Anaudio engineer (also known as asound engineer orrecording engineer)[1][2] helps to produce arecording or alive performance, balancing and adjusting sound sources usingequalization,dynamics processing andaudio effects,mixing, reproduction, andreinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing ofmicrophones,pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer…"[3]
Sound engineering is increasingly viewed as a creative profession and art form, where musical instruments and technology are used to producesound for film, radio, television, music and video games.[4] Audio engineers also set up, sound check, and do live sound mixing using amixing console and a sound reinforcement system for music concerts, theatre, sports games, and corporate events.
Alternatively,audio engineer can refer to ascientist or professionalengineer who holds an engineering degree and designs, develops, and builds audio or musical technology working under terms such aselectronic/electrical engineering or (musical)signal processing.[5]
Research and development audio engineers invent new technologies, audio software, equipment, and techniques to enhance the process and art of audio engineering.[6] They might design acoustical simulations of rooms, shape algorithms foraudio signal processing, specify the requirements forpublic address systems, carry out research on audible sound forvideo game console manufacturers, and other advanced fields of audio engineering. They might also be referred to as acoustic engineers.[7][8]
Audio engineers working in research and development may come from backgrounds such asacoustics,computer science,broadcast engineering,physics,acoustical engineering,electrical engineering, andelectronics. Audio engineering courses at university or college fall into two rough categories: (i) training in the creative use of audio as a sound engineer, and (ii) training inscience orengineering topics, which then allows students to apply these concepts while pursuing a career developing audio technologies. Audio training courses provide knowledge of technologies and their application torecording studios andsound reinforcement systems, but do not have sufficient mathematical and scientific content to allow someone to obtain employment in research and development in the audio and acoustic industry.[9]
Audio engineers in research and development usually possess abachelor's degree,master's degree or higher qualification in acoustics, physics, computer science or another engineering discipline. They might work in acoustic consultancy, specializing inarchitectural acoustics.[10] Alternatively they might work in audio companies (e.g.headphone manufacturer), or other industries that need audio expertise (e.g.,automobile manufacturer), or carry out research in a university. Some positions, such asfaculty (academic staff) require aDoctor of Philosophy. InGermany aToningenieur is an audio engineer who designs, builds and repairs audio systems.[citation needed]
The listed subdisciplines are based on PACS (Physics and Astronomy Classification Scheme) coding used by theAcoustical Society of America with some revision.[11]
Audio engineers developaudio signal processing algorithms to allow the electronic manipulation of audio signals. These can be processed at the heart of much audio production such asreverberation,Auto-Tune or perceptual coding (e.g.MP3 orOpus). Alternatively, the algorithms might performecho cancellation, or identify and categorize audio content throughmusic information retrieval oracoustic fingerprint.[12]
Architectural acoustics is the science and engineering of achieving a good sound within a room.[13] For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre.[14] Architectural Acoustic design is usually done by acoustic consultants.[10]
Electroacoustics is concerned with the design of headphones, microphones, loudspeakers, sound reproduction systems and recording technologies.[8] Examples of electroacoustic design include portable electronic devices (e.g.mobile phones,portable media players, andtablet computers), sound systems in architectural acoustics,surround sound andwave field synthesis inmovie theater andvehicle audio.
Musical acoustics is concerned with researching and describing the science of music. In audio engineering, this includes the design of electronic instruments such assynthesizers; the human voice (the physics andneurophysiology ofsinging);physical modeling of musical instruments;room acoustics of concert venues;music information retrieval;music therapy, and the perception and cognition ofmusic.[15][16]
Psychoacoustics is the scientific study of how humans respond to what they hear. At the heart of audio engineering are listeners who are the final arbitrator as to whether an audio design is successful, such as whether abinaural recording sounds immersive.[12]
The production, computer processing and perception ofspeech is an important part of audio engineering. Ensuring speech is transmitted intelligibly, efficiently and with high quality; in rooms, through public address systems and through mobile telephone systems are important areas of study.[17]
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A variety of terms are used to describe audio engineers who install or operatesound recording,sound reinforcement, or soundbroadcasting equipment, including large and small formatconsoles. Terms such asaudio technician,sound technician,audio engineer,audio technologist,recording engineer,sound mixer,mixing engineer andsound engineer can be ambiguous; depending on the context they may be synonymous, or they may refer to different roles in audio production. Such terms can refer to a person working in sound and music production; for instance, asound engineer orrecording engineer is commonly listed in the credits of commercial music recordings (as well as in other productions that include sound, such as movies). These titles can also refer to technicians who maintain professional audio equipment. Certain jurisdictions specifically prohibit the use of the titleengineer to any individual not a registered member of aprofessional engineering licensing body.
