MUSIC & ENTERTAINMENT PRODUCTION

CAREER DESCRIPTIONS

LIVE SHOW PRODUCTION CAREERS

Working live events can be very rewarding, no matter what your specific job duties may be. Live
productions present numerous challenges, and solving them is the daily pursuit of the crew. The goal is to
communicate and convey a memorable experience to the audience, no matter what size. Dazzle them
with the best possible production through whatever technology is available. The response of the audience
tells all. The next day we are all privileged to go out and do it all over again!

Here are descriptions of some of the many jobs within the industry.

Lighting Designer

The role of the Lighting Designer on any production is to visually support the vision of the artist,
producer, or director. The Lighting Designer is responsible for creating the light plot and all associated
paperwork, overseeing focus, writing the lighting cues and working with the stage manager to make sure
the cues are executed at the proper time. The LD works closely with the other designers on the production
team to make sure that the lighting ties together the other visual elements of the show.

A Lighting Designer is part artist, part technician. The LD must be able to create visually interesting
pictures on the stage and needs to understand the biology of vision, electricity and physics to make that
happen. The LD has to be able to "see" lighting cues when reading a script or listening to a song. They
should visualize what the scene looks like, see the angles of light, the shadows and the color; then they
need to be able to translate that vision into fixtures and gels and intensities to transition from the imagined
to the realized cue. A firm knowledge of fixture types and the quality of light each produces in necessary
to getting just the right light on the stage. The LD has to understand how color affects people both
emotionally and physically. They need know how to manipulate the controllable attributes of light to
make the picture on stage look exactly how it does in their imagination. A lighting designer must also be
a master at information management. They have to juggle the multiple forms of paperwork that are
utilized in a design as well as information for the hundreds of fixtures found in the rig.

Once a show opens the LD turns the lighting over to the Master Electrician and the lighting console
operators and moves on to the next production.

Hanging Fixtures

Lighting Console
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LIVE SHOW PRODUCTION CAREERS

Lighting Console Programmer/Operator

On the largest productions there may be two lighting console operators, one works with the automated
lighting system and the other with the conventional lighting system. Both of these positions are crucial to
the flawless execution of the Lighting Designers’ vision. The conventional programmer will work
with the lighting designer to set each channel level in each cue in order to create the look on stage. The
programmer must be a master of the console selected so he or she knows how to achieve what the
designer is asking for without delay. Once all of the cues are set, the operator becomes responsible for
running the console during the production. The moving light programmer will also work closely with the
designer to set the looks for each cue. It is common for the designer to explain the feel or look they are
trying to achieve. The programmer may create 3 or 4 different options for the designer to look at and the
designer may either pick one or make changes to one of the looks until it matches the designers vision.

Follow Spot Operator

The follow spot is a specialized lighting fixture that is designed to be manually operated by a technician
and is used to highlight an actor or performer on the stage. The follow spot operator is not noticed when
they are doing their job properly but any mistake is apparent to the audience. The operator must be able to
stay still for long periods of time since any small movement will show up as a large movement on the
stage. They must be familiar with the material or be a quick learner since most touring shows do not
travel with spot ops and rely on the venue to provide them. In addition to having a steady hand, the spot
op has to be able to pick up people in the dark without having the light ghost while looking for the person
they are picking up. The follow spot operator takes their cues from the Stage Manager or the Lighting
Console Op depending on the type of production. Some large touring productions utilize one or more
truss spot operators actually positioned in the overhead truss system. They must climb to their
position, pull their chain ladder up with them and wait for the show!
Typical Spot Light
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LIVESHOWPRODUCTION CAREERS

Electrician

An Electrician in the entertainment industry is a person who works with the lighting equipment. This
would not be the person who would wire a building or your house. Theater electricians are responsible for
implementing the plot received from the designer, focusing the lights with the designer and handling all
repairs and/or replacement of broken equipment. During the run of a theatrical show the deck electrician
would be responsible for quickly troubleshooting problems that may arise and plugging/unplugging any
practical’s or set mounted fixtures prior to movement of the set piece. Depending on the size of the
production there may be one electrician who is responsible for maintaining the dimmer racks and all
associated gear, this person is called a dimmer technician.

Video Director

The video director is the video crew leader who “calls” the show. They direct the crew in which shots to
line up on camera and which sources the Technical Director needs to select while switching video.
Overall the director is in charge of the “look” of the show while cueing the crew to complete certain tasks
throughout. This makes the product of live recorded video events extremely reliant on a skilled director.
They are aware of the many outputs feeding displays for the audience along with any live streaming and
work closely with the lighting designer, since video is very dependent on proper lighting. When recording
video for any reason, including streaming, the look of the event is everything!

Video Engineer

The video engineer ensures proper signal flow and equipment setup such as cameras, displays, projectors.
During a live show, a video engineer could also be referred to as a “shader” and would be in charge of
white balancing cameras, adjusting irises, black level, and color levels.
Hi Voltage! Beware!

LIVE VIDEO DIRECTOR

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LIVE SH OW PRODUCTION CAREERS

Video Technical Director

As the video crew leader, the Technical director is in charge of executing cues from the Video Director
through the use of a video switcher. This position can also be called a “switcher”. The technical director
is the last person in the chain before the image goes live and they must act fast to ensure a good looking
“Take”. The TD checks for camera composition and proper shading. Tasks include the executing video
transitions and special effects. The quality of the product being put out to “air” is only as good as they
select. The TD is also tasked with ensuring that all video equipment is working properly prior to
showtime. They will often help as the liaison between the audio and lighting crew.

