Research Project (SHR5E021P-002): 24102020 – Rhys Lewis, fixed.

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Rhys Lewis 24102020

The Recording Engineer:

For this research project, I am going to be looking at a role within the Film Music Industry that is of particular interest to me, the Studio Recording Engineer. This role stands out to me as I am currently working and studying as a recording engineer/music producer, and I have some large aspirations to first enter the field as a professional, working as an assistant engineer in some of the best studios and then progress into higher-level positions within the field. As a result, this research is not only academic but also highly personal, as it is directly related to my long-term career goals and professional development. Additionally, this project will allow me to reflect upon my own skill set by comparing my knowledge with current industry expectations and identifying any areas for improvement. By doing so, I am hoping to create a clear, realistic plan for career progression.

I am going to be looking at the skills required, how I am going to create opportunities for myself within these roles in relation to the film music industry and also how would be best to demonstrate my skills, alongside any marketing ideas. On top of this, I am going to be evaluating some of my own work and how it shows a level of proficiency that is expected in some of the world’s best recording studios.

Where This Job May Take Me:

Similarly to many other roles in the Film/Film Music Industry, this line of work is likely to take me to London, which is primarily due to the fact that there are very few studios in the rest of the country that are built to host full orchestras or large ensembles whereas, London hosts several (Air, Abbey Road, Angel, Metropolis, The Church). Another reason why this is the case is that London hosts one of the most interconnected film production ecosystems in the world which is driven by long-term investment, competitive tax incentives, and a very skilled workforce. This results in a production environment which is efficient, flexible, and capable of supporting projects across a wide array of budgets and formats. This is highly beneficial to the recording industry as it means there is always a consistent amount of work.

[Why London Is Becoming The Global Production Capital And What That Means For Filmmakers Like Us].

What Does A Recording Engineer Do, & What Are Some Of The Required Skills:

The role of a Studio Recording Engineer in the context of film music is both technically demanding and creatively significant. It involves capturing the highest possible quality recordings of a wide range of orchestral ensembles of all different sizes. Unlike working as an engineer for a band or artists, working on scoring sessions requires a deep and intimate understanding of orchestration, acoustics, and advanced microphone techniques, as well as the ability to work fluidly under strict time constraints. This is an often-overlooked role within the film music industry, which can sometimes be taken for granted. When the production of a film and its score eventually comes to a studio (for example, Air Lyndhurst) it is crucial that audio material is recorded in a swift and proper manner, with the most effective use of time, in turn saving money (Abbey Road 1 £3000 per 10-hour day, Air Lyndhurst Hall £3500 per 10-hour day, this is simply the cost for the space, without musicians, a conductor, or engineer/s). This is due to the fact that recordings for film have an extremely fast turnaround, with full scores for movies and documentaries often being finished in the span of a few days. [A Producer’s Guide To Working With Live Orchestra].

It is vital to capture a performance in the highest quality, as its quality directly affects the final product. [Film Scoring Costs: Understanding Movie Music Budgets]. This is because it can elevate the emotional impact through capturing small nuances such as the subtle dynamics of bowing. This is the reason why studios that see orchestra have such large consoles (with Air boasting a 96 Channel Neve 88rs, and also a 72 Channel Custom Neve 31106); they are capturing every possible sound that could be useful in the recording. Additionally, score recordings are now typically done sectionally (e.g strings, brass), which is to provide the composers and directors with the finest amount of control when it comes to the dubbing sessions. [Recording The Abbey Road Orchestra – Chapter 2].

Clear and effective communication is also crucial [A Producer’s Guide To Working With Live Orchestra], with an engineer having to communicate extremely nuanced details and the slightest changes between musicians, composers, directors, and the rest of the studio team [Inside An Orchestral Session At Abbey Road Studios]. One small miscommunication, such as a single Patch Cable I/O, could lead to the loss of hours due to troubleshooting, resulting in the loss of thousands of pounds.

