"How can I become a professional mix engineer?"
An RP reader who is already a pro recording engineer wants to become a (highly paid) mix engineer. How can he achieve this?
Follow RecordProducer.com on Twitter...
A question from an RP reader...
I have been working as a recording engineer for a few years. How can I take that big step to be a professional mixing engineer?
One thing that people working at a high level in pro audio have in common is that they don't tend to have that much in common!
In other words, everyone's experience is different, and what was the turning point in someone's career could be totally irrelevant to someone else.
In general however, we can start by saying that anyone who is already working as a recording engineer, and earning their living at it, is already doing pretty well. Congratulations on that.
But being a recording engineer isn't necessarily the most well-paid job in the world. Being a super-star mix engineer however can really bring in the dollars.
You could ask the question why is it that mix engineers are so well paid?
One reason is that record labels never really know why a record is a hit, particularly when it's a new artist.
If a new artist has a hit, was it the artist, the song, the producer, the hairdo, the dance moves... or the mix engineer?
Yes, the mix engineer is considered.
Unfortunately the recording engineer doesn't always seem to get this same consideration. He is probably hidden under the producer's shadow, rightly or wrongly.
So if a mix engineer has worked on a hit record, he or she is part of the winning formula.
You don't change a winning formula.
And of course when the mix engineer has a hit, his or her manager will want to up the rates for the next job.
So if you are a recording engineer already, how do you 'upgrade' to being a mix engineer?
As I said, everyone's situation is different. But one common factor is that to get work in any area of audio, you already have to have done it successfully.
So no-one will give you work as an assistant engineer until you have already worked as an assistant engineer.
No-one will give you work as an engineer until you have engineered a track that gets released.
And certainly no-one will let you sit in the producer's chair until you are a successful producer!
So it sounds impossible, except that everyone has to get started somewhere. But how?
The answer is that people often get started by chance.
One day a studio's assistant engineer doesn't turn up. So the guy who has previously been cleaning up gets to put mics on stands.
One day the engineer's car breaks down, so the assistant engineer has to take over for a while.
One day the producer has flu, so the engineer gets to offer a few of his ideas.
Get the picture?
With a mix engineer, the situation is different. You're not going to get a big-paying job by accident.
But you do have to create that first big-selling mix that shows you can do it.
And how do you do that?
Answer - by taking every opportunity you can to mix, and get people to listen to what you have done.
So for example, if you're working on a session and the producer decides that the recording phase is complete, ask if you can have a go at mixing it, in your own time (like the middle of the night).
If you think you have done an amazing job, and be harshly self critical, get the producer to listen to it.
If he likes it, he'll take it away with him.
And...
Perhaps no-one, not even a seasoned mix engineer can make a mix that's better than yours. So your mix is the one that gets released.
Hey - you're a mix engineer!
OK, so I'm telling a story here. But it isn't that far from reality.
So all you highly-paid mix engineers out there - how did you get the gig?
In fact, if you're a successful musician, writer, engineer or producer we would love to know what happened to get your career really off the ground.
Tell us below...
Publication date Friday February 12, 2010
(You can unsubscribe quickly and easily.)
Discussion on this article's topic...
Sunday March 21, 2010
Wednesday February 24, 2010
Tuesday February 23, 2010
Thursday February 18, 2010
Tuesday February 16, 2010
Thursday February 11, 2010
Thursday February 11, 2010
Monday February 08, 2010
It's hard to break, but it is not impossiable.
Monday February 08, 2010
oldest engineers.
Monday February 08, 2010
UPDATE - Posting of comments has been disabled. RecordProducer.com has been targeted by a botnet posting spam comments. The facility to post comments will return when this problem has been resolved.
We welcome your addition to the discussion on the topic of this article. If you feel that the article is inaccurate in any way, please let us know by e-mail at . We read all messages sent to this address but we cannot promise a reply.
 |
It's not every day we get a new Prime Minister in the UK. And for a Prime Minister to talk directly to RecordProducer.com, well that must be really special! Read more... |
 |
If you buy CDs at flea markets or car boot sales, you may be buying counterfeit, pirate or bootleg products. Does this matter? What do you need to know? Read more... |
 |
The range of great home recording equipment available these days is truly superb. But occasionally we all buy something that just wasn't worth the money. What's your experience? Read more... |
 |
Sometimes the sound of the electric guitar doesn't quite cut it. But there are ways you can make the guitar sound like more than it is. Much more... Read more... |
 |
Delay is one of the simplest yet (currently) under-appreciated effects available. But how do you work out the correct settings? Read more... |
 |
Do you still use DAT? CD recorders? Outboard effects units? Come on and admit it - you're a dinosaur! Read more... |
 |
We're all for cutting costs where it doesn't compromise performance, but can office dividers do a good job in the recording studio? Read more... |
 |
Do you suffer from dull, lifeless sound? Do you wish you could have just that little extra sparkle? With the right preparation, you can! Read more... |
 |
Do your recordings have warmth? Yes? But does the amount of warmth vary with the signal level? Wouldn't you like it to be more consistent... Read more... |
 |
Some things about Apple's iPad are great. Some things are, er, missing. But how useful is it in the studio right now? Read more... |
 |
In contrast to my recent article where I said that choice of microphone often doesn't matter, there are times where selecting the right microphone can make an enormous difference to your sound. Read more... |
 |
Ah, that mysterious Q control in your EQ. Does it actually do anything? Read more... |
 |
Do music business lawyers always know what they are doing? Or could they ask you to sign a contract that would not stand up in court? Read more... |
 |
Is latency putting your singer off their stride? RME's Fireface can offer a unique solution... Read more... |
 |
Both EQ and filters alter the frequency response characteristics of a signal. But how are they different, and how should they be applied? Read more... |
 |
So your band has a website. That is so 2009! Why not get the new decade started with an iPhone app that showcases your talent to the (iPhone) world? Read more... |
 |
It is probably the most common ambition in music. But many people want to become a record producer without really understanding what it means. Here's the primer... Read more... |
 |
An RP reader wishes to improve the sound he gets from his microphone. Is this possible, or does he need a better mic? Read more... |
 |
An RP reader has worked out an interesting way of connecting his compressor. Will it work? Or is something going to blow? Read more... |
 |
Auto-Tune is a powerful vocal tuning software. It can turn an out-of-tune vocal track into a pitch-perfect pro performance. But are there times when you would be better off not using it? Read more... |