Camera Operator

The camera operator is in charge of providing the highest quality images to the Video Director for the
production. This person would be operating a camera and should understand how their camera, lens, and
sometimes on-board storage media relate to the production. Camera operators become familiar with every
aspect of their camera and diligently work to compose a great image for the production. Their sensitivity
to the best angle, focus and lighting situation makes it all happen. The skill to hold the perfect shot relies
on their understanding of the creative needs of the director. Camera operators learn how to use tripod
dollies, steadicam systems, jibs and various other equipment. Communicating professionally via headset
is a must.

Video Technician

The Video technician is responsible for the upkeep and installation of all video equipment. Including;
media servers, cameras, projectors, screen and grip equipment. They strive for perfection and are highly
active keeping the technology performing up to it’s highest level. They are not responsible for the creative
composition but instead ensure the best possible image feeding each input & output. They should be
experts at signal flow, testing and aligning, networking, recording formats and archiving content. This
person may also run a camera, and work as a utility during a live show.

Video Switcher

Live Production Camera Operator

Video Control Room View

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Media Server Technician

A Media Server Technician is responsible for all aspects of setting up and operating a production media
server. The servers use proprietary software to control the image and graphical content that is distributed
to the projectors or LED walls. The software can be used as a stand-alone controller, or can also be
externally controlled via network protocols, DMX, MIDI, or OSC.

A media server technician must be able to interface the server to the external controller, and must have a
full understanding of all data protocols involved. Media server technicians must also understand the
various types of content that can be displayed and controlled, including graphical content, video, 3D files,
and live video inputs. Understanding the various file types, compression codecs, and content management
software is a must for all media server technicians.

Media server technicians must also be able to manage and distribute the video outputs to match the
displays. This includes understanding video signal management and distribution, as well as the basics of
EDID (Extended Display Identification Data) information to configure video to match the output display
settings. With pixel mapping components, media server technicians can transfer DMX lighting data to
automated lighting and LED lighting color and intensity to match the video content in the media server.

LED Wall Technician

With the rapid rise in technology of LED (Light Emitting Diodes), there is a strong need for an LED wall
technician on productions. Because of their brightness, LED walls have become the choice for many
productions instead of traditional projection, but because of the technology involved, a whole new breed
of technician is needed. A basic requirement is for the technician to be able to build the LED wall, which
is usually transported from show to show. as a collection of individual tiles or panels. These average
about 1 meter square, depending on the manufacturer, and then the panels can be joined together in many
different configurations to form a cohesive LED wall. Normally these LED walls are suspended on
trussing and motors above a stage, so rigging skills are also required.

LED wall technicians must also have a good grasp of video technology. This includes picture formats,
signal distribution, and picture quality. They are also responsible for the software to accept the needed
video signal input and distribute it properly to the LED wall. The technician will need to communicate the
A.C. power requirements with the house A.C. electrician too. Once everything is setup up and
operational, the technician must also possess troubleshooting, maintenance and repair skills in case any of
the LED wall malfunctions on the show site.

LIVE SHOW PRODUCTION CAREERS

Concert Visuals Media Server

LED Video Wall

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LIVE SH OW PRODUCTION CAREERS

A/V Technician

An Audio Visual Technician often works meetings, conferences, and conventions providing technical
production support setting up and operating audio, video, video projection, and lighting equipment for the
various types of events. The events can range in scale from just one person speaking at a podium with a
microphone to multiple presenters with Keynote or PowerPoint presentation software, video projection,
IMAG (Image Magnification), video cameras, video switching, computer audio, computer video content
playback, and lighting.

While there are areas of specialization, A/V technicians should possess a basic understanding of all
production aspects including camera operation and lighting techniques. Additionally, the A/V technician
will be required to occasionally perform routine maintenance on the equipment.

Strong communication and customer relations skills are necessary because A/V technicians are often
required to work with minimal supervision and are called on to interact with clients as well as colleagues.
A/V technicians can work freelance or be hired directly by the hotel or meeting and conference facility, or
by regional, national and international service providing companies.

R.F. Technician

The R.F. (Radio Frequency) Technician is responsible for coordinating frequencies for wireless
microphones, In Ear Monitor Systems, instrument, intercom and a multitude of other devices that use
airwaves as a method of sending signals.

The R.F. Tech must be a very organized, detail oriented individual. He or she is the key person in charge
of making sure that the audience, without interference, hears a star performers microphone every night
from one city to the next on a tour. They may be responsible for guaranteeing a C.E.O.’s wireless clip-on
microphone transmits their message to an assembly of a employees, clients or investors at a conference
center.

The demand for qualified R.F. Techs is growing as production expectations increase. On a musical tour,
an R.F. Technician will work with the Monitor Engineer and Monitor Technicians to ensure that the
equipment meets performers’ requirements for high quality. He or she will often interact with performers
to assess their needs or troubleshoot problems that arise.

Wireless Microphone System

In Ear Monitor - from JHA

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LIVE SH OW PRODUCTION CAREERS

Remember, each touring organization may handle the tasks of business differently. Sometimes on small
tours there are cross-duties crew members handle. The guitar tech may be the trusted member of a team
handling petty cash. You never know until you are part of that specific organization.

The larger the tour the more need for specific positions. Some tours have hundreds of touring crew and
local labor to deal with every show. There may be Tour Accountants, twenty Truck and Custom Coach
drivers, Pilots and a ton of other more exotic positions within the traveling crew.

These descriptions are typical common duties described for each position.

