What is a Sound Engineer?
A sound engineer is typically the person who takes care of the technical aspect of the sound, whether it may be live or during a studio session. sound engineers work with microphones, mixing consoles, DAWs and mixing. These are transferrable skills between multiple roles within the field of music technology, such as music producer, audio equipment technician, mastering engineer, live sound engineer, mixing engineer and recording engineer. A successful sound engineer must be able to carefully listen to each individual track, as you must achieve a balanced sound level within the final project, whether it’s live or in the studio.
In order to become a sound engineer you must either pursue a degree or get an apprenticeship (shadowing). These two options provide a strong foundation for learning the different responsibilities a student would have in the industry.
You will learn about different types of microphones and their uses, such as, Ribbon microphones, Dynamic and Condensers. For example, ribbon microphones are highly sensitive microphones that capture a vintage quality. On the other hand, they can be used to capture ‘delicate details’ in dynamics and are popular for guitar amplifiers, vocals, piano and sometimes overheads. This is because they have a high frequency roll-off and their figure of 8 pattern gives the instrument a sense of space. Another example would be dynamic microphones, which are less sensitive and capture louder sound sources. They are often used for recording instruments such as drums or vocals, as well as guitars. They often have a cardioid polar pattern which means they are picking up sound primarily from the front, which means they minimise bleed. They are more durable due to the fact that they use a moving coil, thus they are often dubbed the ‘moving coil mic’.
You will also have to learn how to use a mixing desk/console, these can be quite intimidating if you are unfamiliar with them. As a student, most universities would have access to a mixing console, as would any reputable studio. This is one of the most important parts of music production as it allows you to understand the way levels work. The mixing desk teaches you how to have precise and tactile responses in the studio/live room.
One of the most important aspects of a sound engineer’s duties is knowing how to use DAWs. A digital audio workstation (DAW) is essential for sound engineers as they allow you to record, mix and master projects. This is crucial as you must be able to handle various audio inputs, outputs and multitracking if you are recording. DAWs also allow you to mix and master your projects, which allow you to manipulate the audio and refine performances. The industry standard DAWs are Logic Pro, Ableton Live and Pro Tools, which have different uses, but all do the same thing fundamentally. Ableton Live’s session view is great for live performances as it allows engineers and players to use real time improvisations withing the DAW. Pro Tools stands out for its advanced editing and mixing capabilities, as well as high recording quality. Logic Pro is well known for its’ user-friendly UI, which allows beginners to get used to DAWs quicker.
The role of a sound engineer
On a daily basis, a sound engineer would do basic tasks such as setting up the microphones. Sound engineers are responsible for the placement of the microphones as it can affect the sound levels. This can apply both in a studio and in a live context, during a live performance you must be able to achieve a good quality sound that would please the crowd, it must be balanced and controlled immediately. In a studio context, the environment is much more controlled and often allows for experimenting with microphones positions.
You would then set up the DAW, a good sound engineer must know how to keep their tracks organised in order to not lose crucial files or to make mixing easier. After the set up you must establish the audio levels of each instrument, good pitch or listening capabilities are crucial, as all the instruments must have a high-quality audio output.
A main part the set-up is creating a good environment and workflow. A good sound engineer must be able to liaise with other departments, performers or producers in order to understand the project and be able to contribute. This can mean different things, from the set-up of the room to the engineer’s relationship and rapport with the performers and co-workers. For example, a studio should be set up (with the microphones and instruments) in such a way that makes it comfortable for the performers, which allows them to play better. The sound engineer must be able to make all the instruments sound great technologically as well as artistically, by managing the way in which performers play sometimes, giving ideas/suggestions and also editing levels on the mixing desk and post-production.
Editing and mixing one of the most crucial yet daunting tasks a sound engineer must take on. As every imperfection may be picked up on by listeners, directors, producers or even the performers themselves. It involved sitting and listening to the same takes on repeat until you find the best ones, editing the audio, taking out the parts that listeners don’t want to hear (sibilance, coughs, breaths, peaks, feedback). The Mixing process typically involves the sound engineer, the producer and sometimes the performer/s. Many spend hours ‘making intricate, small changes to audio,’ (Ryan O John, 2014) and enhancing the parts that make the piece marketable or make it stand out.
Career Progression
It can be difficult to climb the career ladder as a sound engineer, the consensus is that employers are looking for experience. Most often employers do not care about a potential engineer’s education if their work output is not reflective of their degree. Most potential employees start with internships/apprenticeships in studios and venues, working for free/minimum wage in order to gain the experience necessary to move into bigger studios and gain more clients. One of the most important things a good sound engineer must learn is networking, they must be able to form a good relationship with potential clients, directors or producers, in order to receive more work opportunities.