The budget for music within a film production is often already as low as they can get away with, and studio hire takes up a large chunk of this fee, meaning that there is simply no room for any errors. [Film Scoring Costs: Understanding Movie Music Budgets].

Recording engineers working with orchestra and film require a seamless blend of advanced mic’ing techniques (decca trees and assorted stereo/immersive configurations), advanced critical listening, classical music understanding and the ability to read scores, proficiency and speed within Pro-Tools, and the ability to manage large, complex and high-pressure sessions.

A simple change to a microphone, preamp, EQ, or other forms of processing can significantly change the sound of a recording; this is why it is crucial to have a very broad knowledge base of all types of studio equipment. It is also why it is important to understand what the composers and directors are trying to achieve within their recording, whether it’s an intimate, grounded sound, an eerie tone with feelings of uncertainty, or something much more grand, as this may directly impact what an engineer will use, such as different microphone placement, more saturated preamps, or extra outboard processing such as reverbs and delays.

It is important to develop a good reputation as being technologically and theoretically proficient to ensure that the recording of a score is a smooth and efficient process. This may also lead to recommendations from previous clients, opening the door to more work. [Is reputation important in the music industry?].

Career Pathways:

Typically, most recording engineers start out working as assistant engineers, where they can focus on developing their ears and technical skills within a studio environment. Employers generally prefer candidates who have a degree in music production or sound engineering. Then from there, they may work up through the studio hierarchy to become recording engineers.

Finding Work:

An engineer may hold a full-time role at a recording studio or work freelance for clients. It is vital that freelance engineers develop a strong professional network and reputation if they want to maintain consistent amounts of work.

Interpersonal Skills:

This position is about collaboration: fufilling the visions of those who walk into the studio. Recording engineers should be committed and efficient workers who do not need much time to work out what an artist is aiming to achieve. It is extremely important that an engineer be polite and proper to those with them in the studio. Due to the extremely competitive nature of the recording industry, job security can often be fragile.

Engineers who have experience and are interested in a wide range of music are more capable of taking on a more diverse array of clientele.

[What does a Recording Engineer do?].

I had contacted Gianluca Massimo, a recording engineer working out of Air Studios. And also Paul Bailey, a Leeds Conservatoire lecturer with decades of experience working in Abbey Road (where from 1994 he was the head of classical post-production) [Paul Bailey @ Re:Sound]. I was hoping to gather their insights on the importance of the recording engineer to the production of a film score through an interview. However, due to circumstances beyond my control, neither Gian nor Paul had any availability to reply until after the deadline. I will however, still be interviewing them as I believe they can provide crucial knowledge that will be extremely beneficial to my understanding of engineering for film productions.

Gianluca Massimo at Air Studios
Paul Bailey at Ayriel Studios with Resound

“The history and knowledge passed down from engineer to engineer is priceless” – Sound on Sound magazine. [Building a Top Class Sample Library: Spitfire Audio’s Abbey Road Orchestra | Chapter 1].

How Can I Make Oppurtunities For Myself In This Role:

As a Freelancer:

In the modern environment and with the rising costs of living, it is more than likely that to maintain consistent employment as a recording engineer, you will have to develop a freelance career or hope to become employed by one of the biggest studios. This can be extremely difficult due to how competitive the industry is, with job openings being extremely rare, they are often met by hundreds of applications, and they will only accept the very best.

However, even top engineers at large studios (such as Fionna Cruickshank) are now choosing to work there part-time and are taking on extra work as freelancers, which can often have more flexible hours, a larger payout and may be more beneficial to their reputation and career progression.

As a freelance recording engineer, it can be vital to collaborate with film composers, conductors and sound designers. This is very helpful in developing a name and reputation for yourself and may even lead to more work through word-of-mouth recommendations within the film music industry. It also means that it is important to develop a good reputation as being technologically and theoretically proficient to ensure that the recording of a score is a smooth and efficient process and that their ideas are being captured exactly how they have envisioned them. [The Power of Collaboration in the Studio: Elevating Your Work with the Right People].