Tour Manager

The Tour Manager is in charge of a tour prior to and while an act is out on the road including rehearsals
and promotional engagements. They are the highest rung on the ladder next to the artist and their manger.
The Tour Manager will typically accompany the artist to promotional events and handle their day-to-day
personal requests. The tour manager will often be the person to settle any contract related issues on tour.

In the event there is not a Tour Accountant handling all financial aspects, the Tour Manager will pay
and account for all expenses on the tour. The budget is managed by the tour manager with guidance from
Artist Management, Production Manager and sometimes the artist themselves. A Tour manager
will often settle shows with the
BuyerorPromoterbyverifyingorcollectinganyresidualpaymentsowedtothe artist. A tour manager’s
monetary responsibilities also includes salary and per diem distribution to Band and Crew. Some tour
managers also handle merchandise responsibilities making sure to handle revenue and maintain inventory.

A tour manager will typically oversee the travel planning and lodging arrangements for the tour’s
personnel. This includes many conversations and planning meetings with travel agents and artist
management staff all the while maintaining an eye on the travel budget. If the tour requires a tour bus, it
may be the tour manager that arranges the rental of the tour bus. The tour manager will be responsible for
collecting and acquiring immigration documentation and visas for any international engagements. A good
TM always takes care of head counts prior to travel in order to prevent leaving band and crew behind.

Often an artist will have family, special guests or entourage that travel on tour or attend shows. A tour
manager is also responsible for their needs as well. The tour manager will distribute passes to guest and
maintain the guest list for the band and crew.
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LIVE SH OW PRODUCTION CAREERS

Production Manager

The person that is charge of all production elements on tour is the Production Manager. The production
manager is a respected member of the tour answering only to the Tour Manager and Artist. All
production crews funnel their technical request and issues to the production manager. The production
manager oversees audio, backline, lighting, video, staging and set design as well as the crew personnel
involved in the setup and operation of these production elements.

The production manager handles the budgeting and accounts for production element’s expenses. This
includes the trucking and transporting of production equipment. The production manager will escort gear
though customs and maintain documentation on international engagements. One of the most important
jobs of a PM is the advancing of dates on the tour. Bands have contracts and contract riders that deal with
performance requirements. These performance requirements include technical as well as quality of life
items. The PM will enforce these requirements on site. When advancing the PM ensures that promoters,
buyers and their vendors are prepared and will fulfill the performance requirements specified by the
Artist, their management and technical staff.

A PM will make decisions on all things that relate to production elements. This may include the size of
risers, location of FOH, gear substitutions or the locations of dressing rooms. All production element
crew personnel consult with the PM and make them aware of any issues that prevent the quality and
safety of the

Front of House Engineer (FOH)

The Front of House engineer handles the operation of the PA system. A touring FOH engineer is typically
hired by the Artist Management, Tour Manager or Production Manager. This “band” FOH
engineer will be responsible for the preparation, recording and mixing of the live show. A typical day for
a band FOH engineer includes establishing an instant rapport with local or touring audio system
technicians making sure the PA requirements are met and the system is capable of providing adequate
reinforcement for the size of the venue and audience.

A band Mixer is one flavor of FOH engineer that relies on the expertise and execution of competent
touring or local Audio system techs. These system techs will determine P.A. tuning, positioning, acoustic
measurement and system drive configurations. The FOH band mixer taps the system tech to configure the
system as they desire to enable them to mix the performance to the Artist standards.

A FOH mixer will often choose microphones and mike techniques in consultation with the Monitor
Engineer. The FOH engineer will coordinate a line check prior to the arrival of the band making sure
stage patching has been completed accurately. When the band arrives for sound check the FOH prepares
and adjust their mix allowing the band to acclimate to the performance environment. Also during a sound
check, a FOH mixer will often record any spontaneous jams or parts in the event the Artist request these.
The show is often recorded by the FOH engineer for multiple reasons including archival, legal, and
technical reasons.
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LIVE SH OW PRODUCTION CAREERS

Audio System Engineer

The System Engineer is responsible for the Front of House (FOH) /Sound Reinforcement System. Their
job is to make sure that all components are working in perfect unison or “tuned and optimized”. System
Engineers work with the FOH Engineer to make sure that the audience area receives as close to equal
sound in all sections of a venue as possible. The result is making it easier for the FOH Engineer to
concentrate on the mix, rather than worrying if Section C, Row 110, Seat 4 can understand what the
singer is saying.

The System Engineer has climbed the ladder of the Audio Crew. Starting as a Technician and moving
to Monitor Tech, he or she will gain the knowledge needed to have an overview of all the audio systems
used in a production. Armed with this knowledge, they are sometimes the Audio Crew Chief; AKA
Department Manager/ Head. They are responsible for making sure their crew completes the daily tasks in
a safe and efficient manner. Crew Chiefs are often mentors to newer technicians and guide them in their
own career path.
The System Engineer position is one stop on a career path that can lead to FOH Engineer. They will
sometimes be found mixing FOH audio for opening acts that need a FOH Engineer for the day or portion
of the tour. System Engineers use these opportunities to work on their mixing skills to add to their skill
base and experience.

Monitor Technician

The Monitor Technician is Monitor Engineer’s right-hand assistant. They are responsible to ensure all
components of the monitor system are functioning at their optimum level. This includes the monitor
“wedge” speakers, In Ear Monitors and other fill systems on stage. If any system needs troubleshooting or
maintenance, the Monitor Tech is responsible for troubleshooting and coming up with a solution to make
sure the show goes on.

