On the surface, the audio engineer's job is an elementary one--capturing the excitement of a performer's music on tape in a way that moves the listener, and leaves a memorable recording. In reality, good engineers must know the basics of working with sound and musical equipment. These skills are crucial to success when an amplifier blows up, or when the guitarist insists on using an instrument with poor intonation. Not surprisingly, many engineers are present or former musicians, but just as many technically oriented types have carved out successful careers, as well. More often than not, audio engineers find themselves put into the referee's position amid difficult situations, as in 1980, when Iggy Pop summarily fired his former guitar sidekick James Williamson and appointed engineer Pat Moran as producer of the "Soldier" album.
Audio engineers generally fall along three distinct lines. One school of thought, articulated by professionals like Steve Albini, insists the engineer is simply there to record the band, without offering any creative input beyond resolving technical issues and documenting performances. However, others shoulder much of the engineering work and collaborate with the band, such as as Roy Thomas Baker, the man behind Queen's classic '70s work, or '80s techies like Martin Hannett, and Trevor Horn, who made extensive post-production and remixing work a major part of their aesthetic. Other engineers, like Bob Clearmountain, fall into a third category--the remixer who edits a recording in post-production for dance club or radio play.
Getting a job is the least-understood aspect of the field. No one method works better than others, but, for many engineers, the typical career path starts with an unpaid internship at a local studio, where anyone with ambition and social skills can learn the job from the ground up. Long periods may pass before pushing a button, let alone handling any equipment. For example, singer-songwriter Kris Kristofferson started his performing career as a janitor at Columbia Studios. The British system of the 1960s operated along similar lines. Producers like Glyn Johns began as tape operators, then worked up to assisting the engineers and eventually overseeing their first sessions. Earning a colleague's trust becomes the key to building the credits needed for a long-term career. Ideally, such effort means starting with local bands, then progressing to regional and national acts, based on word-of-mouth referrals.
Audio engineering is not a field for the impatient. Three to five years is considered a reasonable time frame to move from lower level acts to the better-paying, more desirable jobs that build a successful career. Also, unless they are lucky enough to land a staff job with a major label, or work with a particular studio, audio engineers must accept the reality of being self-employed, freelancing their talents to whomever wants to hire them. For those reasons, a keen business sense and the ability to work well with others in a professional studio environment can make or break the aspiring professional, and prove critical to surviving the lean times. As in the film community, debate about the value of recording schools persists to this day, though most engineers consider practical experience the most critical factor toward advancing their careers.
On one level, competition for jobs is keener than ever, due to the increased accessibility of home recording equipment. But this may not be an issue for those who acquire an impeccable reputation for competence and creativity. For those who relish the chance to make their own creative decisions, operating or managing a studio offers the best option to further their careers. If security and benefits are the priorities, staff engineering positions at a major label or studio may be preferable, although such jobs are tough to land without some kind of recommendation among the engineering community, which tends to be tightly-knit and not readily accessible to outsiders. Continual self-education is required to keep up with the job's technical demands, as well as staying on top of current musical trends, since engineers must record all types of musical genres, often at odds with their own personal tastes.