Which university is best?

After looking at which universities near me that do Sound technology it seemed that Birmingham was ranked in the top 10 for sound courses.


Birmingham University

http://www.bcu.ac.uk/courses/music-technology

http://www.bcu.ac.uk/courses/sound-engineering-and-production

Leeds university

http://www.leeds.ac.uk/coursefinder/19572/MMus_Music_Technology_and_Computer_Music

Ranking links

http://www.thecompleteuniversityguide.co.uk/league-tables/rankings?s=Music

Universities

Here I will clear up some confusion I have had for a while, I’ve always know that I wanted to make sound effects for music and films. And now my current qualification in media will not be good enough to get me a job in this.

All job vacancies in this field ask for qualifications in music or sound technology and audio engineering. And I have always been confused between the three. What they entail, and what would be best for me. The confusion mainly steams from the fact that each of these course seem to allow you to apply for job titles that are the same. After looking a number of university courses these were my findings.

Music technology

Music technology is the study music and how technology plays a vital role in it’s the creation, manipulation, recording, production and distribution. In this course I would dive into the fast exhilarating technology that is involved in all areas of music production and learn how much and music technology work on a scientific level.

Here is a list of skills I may learn this course:

List sourced from Birmingham university and keel university

Composing  Sound
Sound Recording
Surround Sound
Audio Electronics
Digital Video
Music on Stage and Screen
Introduction to Composition
Reading Film
Popular Music
Introduction to Music Theory
Instrumental Lessons

Creative Sound Design
Audio-Visual Composition
Interactive Real-time Composition
Record production in Theory and Practice

All in all music technology is the study of music and technology and the many ways they co-exist together.

Sound technology

Sound technology is the science of sound and how technology is used in its creation, manipulation, recording, production and distribution. It’s essentially the same principles as music technology but more directed towards Foley sound, sound effects and dialogue. Though I now understand how the learning outcomes and fields of study can cross over. As I may have to learn how to integrate sounds in to music, many sound engineers will be involved in the recording of music. From there they may alter the recording, get rid of any unwanted sounds and maybe even add higher quality or more preferred sounds. And from there the music recording may be handed to some with skills in music technology to edit the tempo, pitch, and even create mixes with other recordings.

List if skills sourced from University of Glamorgan Pontypridd, university of Portsmouth

·         Audio Engineering

·         Media Technology for Applications

·         Live Sound

·         Electronics for Music & Media

·         Synthesis & Computer Based Audio Engineering

·         Repertoire Production Techniques

·         Music Industry Practice

·         Multimedia Communications & Signal Processing

·         Honours Integrated Group Project

·         Acoustics of Performance Spaces

·         Recording Engineering

·         Sound for Film & TV

·         Project Studio Production & Advanced Sound Synthesis

·         Advanced Electronics for Music & Media

·         Computer Based Media Production

·         Music Production

It seems that when technology was becoming integrated into the entertainments industry and job roles such as Foley artist and sound engineer things we’re a lot simpler, and there was a small fraction of the technology we have today. With the development and future integration of more technology into entertainment more job roles have been created.

So the lines between careers have been blurred, and many cases on small productions people will have to be skilled in many areas to take on multiple job titles where as on big productions people will be required to only work in the specialised field.

So audio engineer and sound engineer are the same profession and whilst music technology and sound technology are course that specialise in different things. They will teach some of the same techniques and principle and in the work place their tasks may overlap resulting them having to something required from the other profession.

Though all in all I think I will take sound engineering.

Job roles summary

These are all of the Job titles i would love to achieve one day, film is not the only medium I would like to design and edit music and sound for, but the jobs roles and responsibilities carry over for computer games to music.

As mentioned before all of the carriers I have chosen all require a post graduate degree In some sort technological sound course, or alternatively extensive experience in sound (which i do not posses). Though I will have to start as a trainee in charge of the smallest task around the production set.

I did leave out certain careers that I will have to go through to get to my prefers ones, such as:

•  Boom operators -  Responsible for the operation, holding and positioning of microphones on set.
• Foley editors/artist - In charge of recording and editing sound for the atmosphere, and events in the film. E.g park ambiance, car crash, punch etc.
• Production sound mixer - They have the job of recording, mastering and generally managing the dialogue of the characters.

So next I will look at master university courses and things I can do myself that will in my spare time such as volunteering, or various things I can practice to give me and edge on the competition.

Re-recording Mixer

Re-recording mixers used to be known as Dubbing Mixers bring all the sounds and sound elements e.g. (Dialogue, Automated Dialogue Replacement, Foley, Sound Effects, Atmospheres, and Music) together to create the film’s final soundtrack they are solely in charge of the film being technically and stylistically correct in the end.

Setting the volume levels is thought to be an art form in its own right, sound strange. Until you imagine how many hundreds of thousands can occur in some scenes, and the art is making it all seamless, realistic, and drawing attention to what’s important and necessary. I require high level of skill and experienced judgment from years of re-recording. In smaller budget films re-recorders may be required to take on sound designer roles as well.