A Monitor Tech’s day starts in the morning, assisting the rest of the audio crew in setting up the Sound
Reinforcement System until a time is available to start setting up the Monitor System with the help of
local stagehands. This includes lifting or “tipping” the monitor console into place, placing cabinets,
running cabling and the placement and interfacing of microphones for the various acts. They may also be
responsible for the sound company intercom and dressing room audio feeds.

The Monitor Tech is arguably one of the busiest people on the audio crew. Their duties may also include
coordinating Radio Frequencies (RF) for wireless microphones, In Ear Monitors and instrument wireless.
In some cases, the Monitor Technician will mix monitors for opening acts when they do not have a
Monitor Engineer on staff.
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LIVE SHOW PRODUCTION CAREERS

Monitor Engineer

The Monitor Engineer is responsible for mixing the sound that musicians and performers hear on stage to
assist them with pitch, tempo, cues and communication during a live production. At a large concert in an
arena, Monitor Engineers are often seen on the side of the stage operating a mixing console, similar to the
Front of House Engineer’s console. On more intricate productions, Monitor Engineers may be hidden
from the audiences view and placed underneath the stage or in a separate room.

The Monitor Engineer receives input signals from all the sound sources on stage through microphones
and direct boxes. These signals are then routed through the mixing console to the intended performers
through the use of multiple mixes. Performers hear these mixes through monitor “wedge” speakers on
stage or In Ear Monitors. Performers then communicate with the Monitor Engineer verbally or with hand
signals to convey how much of each sound source they need to hear in their own individual mix. A
Monitor System may consist of one personalized discrete mix for each performer. In the case of large
stages and numerous performers, mixes may be shared by sections of musicians or divided into zones on
stage.

Mixing Monitors is sometimes referred to as the “hot seat” and communication is key. Monitor Engineers
are often the first person that performers rely on to make sure that they hear what is needed for their
performance. Bands will often hire a Monitor Engineer for the duration of a tour. This allows for
consistency from one show to the next. The Monitor Engineer works with the Monitor Tech to assure that
equipment is working to its optimum and performers’ audio needs are met on stage.

In Ear Monitor - from JHA

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STUDIO RECORDING &

MIXING CAREERS

Producer

Producers are hired for their expertise in creating a potentially profitable music product. They oversee and
manage every aspect of the production process. Many record producers work from a musical approach
and might re-arrange or change the song’s melodies, rhythms, harmonies, key or form. Other producers
focus less on music structure and focus more on the sound: producing from an engineering perspective.
Other producers may come from a financial and marketing angle and hire out the musical and engineering
expertise. Regardless of approach, all producers must have excellent communication skills and have the
ability to gain trust of the musicians they are hired to work with. They need to be empathic leaders in the
studio to get the best performances possible. Many producers will say that psychology is the most
important part of their job.

Producers hire their Recording Engineers and choose their studios for each project. They interface
with the record labels through an A&R executive and Executive Producer. Traditionally, producers
are freelancers that are paid up- front by their client – usually record labels but sometimes unsigned
artists. If the producer is well known, and/or the client can’t afford them, they may opt to own a
percentage of the recording (called points) in lieu of a portion of their normal fees. (album credits may
also include Songwriter, Editor, ProTools, Engineer)

Recording Studio Manager

The primary focus of the recording studio manager is ensuring the smooth and profitable operation of
their facility. They are responsible for booking the facilities, hiring the best Assistant Engineers who
know the intricacies of their studios, and other creative and technical staff. Monitoring multiple projects
at once, the manager ensures that all production is proceeding punctually, time records for rentals are kept
current, and client needs are met. They perform staff evaluations, complete payroll and and oversee all
accounting operations including reconciling invoices with clients and vendors. He or she is also
instrumental in selecting and purchasing new equipment, ordering repairs, and establishing a schedule for
regular maintenance.

A chief concern of the recording studio manager is the maintenance of positive

relationships with existing clients and the marketing of the studio to attract new clients.
Therefore, the manager will identify potential marketing and development
opportunities, and put in place strategies for keeping the studio busy. At the
completion of the tracking process, all of the separate tracks may be delivered to a
Mix Engineer for the next step in production. The way that the tracking engineer has
organized and documented the tracks is crucial to their reputation. For smaller
projects, the engineer who tracked the sessions becomes the mix engineer. 11
The studio environment offers a unique, exciting and creative experience for everyone involved in the process of
Audio or Music Production. Each project is different and requires many hours of work to make it a successful
endeavor. Artist, producers and engineers work together to bring their work to the masses. The recording engineer’s
job is to capture the performances and shape the sonic makeup of the project under the direction of the producer.
Different instruments and vocalists require unique approaches by the recording engineer to make sure the sound is
right for the song. Mixing is done once all the sounds have been recorded and the tracks prepped for the mixing
engineer to do their magic. A successful project will result in airplay, sales, or commercial placement in advertising
or film. Grammys, Oscars, America Music Awards, Country Music Awards may all be in your future if you are
successful in your audio career.
STUDIO RECORDING &

MIXING CAREERS

Assistant Engineer/ Production Assistant

A recording studio will have numerous projects in the pipeline at any given time, necessitating that the
current list engineers take on multiple assignments at once. To keep the primary engineer organized, and
to familiarize those engineers new to the facility, the assistant mix engineer is often tasked with the
responsibility of keeping session logs that record information on the tracks completed, version changes,
console settings, and other information that is useful as the engineer revisits each project. These logs
alleviate time wasted trying to recall exactly where the last session left off or what changes were
previously made on a track.