In the recording studio environment, a sound engineer records, edits, manipulates, mixes, ormasters sound by technical means to realize the creative vision of the artist andrecord producer. While usually associated with music production, an audio engineer deals with sound for a wide range of applications, includingpost-production forvideo andfilm, live sound reinforcement,advertising,multimedia, and broadcasting. In larger productions, an audio engineer is responsible for the technical aspects of a sound recording or other audio production, and works together with a record producer or director, although the engineer's role may also be integrated with that of the producer. In smaller productions and studios the sound engineer and producer are often the same person.
In typical sound reinforcement applications, audio engineers often assume the role of producer, making artistic and technical decisions, and sometimes even scheduling and budget decisions.[18]
Audio engineers come from backgrounds or postsecondary training in fields such as audio,fine arts, broadcasting, music, or electrical engineering. Training in audio engineering and sound recording is offered by colleges and universities. Some audio engineers areautodidacts with no formal training, but who have attained professional skills in audio through extensive on-the-job experience.
Audio engineers must have extensive knowledge of audio engineering principles and techniques. For instance, they must understand how audio signals travel, which equipment to use and when, how to mic different instruments and amplifiers, which microphones to use and how to position them to get the best quality recordings. In addition to technical knowledge, an audio engineer must have the ability to problem-solve quickly. The best audio engineers also have a high degree of creativity that allows them to stand out amongst their peers. In the music realm, an audio engineer must also understand the types of sounds and tones that are expected in musical ensembles across different genres—rock andpop music, for example. This knowledge of musical style is typically learned from years of experience listening to and mixing music in recording or live sound contexts. For education and training, there are audio engineering schools all over the world.
According toWomen's Audio Mission (WAM), a nonprofit organization based in San Francisco dedicated to the advancement ofwomen in music production and the recording arts, less than 5% of the people working in the field of sound and media are women.[19] "Only three women have ever been nominated for best producer at the Brits or theGrammys" and none won either award.[20] According toSusan Rogers, audio engineer and professor atBerklee College of Music, women interested in becoming an audio engineer face "a boys' club, or a guild mentality".[20] The UK "Music Producers' Guild says less than 4% of its members are women" and at the Liverpool Institute of Performing Arts, "only 6% of the students enrolled on its sound technology course are female."[20]
Women's Audio Mission was started in 2003 to address the lack of women inprofessional audio by training over 6,000 women and girls in the recording arts and is the only professional recording studio built and run by women.[21] Notable recording projects include the Grammy Award-winningKronos Quartet,Angelique Kidjo (2014 Grammy winner), authorSalman Rushdie, the Academy Award-nominated soundtrack to "Dirty Wars",[22] Van-Ahn Vo (NPR's top 50 albums of 2013), Grammy-nominatedSt. Lawrence Quartet, andworld music artistsTanya Tagaq andWu Man.[citation needed]
There certainly are efforts to chronicle women's role and history in audio. Leslie Gaston-Bird wrote Women in Audio,[23] which includes 100 profiles of women in audio through history. Sound Girls is an organization focused on the next generation of women in audio, but also has been building up resources and directories of women in audio.[24]Women in Sound is another organization that has been working to highlight women and nonbinary people in all areas of live and recorded sound through an online zine and podcast featuring interviews of current audio engineers and producers.
One of the first women to produce, engineer, arrange and promote music on her ownrock and roll music label wasCordell Jackson (1923–2004).Trina Shoemaker is a mixer, record producer andsound engineer who became the first woman to win theGrammy Award for Best Engineered Album in 1998 for her work onThe Globe Sessions.[25]
Gail Davies was the first female producer incountry music, delivering a string of Top 10 hits in the 1970s and 1980s including "Someone Is Looking for Someone Like You", "Blue Heartache" and "I'll Be There (If You Ever Want Me)".[26] When she moved toNashville in 1976, men "didn't want to work for a woman" and she was told women in the city were "still barefoot, pregnant and [singing] in the vocal booth."[26] When Jonell Polansky arrived in Nashville in 1994, with a degree in electrical engineering and recording experience in the Bay Area, she was told "You're a woman, and we already had one"—a reference toWendy Waldman.[26] KK Proffitt, a studio "owner and chief engineer", states that men in Nashville do not want to have women in the recording booth. At a meeting of theAudio Engineering Society, Proffitt was told to "shut up" by a male producer when she raised the issue of updating studio recording technologies.[26] Proffitt said she "finds sexism rampant in the industry".[26]
Other notable women include:
There are four distinct steps to the commercial production of a recording: recording, editing, mixing, and mastering. Typically, each is performed by a sound engineer who specializes only in that part of the production.
An audio engineer is proficient with different types of recording media, such as analog tape, digital multi-track recorders and workstations, plug-ins and computer knowledge. With the advent of the digital age, it is increasingly important for the audio engineer to understand software and hardware integration, from synchronization to analog to digital transfers. In their daily work, audio engineers use many tools, including:
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