Re-recorders may be employed by a Audio Post Production House or work on a freelance basis. You may be required to work extreamly long hours under high pressure.

What is the job?

Re-recording Mixers first appear on the work scene to prepare the soundtrack for audience previews. This usually involves an intense period of up to three days work spent in a dubbing studio working on large missing consoles, mixing, smoothing, mastering, finalizing  As well as adding in temporary music prepared by the music editor, recording mixers in short my work fast to a very high standard.

Re-Recording Mixers’ first task on films is usually mixing the soundtrack for audience previews. Typically, this involves an intense period of time (up to three days) spent in the dubbing studio, where the they work at large mixing consoles, mixing and smoothing out (cross fading) the sound, often adding a temporary music soundtrack prepared by the Music Editor. Re-Recording Mixers must work quickly, to extremely high standards.

After the previews, the producer(s) and financers may usually require films to be re-cut and re-mixed. At the same time the film will be edited and when picture lock is achieved add the final touches until everything is perfect.

In the Final Mix, the sound track is further refined in consultation with the Director, and mixed to a 5.1 Surround Sound industry standard. This process can take between 2 and 12 weeks depending on each film’s scale and budget. Re-recording Mixers finish work on films on the last day of the Final Mix.

Typical career routes

No matter how highly qualified you are to make become a Re-recording Mixer you must start out as a runner and prove yourself. Experiences Re-recording Mixers will look out individuals who show progress, passion, talent and to train as an assistant.

Essential knowledge and skills

An extensive knowledge of acoustics, sound recording and post production processes both acoustic and digital.

Key Skills include:

• Ability to manipulate and work sound for the moving image
• Excellent aural skills
• Ability to work efficiently under pressure
• Excellent communication skills
• Good organisational skills
• Ability to work to strict deadlines
• Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Re-Recording Mixers are usually graduates of Music, Sound Technology, or increasingly, Computer Sound Design courses. Because this is a highly competitive area, many also go on to specialise in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.

Individual course accreditation in certain subject areas is currently being piloted. As part of Creative Skillset’s and the UK Film Council’s Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centers of excellence in education and training for film. For more information, please log onto the Creative Skillset website.

Payscale states wages can range from £25,000 47,000. (http://www.payscale.com/research/UK/Job=Re_Recording_Mixer/Salary)

http://www.creativeskillset.org/film/jobs/post_production_sound/article_4764_1.asp

Music Editor

Music editors are the ones to help make the directors musical vision come true, they are the link between the composers/band and the film. They control the structure of the soundtrack to back the entire film up, the music must be well written, well performed, and fit in with the scene as well as the atmospheric messages being conveyed. The music must always re-enforce instead of taking the attention away from the screen.

Like all sound post and pre production roles, music editor’s responsibilities vary on the budget and scale of the film they work on. But their roles may include managing performed music, as well as pre-recording music selection.

What is the job?

Usually on a medium budget Music editors usually start shortly after the picture locks start rolling in laying down temporary rough music and soundtracks. This will help other editors gage the emotional tempo, provide the composer with the right template, and guide the directors desired direction for the film.

Music Editors attend a “Spotting Session” with all other superior level set workers. To discuss the progress, opinions, changes etc of what is being done.

Typical career routes

There are no typical routes to become a music editor. Those in these positions are musically trained and talented individuals. That’s have worked their way up from the bottom as trainees.

This is a very competitive job role and take years to catch a break, but only the most talented and hard working progress. Though it is sometimes possible to be taken under a music editor’s wing as a trainee.

Essential knowledge and skills

Music Editors must have an expert knowledge of how music is constructed recorded and performed. They must also have knowledge and understanding of how music can affect images and create drama, as well as an encyclopaedic knowledge of pop and classical music. A working knowledge of computer editing software is also required.

Key Skills include:

• Musical skills
• Technical aptitude
• Strong aural skills
• Excellent communication skills
• A good sense of timing
• Ability to work well under pressure
• Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Music Editors are usually graduates in Sound Technology and/or Music, who have also specialised in music at post-graduate level. Competition is increasingly high, and even those entering the film industry at a junior level usually have a B.Mus (Tonmeister) or similar qualification.

Individual course accreditation in certain subject areas is currently being piloted. As part of Creative Skillset’s and the UK Film Council’s Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Creative Skillset website.

Income

The Career Development Center states Music Editor $20,000 - $60,000 (http://www.simplyhired.com/a/salary/search/q-Sound+Design+%2F+Supervising+Sound+Editor)

Supervising Sound Editor

Supervising Sound editors are the heads of their department and responsible for the well being of all post production sound. They are the main communication line between the director and the films soundtrack. They must have great overall knowledge in dialogue recording, ADR (Automated Dialogue Replacement, Foley (post-synchronised sound effects), and sound effects or music editing.