Another timesaving task typically left to the assistant is prepping for each session by loading Pro Tools
machines and mix consoles with tracks and the engineer’s presets. When necessary, the assistant mix
engineer is usually the individual called upon to make file transfers to clients, print mixes to disc, and
similar duties.

Recording Engineer

For label work, recording engineers are hired by a Producer who chooses the studio for the project.
They help the Producer create a comfortable and creative atmosphere with the Artists and preside over all
technical matters. Once the Producer feels that the musicians are ready, each musician’s instrument or
vocal is cleanly captured on a separate recording called a track in a series of “tracking sessions”.
Enhancements to the multitrack recording are added later in “overdub sessions” that take place with one
musician at a time. At the completion of the tracking process, all of the separate tracks are delivered to a
Mix Engineer for the next step in production. The way that the tracking engineer has organized and
documented the tracks is crucial to their reputation. For smaller projects, the engineer who tracked the
sessions becomes the mix engineer, too.
Chief among their many duties, Recording Engineers must capture the best sound possible in tracking an
overdub sessions with proper mic technique and levels. They must also be able to create good headphone
“cue mixes” for the musicians in the studio to get the best performances and whip up quick rough mixes.
They also have to be musically excellent and efficient editors - always called upon in the heat of a session
to overdub a blemish from an otherwise great take or combine (“comp”) elements from multiple takes
into a one so that the producer can develop their production strategy. (album credits may also include
Editor, ProTools)
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STUDIO RECORDING &

MIXING CAREERS

Mix Engineer

When time and budget allow, producers may opt for a specialty role within the field of audio engineering
called a Mix Engineer. As the name implies, this requires exceptional talent in creating an outstanding
final mix of all of the individually tracked musical components in a song.

The practice of designing the final “mixdown” tethers the engineer to a console in a solitary creative
endeavor. He or she repetitively listens to the isolated tracks and combined arrangements captured in the
tracking and overdub sessions. The Mix Engineer creatively enhances and places every musical element
so that the listener can have the best experience of the song possible.

At predetermined intervals, the mix engineer will provide the Producer with printed passes or examples
of mixed songs. These checkpoints are necessary to monitor the production process and are an
opportunity for the client to offer feedback before the finished product is published. When the mix
engineer and client are both satisfied with the album, the engineer will print the stem session or master
mix and deliver it to the Producer. A good Mix Engineer will take detailed notes on his or her process,
including console parameters and Pro Tools specifications, so that the mix procedures can be duplicated,
in the event that future work must be done to the mix. (album credits may also include Editor,
ProTools)

Recording Studio Intern/Production Assistant

For the aspiring recording engineer, this is often where the journey begins.

When a client books time in a recording studio, the intern is handed his or her marching orders for
prepping the room; this includes documentation that details necessary amps, microphones, outboard
devices, and other equipment to install. Studio time is expensive, so this person works well in advance of
the session to pull the gear from inventory and get the room running before eating away at the client’s
time. A plot or diagram will illustrate how the studio should be laid out, with positions marked for
instruments, microphones, and cabinets. Before the client arrives, the intern must line-check each piece of
gear with the assistant recording engineer to ensure continuity and replace any faulty equipment. While
sessions are in progress, the setup worker is either prepping the next room or out of sight. When the
session is over, the intern breaks down the gear and returns everything to inventory storage, cleaned and
ready for the next client.
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Mastering Engineer

Producing an album is essentially a four-step process: recording, editing, mixing, and mastering.
Mastering refers to the process of refining and transferring the final mix of audio tracks to a data storage
device (the master) that will serve as the source for all future duplication; this may be a CD, vinyl record,
or digital file.

Duties - The mastering engineer is typically hired by the band, record producer, or a representative from
the record label to complete the audio mastering process during post-production of an album. He or she is
a specialist with specific expertise in preparing and transferring audio from one raw format to desired
master format. The master format is determined based on the manufacturing specifications of the product
to be distributed. Different standards exist for duplicating to CD, vinyl, and digital download. Because
different playback systems invariably produce different sound qualities (like a CD stereo versus a laptop
computer), a mastering engineer is responsible for two primary tasks: refining the playback translation of
the tracks to ensure consistent sound quality across all formats (as much as possible) and refining the
subtle nuances of the album, creating an appealing sonic impact.
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Production Sound Mixer/ Audio Recordist

The Production Sound Mixer (also called the location sound recordist, location sound engineer, or simply
the sound mixer) is in charge of recording sound during a film shoot. This position requires an expert
knowledge of electronics, acoustics, sound recording, on-set protocols, and playback and editing
equipment. The Sound Mixer is considered a department head, and there is no substitute for experience in
their work. Typically, the position is only available to seasoned sound assistants, who have worked for a
production sound mixer for years before being offered the position themselves.

One of a sound mixer’s most important jobs is determining where microphones should be placed on set,
so that the dialogue is captured as clearly as possible. This is typically done during rehearsals. As the cast
and crew run through camera moves and lighting, the production sound mixer and boom operator work
together to place their mics. The task must be accomplished without letting the microphones or their
shadows appear in frame, which requires close cooperation with the director, an understanding of the
filmmakers’ vision, a working knowledge of the other departments (like the camera crew), and the ability
to work with them toward solutions. Production sound mixers are also responsible for checking the
quality of a sound recording, preparing it for post-production processes, and determining whether another
take is necessary.