One of the downsides of this profession is the lack or progression or work available for some engineers, this can either be due to their location, the industry’s fast-paced nature or the competition. Your location could either make or break your career, as many artists choose to flock to major cities such as London, LA, New York (etc.), meaning that finding an in-person job would be difficult for someone who is unable to move to these locations. Whilst we may be able to argue that remote work is persistently being pushed in this day and age, this factor also has the downside of bringing in more competition, as it opens the opportunities to the entire world, rather than local talent. Another downside is the ever-changing industry, with technology advancing, we are gaining access to more tools that make our jobs either easier, or obsolete. One example would be Logic Pro’s sessions musicians feature, which AI generates melodies, beats and chord progressions based off your existing project, or from scratch.
Financial and legal issues
A legal challenge that most freelance producers face is the fact that you would have to do your own taxes. This includes National Insurance and your income Tax, which would be taken out of your paycheck each month. Due to the unpredictable nature of the job, you would be forced to calculate everything yourself or hire an accountant.
As a sound engineer you will become familiar with how much the equipment costs, and how careful you must be with it. Often times, if you work in a studio and the equipment breaks, the higher-ups will look at you for answers, as you’re the one responsible for it. If you are a freelance engineer, you will constantly be racing with the inflating prices of studio equipment, which makes it harder to keep up with the rest of the competition in the industry.
Another legal challenge you may face is splitting the royalties, you may have to negotiate the percentage of the royalties you are given, often an engineer receives (1%) of the royalties for a song. Some may consider this unfair when taking in account the amount of work that goes into releasing a song. Often times, an ‘in-house’ engineer will be paid an hourly wage, which is advantageous as it’s a predictable source of income. However, due to the low rate, many choose to also take on side gigs doing live sound or working on small projects. Freelance engineers often get paid a fixed amount alongside the producer, this pay can vary depending on the amount of work you have to do and the client’s budget. One of the many disadvantages of this is that payment evasion has become increasingly prevalent.
Overall, a career in sound engineering has disadvantages and advantages. The nature of the job makes it both challenging and fulfilling at the same time. For a lot of people, it’s very fulfilling to be able to work creatively in the industry with other musicians, directors/producers and like-minded people. As this is a networking-based profession, it’s very fulfilling when you manage to get a lot of work done with talented strangers you’ve never met before. Many sound engineers play a pivotal role in the way we consume media, from streaming, film, radio, gaming and live events, they shape how the audience experiences sound.
Another advantage of a career in sound engineering is the fact that technology is always changing and advancing, this would mean that many people within the industry are able to use new programs, plugins and equipment. This results in constant development your technical skills, which can be both motivating and fulfilling as it allows engineers to stay engaged with their workflow and projects. In addition, this can offer a lot of flexibility in career paths, as most sound engineers can progress to become producers and directors or even choose between specialising on live sound, postproduction or audio design. Many also choose to become freelancers as it gives them more control over the projects they accept and work on.
However, despite these advantages, a career in sound engineering also comes with its disadvantages. One of the most significant disadvantages would be burnout. Many experience this as a result of feeling displeased with the quality of work they put out or the projects that they have to work on. On top of that, many must deal with rude clients and pay evasion, which makes it hard for many to feel fulfilled within your career. Many sound engineers work free-lance or are given short term contracts, which can lead to inconsistent income and limited job security. Many sound engineers also struggle to keep up with the competitive nature of the field, as it has become harder for beginners to find steady work and creature connections with professionals in the industry.
Lastly, the demanding nature of the work makes it difficult for people to maintain social/family lives outside of their work. As many sound engineers have to stay in the studio and work until late hours at night to meet deadlines. Live sound engineers, for example, usually have to work holidays, nights and weekends, as that is when events take place. The mental and physical fatigue takes a toll on many in the industry, as they feel they are overworked with very little reward, only being paid minimum wage or given 1% of royalties.
In conclusion, I believe that the accomplishing nature of the job can be great for passionate individuals, but it requires a lot of commitment and resilience. This field offers a lot of creativity and variety, as well as connections within the industry. However, a good sound engineer must be resilient and adaptable in order to stand out in the industry. For those who are passionate about the field, the advantages would outweigh the disadvantages, making a career in sound engineering feel accomplishing for them.
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