For example, I am often working with Lauren Askew, having recently recorded one of her scores for a short film (Tying The Knot), where we spent a full evening working through a short ending sequence so that we could get each section to sound exactly how she had envisioned it. As Lauren gets more work for bigger projects, I am hoping that she will keep coming back to me to engineer the recordings and maybe recommend me to her peers, as I have delivered strong results to her in the past.

I also do lots of work with Simeon Lord and his Bezalel orchestra project, these are live shows where they are performing arranged covers from artists such as Coldplay and Radiohead. This is a large-scale project that I have the privilege to be Co-Director of Recording for. My ability to manage, organise, and record such events fluidly with minimal error demonstrates my proficiency working as a recording engineer for large ensembles, showing that I am actively developing my knowledge, ability, and technological understanding to work on full orchestral film score recordings.

In addition to this, I am already in the fortunate position where I am earning money through freelance recording engineering. Working for some large up-and-coming bands/artists such as Roscoe, Jeanine, and ARI. This is a great start because it is providing me with a growing portfolio, which is becoming increasingly attractive to future employers and clients.

In this industry, much like the wider film industry, it can be very handy to know someone in a high-up position. I have been mindful of everyone that I am meeting whilst at uni, through lectures, or masterclasses and have been ensuring that I am always following up and introducing myself.

Through Employment at a Recording Studio:

Fortunately, I already work as an assistant engineer at The Green Room Studio. This space is run by Tim Malkin (left) and Sam Newham (right), who very generously offered me some part-time work and have been amazing mentors. Working with them has directly improved my workflow and mentality to recording.

Their studio sees a wide array of work, from album productions to producing music for a Red Bull documentary.

[The Green Room].

I have already been in touch with several London recording studios regarding opportunities for work.

With some holding my CV until a position opens up.

I will be continuing to apply to any open positions that I may find throughout my 3rd year.

Marketing Ideas:

I am planning on developing a Website which will clearly detail rates, hours of availability, current and previous works, and contact information. This website should be more neutral and provide all information in a clear, easy to access format.

In order to specifically tailor this towards film score recordings, I am going to have my previous works for film music on it’s own section, alongside a short description about my skills and experience with recording scores.

Word of mouth goes a long way in the music industry.

One of my most aspirational goals is also one that would be a beneficial marketing tool. And that is to one day win the Music Producer’s Guild award for Recording Engineer of the Year.

Evaluating my Own Work:

Comparing my work to the expectations of the film music recording industry, it seems to me that I am moving in the right direction.

  • I am earning my degree in Music Production with a strong focus on engineering.
  • I am establishing connections that may last a lifetime with all sorts of people. From composers, conductors, sound designers, bands, artists, labels, studios, and fellow engineers/producers.
  • I have been building a large, diverse portfolio of work, which highlights my professionalism in recording.
  • I can improve my knowledge of various stereo/immersive microphone techniques and ProTools proficiency.

My Vision for Future Projects and Career Development:

Whilst I am still at University, I am aiming to continue working with my current clients and their plethora of ideas, from short films, orchestral scores, and album productions. I am also hoping to reach out to new clients and have some more reach out to me.

Running more large-scale sessions to get used to extremely high channel counts.

I am also aiming to keep working as an assistant at The Green Room, and hopefully achieve a similar position at The Chairworks or Nave Studios for even more work within a functioning, professional recording studio. This will provide me with more experience, which is highly regarded when applying for open positions.

In addition to this, I am going to be exploring scoring media as an artist/composer, as I am going to be writing some music for a climbing documentary throughout next year. This will help me understand the composer’s and director’s intentions and visions behind score recording in a much more personal sense.

Once I graduate, I am hoping to be able to then progress into working in London recording studios, where I will get the opportunity to work on film music on a much more consistent basis. If this does not seem viable, I am then considering applying to the Abbey Road Institute for an additional year of study to further develop my knowledge around film and orchestral recording. This may also help get my foot into the door as working as an assistant engineer for Abbey Road.

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