Sound Assistant

The role of a Sound Assistant is to support the Production Sound Mixer and Boom Operator,
running whatever errands are necessary to create good recording conditions on a film set. They help the
sound mixer attach clip microphones to actors’ clothing, help the boom operator negotiate cables on the
floor, and ensure that all sound discs are correctly labeled at the end of the day. They may also wear
headsets to check for dialogue continuity, record off-screen lines (temporary cues for the actor which may
later be edited out), lay down carpet to stifle noise, and operate a second boom during larger productions.
During recording, they must also attend to any noises that interfere (such as coughing or talking) and deal
with it quickly and tactfully. They also perform general running duties, such as getting coffee for the
sound crew, packing and unpacking, setting up sound equipment, etc.

Sound Assistants usually work on a freelance basis, generally under the same production sound mixer and
boom operator. Most of them work on both film and television productions, and often work long hours
away from home. The position is considered a gateway job for anyone interested in a career in the on-set
sound department, offering excellent opportunities to shadow seasoned specialists and gain experience
working on film sets.

AUDIO POST-PRODUCTION CAREERS

On the set
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Boom Operator

Boom Operators are responsible for capturing dialogue, and sometimes sound effects, on a live set in film
and television. They operate a boom microphone which can be either hand held via a long pole or
mounted on a dolly. When wireless microphones are used on the set, the Boom Operator is responsible to
mount them correctly on the actor’s clothing or around the set. A good boom operator who can capture
good dialogue audio will save a lot of money in post production by requiring less ADR.

Boom operators usually own their own equipment and are responsible for their maintenance and
reliability. On the set, they answer to the Production Sound Mixer. They are required to know the
script and the actors’ lines of dialogue and action in order to develop a strategy for success for every shot.
They collaborate with the camera crew to insure that the boom and its shadow is out of every shot.
Sound Designer

Sound designers are artists and specialists in charge of creating sound effects for a film. They are
typically experienced Sound Editors, who have been given authority over designing a part or the whole
of a film’s soundtrack. They often work as managers in the post-production team, and help supervise the
teams that create sound elements for the movie.

Sound designers work in a variety of different situations, and specialize in a variety of niches. Some
oversee the entire soundtrack of a film, and work closely with the director throughout the entire editing
process. Others are brought in temporarily, or only to create one specific kind of effect. Some work on a
freelance basis, while others are employed by audio post-production houses. But regardless of their
specialties or working conditions, all sound designers require a good understanding of acoustics, an
expert knowledge of sound recording techniques, and the imagination to produce original sound effects.
They must also possess good social skills, as they almost always work in collaborative or supervisory
roles.
AUDIO POST-PRODUCTION CAREERS
In the studio

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Sound Editor

The Sound Editor assembles a film’s final soundtrack. Throughout the production, they work with the
director to determine which sound elements should be used, and how they might be produced or acquired.
Sound editors then create the final mix through an elaborate process of cut-and-paste. They consider
whatever production wild tracks, dialogue tracks, sound effect libraries, etc. are available, and insert them
into the final mix of the movie, cutting and editing them as necessary. The finished product must be
audible, of high quality, and in sync with the action on-screen. Sound editors therefore need excellent
hearing, as well as a good sense of timing.
Sound editors must also oversee the creation of new sound effects where necessary, working with ADR
teams, sound designers, foley editors and similar specialists. Sound editors must have a broad knowledge
of these different kinds of post- production audio work, as it is the Editor’s responsibility to ensure that
the work is completed without violating deadlines or going over-budget.

ADR (Automated Dialogue Replacement)

Automated Dialogue Replacement (also known as Looping or Dubbing) is the process of recording
dialogue in a studio, so that it can be added to footage after filming. This can be done to dub a film into
another language, to add dialogue to an animated feature, to replace dialogue that could not be heard
clearly in the original footage, or for any number of other reasons.

Mic selection, mic placement, and an understanding of how the dialogue fits in the scene are perhaps the
most critical components of an ADR job. ADR teams usually include a Supervisor, a Mixer, some kind
of Tech Assistant / Recordist, and the actors. The “ADR Mixer” actually runs the session, while the
ADR Supervisor determines which lines should be rerecorded. Together, they must practice the
delicate art of tying to match new dialogue to existing production tracks, while preserving its ambiance,
sonic perspective, and so on.

Music Supervisor

Music supervisors help the director decide which music would work for a given scene, and oversee efforts
to acquire it. Essentially, they handle the “business end” of creating music for a film: they recruit Film
Composers, negotiate contracts with musicians, research copyrights, and help the filmmakers acquire
publishing licenses. Music supervisors also arrange and manage the film’s music budget, prepare music
schedules, liaise with the record companies and other production teams, and ensure that the duration of
the music used conforms to the terms of the negotiated contract.
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Re-Recording Mixer
Perhaps you have seen a movie in which the dialogue is too quiet, while other sound effects are
overpoweringly loud. The role of the re-recording mixer is to prevent this. Their task is to ensure that the
volume of various sound elements are balanced appropriately, and to “finesse” the audio by adding
crossfades, balancing the volume of the score beneath the dialogue, and applying other similar touches.
They must create a final soundtrack that fits the needs and style of the movie, and is compliant with laws
that regulate volume in movies and television.

Re-recording mixers have a reputation for working extremely long hours under considerable pressure.
They must be able to expertly fuse together the numerous audio elements of the production, and work
effectively with the director, producer, and broader sound department. On lower-budget productions, they
are sometimes required to fill in the gaps of shorthanded post-production crews, and work as de facto
sound designers.

