Recording - August 2012 - 45

The Editor In the analog days, it was the role of the assistant engineer to run the tape machine during sessions. Called “tape op-ing”, this stressful task tested the mettle of young engineers, putting them through paces of maintaining efficient session flow, tape track management, and skillfully punching in and out of record. In recent years, digital audio workstations (DAWs) have replaced tape, and it is now less defined as to whose job it is run the computer. In big studios, specifically on tracking dates, assistants often run the DAW. In many situations, however, the lead engineer works directly with the computer. In some cases, on bigger-budget projects, an operator separate from the assistant and engineer might be employed specifically to handle the workstation. Often called the “editor” or “Pro Tools operator”, this person might also perform necessary edits or Auto-Tuning. The Runner/Production Assistant/Intern In large studios, entry-level production assistants usually handle the grunt labor. Working for little or no money, these runners must first prove their responsibility, people skills, and ability to handle stress before they are allowed to participate in a session. Typical production assistant

duties include picking up to-go food orders, cleaning, and answering phones. The Mixing Engineer While it is not uncommon for tracking engineers to mix their own recordings, on many records specialized mix engineers are called in to bring new insight to a project. Highly skilled in the ways of mixing, successful mix engineers spend years perfecting their craft. Mix engineers are almost always freelance, and may or may not be associated with their own or other particular studio. The Mastering Engineer Focusing exclusively on mastering, mastering engineers perform the final step in production. Considered members of a trade separate from recording and mixing, most mastering engineers apprentice for years to hone skills and land clients. Known for their ears and insight, mastering engineers are relied upon to check the mix engineer’s work, and coalesce individual mixes into a contiguous-sounding project. Mastering engineers may own their own studio or work for another well-known mastering house. How many hats do you wear? In the ankle-biting real world, mastering, like all of the production jobs outlined

here, might instead be handled by someone who also performs other roles in a project, including mixing, recording, producing, performing, and writing. While big-league records may have the budget to hire professionals for each step in the process, most independent artists are forced in some degree to self-produce and/or record. There are of course advantages to selfproduction, as many of Recording’s readers know very well. Not only can it save money, but it can teach the hybrid musician-engineer-producer the ins and outs of the recording process. The downside is that quality frequently suffers. There are many reasons to use professional mastering engineers, mixers, producers, session musicians, etc. These individuals have invested significant time in the perfection of their art. Knowing this pitfall, self-production becomes the process of slowly learning and practicing the diverse skills required to make and record great music. Eric Ferguson (ferguson@recording mag.com) spent a dozen years as a freelance audio engineer in Los Angeles, and is now on the faculty of the New England School of Communications (NESCOM) in Bangor, ME.

http://www.CRAS.edu http://www.CRAS.edu http://www.audiorecordingschool.com/consumer.html

Recording - August 2012

Table of Contents for the Digital Edition of Recording - August 2012