links between outside broadcasts and studio ones. On the other hand, a broadcast engineer for a music-oriented radio
station might not have a lot to do when things are running smoothly, but likely sets up the occasional live concert
broadcast and works furiously when the broadcast encounters problems. Depending on their skills and the resources
of their employers, broadcast engineers also sometimes pick up a bit of recording, mixing, or editing as part of their
duties.
Broadcast Engineer at a Glance
Career Path
Broadcast engineers usually possess a bachelor's degree or higher in electrical engineering, computer engineering, or
broadcast/communications technology. Most get started by landing internships, which can lead to a position as
assistant broadcast engineer. From there, it's possible to move up the ladder to chief broadcast engineer, or find self-
employment as a consultant or independent contractor. Broadcast engineers can also use their education in electrical
engineering to work as studio maintenance engineers, or can switch paths entirely to become recording
engineers, mixing engineers, or radio DJs.
Finding Work
Broadcast engineers can work for television networks, cable facilities, commercial and noncommercial radio
stations, production companies, and corporate audio-visual departments. Most of the above companies are likely to
have at least one full-time broadcast engineer on staff, but there are also opportunities for freelance work,
particularly for those broadcast engineers who specialize in performing routine maintenance and improvements on
broadcast systems that are almost entirely automated.
Professional Skills
• Electrical engineering
• Digital signal processing
• Computer engineering
• Broadcast systems
• Physics
• Problem-solving skills
• Good under pressure

Broadcast engineers must be cool-headed under pressure, have excellent diagnostic and problem-solving skills, and
be able to manage their time efficiently. Ideally, they also have appreciation for the medium they're working in, be
that radio or television.
Work Life
Broadcast engineers work flexible work hours based around the programming schedule of their television or radio
station. As most stations air around the clock, shifts can cover days, nights, weekends, and holidays, and sudden
equipment problems can mean coming into the station even during one's time off. There may be travel involved,
especially for those who frequently work on-location. Freelancers have more control over their schedules than do
those with permanent positions.

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Berklee Career Advice

Compilation (Feb 2020)

What Does an Assistant to the Composer Do?

Assistant to the Composer at a Glance

What Does a Composer (Film) Do?

Composer (Film) at a Glance

• Reading and writing music

• Arranging and orchestration

What Does a Composer (Television) Do?

Composer (Television) at a Glance

• General knowledge of instruments

• Experience composing for a visual medium

What Does a Music Editor Do?

Music Editor at a Glance

• Deep understanding of musical storytelling

• Familiarity with film music and genre conventions

• Written and spoken communication

• Good under pressure

What Does an Orchestrator (Film and TV) Do?

• Reading and writing music notation

• Deep knowledge of instruments

• Deep knowledge of instruments

What Does a Copyist (Concert and Stage) Do?

Copyist (Concert and Stage) at a Glance

• Broad knowledge of instruments

What Does a Copyist (Film, TV, and Video Games) Do?

• Music notation software

• General knowledge of instruments

What Does a Synth Programmer Do?

Synth Programmer at a Glance

• Digital audio workstations (DAWs)

What Does a Music Coordinator Do?

Music Coordinator at a Glance

• Creating cue sheets

What Does a Music Supervisor (Film, TV, Video Games) Do?

Music Supervisor (Film, TV, Video Games) at a Glance

• Music licensing laws

• Connections in the music recording and publishing industries

What Does a Sound Effects Editor (Film and TV) Do?

Sound Effects Editor (Film and TV) at a Glance

What Does a Supervising Sound Editor (Film and TV) Do?

Supervising Sound Editor (Film and TV) at a Glance

Dialogue Editor (Film, TV, and Video Games) at a Glance

• Good ears for detail and nuance

What Does a Licensing Representative Do?

Licensing Representative at a Glance

• Written and verbal communication

• Deep knowledge of music

What Does a Music Contractor Do?

Music Contractor at a Glance

• Written and verbal communication

• Principles of film/TV scoring

What Does a Music Director (Television) Do?

Talk Show Music Directors

Talent Competition Music Directors

Live Broadcast Event Music Directors

Music Director (Television) at a Glance

• Reading and writing music

• Instrumental proficiency (if playing in the band)

• Strong knowledge of all instruments

What Does a Session Conductor Do?

Session Conductor at a Glance

• Music notation (reading and writing)

What Does a Broadcast Engineer Do?