Music Editor

The role of the music editor is to make a film’s music fit every scene perfectly. They do not generally
choose the music that will be used; that decision is made by the director, musicians, and Music
Supervisor. Rather, a music editor’s job is to look at the film, and to cut, move, and edit whatever
music is available. The goal is to create a score that transitions smoothly, fits the mood of each scene, and
is responsive to on-screen action as it occurs.

During post-production, music editors are responsible for adapting the music to any last-minute changes.
For example, if a shot is extended by three seconds, then it is the Music Editor’s responsibility to ensure
that the music lasts an additional three seconds, and to request an altered score from the composer if
necessary. A music editor must know how to make this request in terms that make sense to the composer,
and help them make decisions about tempo, transitions, and so on. As they oversee this process, editors
must keep their music supervisor apprised of any copyright issues or budgetary concerns that emerge.

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MUSIC PRODUCTION
CAREERS

Artist / Singer

There are as many definitions of a musical Artist as there are musical artists and just as many career
paths. In the industry, Artists are the contracted (signed) audience- facing live delivery specialists,
usually singers and/or musicians who represent all of the production creative and craftspeople behind
them. They are not required to be the songwriters or composers nor are they required to preside over
production decisions. Their primary role is to connect with their audiences from the live stage and with
their media products with the best performances possible.

Songwriter

A “song” is a sung or rapped piece of music, usually short in duration (under 5minutes). Songwriters
write songs: both the music and lyrics. If a lyricist is credited on a song, then the songwriter only credited
with contributing the melody and chords. Songs can also be non-sung instrumentals without lyrics if they
are also short in duration, but must have a recognizable melody and chords.

Songwriters don’t have to be Artists. Many great songwriters have stayed in the background of the public
eye, working for Publishers and making an excellent living on their royalties

Lyricist

Lyricists collaborate with songwriters to provide the lyrics of a song. In a copyright, they are referred to
as “Writers”. Lyricists need excellent communication and listening skills to make collaborations with
Songwriters successful – and be highly creative with language and receptive to the lives of their
audiences. Lyricists do not need to be able to play an instrument or perform.
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MUSIC PRODUCTION
CAREERS

Arranger

Arrangers are hired by Producers and Artists to expand a song beyond its original instrumentation
through changing the song’s setting / accompaniment. Arranging is the craft of choosing instrument
combinations and assigning specific musical instructions to each member to obtain a specific result.
Arrangers are skilled musicians who, in a project, deliver those instructions via musical notation.

Arrangers are the unsung heroes of the music world because they can completely change the emotion, feel
and impact of any song’s melody through the use of instrument colors, associations, dynamics, ranges,
new harmonies, rhythmic settings and tempos (bpm). They do not own any part of the songs or recordings
they arrange and are paid per song as freelancers.

Orchestrator

Orchestrators are arrangers who specialize in writing for the symphonic orchestra. They are hired by
musicians, Songwriters and Film Composers who want the sounds available but don’t have the
knowledge, experience or time to do so. They created a complete Full Score which contains the music for
each instrument organized vertically on the page and is read right to left; much like a multitrack
sequencer. The full score, once approved by the composer, is delivered to the Copyist.

Copyist

Recording sessions with orchestras and other groups are extremely expensive. Mistakes and
inconsistencies in the musicians’ or conductors music parts is very costly because the error will take time
to find, identify and re-record. Copyists are experts in musical notation who make and print notated music
for each part of a musical ensemble. They insure each part and the full score are accurate, professionally
detailed and easy to read.
20
MUSIC PRODUCTION CAREERS

Composer

Though the titles overlap a great deal, composers create “pieces” (also called “works”) of music – and
songwriters compose “songs”. The biggest difference

between them is that “pieces” develop musical ideas whereas songs repeat musical ideas. Composed
pieces are longer and don’t usually have lyrics. Songs are short and usually have lyrics.

Try not to call Beethoven’s 5th or John Williams “Star Wars Theme” songs. Songs are unique. By setting
words into music they become significantly more relevant and memorable, especially when the music
matches and amplifies the emotions implied in them. The pieces that composers create don’t have the
advantage of lyrics that tell the listener what the music is about. Instead, they

engage their audience in other ways: emotionally and intellectually - through melody, harmony,
orchestration / arrangement, form, texture and dynamics. The recognizable parts within pieces are called
‘themes’ and their reuse in different ways

is called development. Development takes more time. This is why musical notation or sequencing is
necessary to composers – long music doesn’t have to be memorized. Notation has another advantage: it
can be re-created over and over through centuries as long as the instruments it was created for are present.
Composers write music for every kind of instrument and group and musical style. They can use any
combination of sound sources, including electronic music, vocals and non-traditional acoustic
instruments.

Two basic kinds of work exist for today’s composer: Concert music and Film Scoring. Concert music is
commissioned and can be whatever the composer wants. Film Composing is contracted to do a job:
serve the film.

Library Music Producer

Music Libraries supply more music for advertising, videos, podcasts and non- broadcast video
productions than any other source. These companies contract Composers to produce music of every
genre, length and style which the Library licenses worldwide via the internet. The composers are paid a
fee upon each sale plus their share of the public performance royalties. The Library receives the
publisher’s portion of the royalties. The ease of streaming, download and online payment technology has
made Library music very profitable. It is the largest growth industry for Composers.

Successful Library Music Producers usually focus on one style genre. Libraries expect the latest trends to
enhance their tracks and expect their composers to deliver music that is both professionally produced and
up to date in sound.