They should be able to invasion the films sounds requirements creatively whilst hitting ticking every box in the directors criteria

This is involves managing and working on sounds. The majority of Supervising Sound Editors also work as Sound Designers on the same film, so as said before you may be employed by Audio Post Production Facilities Houses, or work on a freelance hiring rooms and bringing your own equipment. Supervising Sound Editors work long hours under considerable pressure.

Job Role?

Supervising sound editor’s role varies depending on the budget and scale of the film. On low to medium budgets/scale films they start work when the director and producer have achieved picture lock (final approval of a scene), and work more hands on with the sound effects, ADR and sound effects. Though on big budget/scale film they will start work before the shooting begins and handpick supervisors to handle separate sound teams on set. e.g., amount of CGI (Computer Generated Images), different recording formats, additional recording/gathering, mixed frame rates, etc.

(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4765_1.asp)

Manager duties can include sound budget control, organising work flows and shifts according to delivery schedules and making plans for any given circumstances or requirements. You will attend meetings after screen locks to discuss the sound effects and Foley you have to see if they fit with the aesthetics and see what sound you may still need  any that may be needed.

We may be required to oversee the recording of the Foley, the productions of the sound effects, the recording of voice actors, and the composition of music.

Further edits may have to be made after the audience previews, which is where after much feedback the film is re-cut for the pre mix. After the pre-mix has been done more editing can be expected for the Final-Mix, this can take between 6-12 weeks depending on how big the film is. Even after this you may have to stick around to oversee the process of different languages being added for world releases.

Typical career routes

Supervising sound editors have to work long hours, with heavy works loads, under a tight schedule. They must over see and manage all sound over the whole production, relay back to the director producers and others. Work on sound projects themselves. This requires extensive years of experience and they probably started from a sounds assistant or from working in sound studio’s as trainee’s

Essential knowledge and skills

They must have extensive knowledge of all sound e.g. Foley, dialogue, sound effects and all equipments require to record in all stages of there production.

Key Skills include:

• Ability to manage and motivate a team
• Excellent communication skills
• Excellent aural skills
• A methodical, organised approach to work
• Ability to work under pressure to tight, changing deadlines
• Precise attention to detail whilst also seeing the broader picture
• Organisational and financial skills
• Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Supervising Sound Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.

Individual course accreditation in certain subject areas is currently being piloted. As part of Creative Skillset’s and the UK Film Council’s Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Creative Skillset website.

Income

 Simply hired states the average pay is $57,000(http://www.simplyhired.com/a/salary/search/q-Sound+Design+%2F+Supervising+Sound+Editor)

Though The Career Development Center states the pay can range from per yeah $80,000 - $140,000+(http://www.berklee.edu/pdf/parents/music-industry-salaries.pdf)

(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4765_1.asp)

Sound designers

Sound designers previously know an sound effects editors or special effects editors (SFX). They are responsible for providing sound for the screen action. They tend to have been experienced supervising sound editors who carry manager level roles. The will steer the entire post sound production team and as well as creating sound for giant explosions, they will make subtle sound effects that the audience may never notice though it enriches which ever part of the film its used in.

Sound effects are added to the film after production and during editing so the film is able to achieve its wanted identity, location, mood etc. Creating, transforming and positioning. You may be employed by post audio houses, or freelance work and hire a room next to the film production and may even provide their own digital equipment. This job can involve designers working long hours to meet demanding deadlines and schedules.

Job roles?

All depends of the film budget but sound designers usually start work at the same time as other sound editors. It may be before the shooting begins or straight after a scene has been shot and finalized.

You must identify and list the sounds need, they are three categories real Foley, atmospheric sound, and sound effects. After the list is finalized the sounds are the hunted down and recorded of made in the studio.

Typical career routes

All Sound designers ten to be sound enthusiasts having spent years recording and experimenting with sound before breaking into the industry. Sound design is a highly competitive area, so even the most highly qualified new comers must be prepare to start at the bottom. They usually progress from being Runners in Picture or Sound cutting rooms, or in Audio Post Production Facilities houses, to becoming Assistant Re-Recording Mixers or Assistant Sound Editors providing back-up to experienced Sound Editors.

Sound designers tend to have spent a considerable amount of time learning there craft, by working for tv productions or by having a background in music. Many Sound Designers are also Supervising Sound Editors, or Re-Recording Mixers.

Knowledge and skills

As well as a love of sound you must have a great knowledge and past experience in sound both acoustic and digital.

Key Skills include:

·         Excellent aural skills

·         Creativity and imagination

·         Ability to work conceptually

·         Excellent communication skills

·         Ability to work under pressure to tight, changing deadlines

·         Organisational and financial skills

·         Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Competition to become a Sound Designer is increasingly high and even those entering the film industry at junior levels have a B.Mus (Tonmeister) or similar qualification. Many Sound Designers have also specialised in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.

Income

·         Starting salaries can be from £13,000 a year full-time equivalent

·         With experience, salaries can rise to between £20,000 and £40,000

·         Freelance earnings can be higher or lower, depending on reputation and how much work is available.

http://mlakcdme3030.blogspot.co.uk/

(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4771_1.asp)