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Film Composer

Film Music has a specific job to do: enhance the story in the film, TV show or documentary. This is done
through the music composition of sounds, energy, effects, harmonies and melodies that evoke an emotion
perfect for each scene.

Instead of a “song”, “pieces” or “work”, a composition in the world of film is called a “cue”. The
combination of all of the cues is called the “score”. The act of composing to picture is synonymous with
“scoring”.

Historically, film composers came from the classical side of music training and experience because of
their ability to create emotions with the orchestra. Though orchestra music is still prominent, today’s film
composers also need to understand music making from rock, country, world music and hip hop where
orchestral music is not appropriate. This is because films usually contract a single composer so that the
score is consistent in flavor throughout.

The vast majority of the composer’s work is created alone in a home studio, at the piano or computer
screen. When this person is contracted, he or she may be given some basis of inspiration to draw from
ahead of time—a script, film or video footage, or storyboards—but often the composer is the last on
board and works to a finished, edited film. From this material and collaboration with the director and
producer, the composer cultivates a sense of time period, place, action, and emotion, which must be
reflected and translated through the score. The time allotted to write the score varies by project and genre.
Budget constraints will determine whether the score is purely synthesized or played by an 80- piece
orchestra. When the master themes are approved, the composer enlists the assistance of an Orchestrator
to arrange instrumental parts for studio performance. The composer then hires a Copyist to prepare for
the recording session. The composer works with the Music Contractor to hire the appropriate
musicians, then leads the orchestra in several takes of the performance on a scoring stage. Edited scenes
of the film or video are displayed on a large screen for playback and the music is timed to the images.
Conductors and leaders of each section of instruments are aided by a click track to help ensure that the
music is synchronized with the picture as the composer intended. Often, the composer is the conductor.
Composers usually have an extensive education in orchestration, music theory, composition and are
proficient in playing at least one instrument, usually piano. Most degree programs designed for future
composers will have components relating to orchestral conducting, writing for voice, tonal harmony,
scoring, and a thorough study of classical music history. Also helpful are courses that focus on recording,
composition software, and music business. Above all, a composer has talent, a distinct creative voice, and
well-tuned ear.

MUSIC PRODUCTION CAREERS

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MUSIC PRODUCTION CAREERS

A musical director’s primary responsibility is leading a band, symphony or other group of musicians.
They also normally conduct if the ensemble is large enough to require it. The musical director is hired
during pre- production by the producer and director, and is responsible only for the vocal and
instrumental performance of the cast and accompanying band or orchestra.

Sequencing Programmer

Songwriters, Composers, Arrangers and Orchestrators all need to be efficient sequence programmers.
“Sequencing” is the activity of translating musical ideas into a computer using a Digital Audio
Workstation (DAW).

Sequencing has become the most prominent method of music production and is essential for any music
creative. It provides a method of songwriting and composition development unparalleled in history.
Music can be assembled into a realistic ‘mock up’ version to be sent for approval before budget is spent
in the studio on something the producer, artist or director doesn’t like. Music is entered via a MIDI
keyboard or pad and built up much like a standard multitrack recording session using sounds from
Sample Libraries. Sample libraries are millions of carefully crafted recordings of each instrument playing
every note in every different way. Sequence mock ups sound so realistic that they are often used as the
final project. This is obviously true in music that does not imitate acoustic instruments, like EDM. But
sample libraries make up a good deal of advertising, TV and lower to medium budget film scores.

Drum Programmer
Drum Programmers are Sequencing Programmers who specialize in drums and percussion.

Musical Director

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MUSIC PRODUCTION CAREERS

Beat Producer

A beat is a complete produced arrangement of rhythm section and accompaniment that provides an
emotional tone and physical groove. A feature of hip hop production, beat producers have also become
known for their style, becoming in demand for genres outside of hip hop including EDM, rock, jazz and
pop. A recording artist or producer can contract the services of a beat producer to provide a complete a
beat, or the beat producer may offer original material to an artist. Both are work-for-hire scenarios. As
work-for-hire, the beat producer generally solicits an artist to use the track and receives a one-time fee for
the full ownership of the composition. That means that the producer is not entitled to any further
compensation for the use of the material, unless contractually stipulated. There are also digital libraries
that are commercially available and widely used by professionals. The license typically requires only a
subscription or one-time fee.

Advertising Music Director

From simple jingles to fully orchestrated original compositions, visual advertising is far more impactful
when accompanied by a soundtrack. Advertising media companies are hired by clients to contribute
original songs to promotional materials and rely on the expertise of music directors to guide production of
soundtracks that seamlessly support commercial advertisements and engage audiences.

The advertising music director coordinates with composers, recording engineers, and producers to
supervise the creation of original tunes to accompany visual media, such as television commercials or
promotional videos on product websites and YouTube, as well as radio commercials. He or she works
closely with the client to determine the specific needs and style for the campaign, then communicates that
information to the creative staff, guiding the composing process and ensuring timely delivery of assets.
During pre-production meetings, the music director introduces the artists to the client’s brand and helps to
steer the project toward the appropriate theme for the promotion. The music director delegates projects to
in-house staff and freelance contractors, establishing the production schedule and setting milestones
throughout the process to track the stages of production. A dedicated customer service representative or
account manager generally acts a liaison between the client and creative department but consults with the
music director and client to establish a budget for the project. The producer is usually responsible for
hiring additional studio musicians as necessary and drawing up contracts for the use of studio space and
additional equipment, with the approval of the music director.

An advertising music director must be knowledgeable about music composition and the recording
process, as well as familiar with multiple musical genres.

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