A Pragmatic Practitioner’s Inquiry Into The Practical Landscape of Audio Production
1.1 : Details of the Projects
The aim for this module is to encompass learning around project activities associated with the main research question : What are the professional standards required of engineers & producers in a practical audio production setting?
For this purpose, I will be doing preliminary inquiry into professional standards that are required of audio engineers working in tandem to an independent record label. My research project will be to undertake practical audio production & engineering work, within the vocational circumstances of working with a record label. Being pragmatic in approach, findings will be drawn from primary accounts of practical experience.
Specifically targeting the UK music production industry, the objectives which will drive this project consist of the following:
- Identification of recommendations & considerations towards professional practice for audio production engineers & producers.
- Identification of recommendations & considerations towards professional practice for independent record labels.
Practical undertakings will constitute a portfolio of work that will ground research findings in real-world applications, contextualising standards into relevant areas of utilisation - skewed to a focus on post-production stages. Undertaken practical work will form production projects, involving recording sessions / mixing sessions / mastering post-production. Additionally, practical organisation including client acquisition / liaising with clients / liaise and delivery to the label, will be undertaken.
I will be undertaking a minimum of two production projects, as well as completing a minimum of two organisational label activities. Working in recording / mixing / mastering stages of production. I will ensure deliberate steps are taken to account for recommendations & considerations towards a professional level of production. Organisational tasks relating to development within an independent artist service label context will define peripheral project activities. Details of practical work will form agile accounts in documentation aimed at adding commentary relevant to the specific project and vocational circumstances.
Project types to be expected:
● Production Project Type 1 - Release Projects + Production Engineering :
This project type relates to any audio production work consisting of studio based sessions, intended for release. This production project work consists of working with artists / bands to complete the production of tracks.
- AnR Artist / Label Liaise
- Project Management
- Recording
- Post-Production Mixing & Mastering
- Release & Promotion
● Production Project Type 2 - Audio / Visual Production :
This production project consists of managing an AV production session - The Basement Tapes - produced and organised for release through the label.
- AnR Artist / Label Liaise
- Project Management
- Recording
- Post-Production Mixing & Mastering
● Production Project Type 3 - LP Post-Production :
This project consists of post-production for a number of original works, including cutting floor editing for the curation of an LP conceptual piece intended for showcase and playback in surround sound.
- Track Selection Process
- LP Arrangement
- Audio Editing
- Post-Production Recording / Overdubbing
- Post-Production Mixing & Mastering
● Production Project Type 4 - Master Engineering :
This project will consist of undertaking the mastering post-production stages of a release.
- Master Engineering
- Artist / Client Liasoning
- Exporting / Metadata Entry / Delivery
● Project Type 5 - Organisational Label / Studio Activities & Documentation : This entails roles and responsibilities drawn from label / studio activities. The written based project work will consist of a number of pieces of documentation designed to inform on the wider record label context being worked within for this undertaking.
- Project Management
- Session Organisation / Management
- Personnel Organisation
- Liaising
- Documentation Writeups
Production Projects will include :
- Recording Sessions.
- Mixing Sessions.
- Mastering Sessions.
- Project Management.
- Liaison with artist / client.
Label Organisation potential tasks :
- Practical processes of organisation.
- Liaise process of working with artists.
- Organisational development of services.
- Production delivery for publishing.
- AV Project management.
1.2 : Deliverables
Production Project 1 [Release Tracks]
- 2x Audio Tracks 48kHz 24bit [Wav]
Production Project 2 [Audio / Visual Production]
- 3x Audio Tracks 48kHz 24bit [Wav]
- Audio / Visual Asset File (MP4)
Production Project 3 [LP Post-Production]
- 10x Audio Tracks 48kHz 24bit [Wav]
Production Project 4 [Master Engineering] - 10x Audio Tracks 48kHz 24bit [Wav]
Production Project 5 [Record Engineering] - 4x Audio Tracks 48kHz 24bit [Wav]
Project 6 [Organisational Label Documentation]
- Executive Summary
- Outline Summary
Additional written elements :
- Agile Production Documentation.
- Summary Project Report on Production Standards for Engineers / Producers.
Self-Directed Learning
Through professional standards of application in working with a record label, the targeted knowledge and skills I aim to develop from inquiry will include :
- Professional Standards In Record Engineering
- Professional Standards In Mix Engineering
- Professional Standards In Master Engineering
- Professional Standards of Independent Record Labels
- Professional Standards of Artist Service Label Models
Along with reflection into each individual subject area where needed, sessions with my project facilitator and the feedback which they provide will further the quality of work. To complete this project, I will ensure I have the needed pieces of knowledge across relevant subject areas relating to topics within this research project’s scope.
Throughout this inquiry I will gather broad standards across production stages and label organisation, these will then be itemised and considered alongside my own work within practical undertakings. Key initial resources which I will use to collate subject topics are provided within the database of National Occupational Standards, as “statements of the standards of performance individuals must achieve when carrying out functions in the workplace, together with specifications of the underpinning knowledge and understanding.” - provided by The Skills Development Scotland Co Limited (2015).
Investigation of existing literature / oral traditions of present industry standards will inform topic areas for documentation within primary account writings, informing practical recommendations / considerations to implement into practice. Some examples of resources for this purpose include :
Burgess R. J. (2013), “The Art of Music Production: The Theory and Practice - Fourth Edition”
- Linden P. S. (2013), “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering”
- Sound on Sound (ND), “Industry Talk”, “Mixing / Production”, “Recording”, “Industry Talk”, “Mixing / Production”, “Recording”
- Jacoby M (2023), “A Guide to Record Labels, Record Label Services, & Labels as a Service”
- Walzer D. et al (2021), “Audio Education : Theory, Culture, and Practice”
Through an agile, and self-reflective approach to the accompanying documentation of practical work - data collection will consist of gathering experiential knowledge and documentation together, to inform a summary report of standards in the form of recommendations & considerations towards professional–practice.
The purpose of this will be to organise, itemise and ultimately present a skills & knowledge base which should serve beneficial in the guidance towards working at a professional standard in this field. This research project aims to develop practical skills in audio engineering / post-production / project management / record label organisation, with knowledge and perspectives gained from both resource review and practical experience contributing to its findings.
Sec 2a : Portfolio of Practical Work
Project 1 Basement Tapes - Audio & Visual Production
1. BasementTapes-Audio&VisualProduction[Type2]
Project 2 Release Tracks
2. ReleaseTracks-MasteringProduction[Type1/4]
Project 3 Vocal Artist Production
3. VocalArtistProduction-StudioProduction[Type1/4]
Project 4 Revisiting The Ocean Of Motion - LP Post-Production
4. Revisiting The Ocean Of Motion - LP Post-Production [Type 3 / 4]
Project 5 Operationalized - Mastering for LP
5. MasteringforLP-MasteringProduction[Type4]
Project 6 Organisational Label Activities
6. OrganisationalLabelActivities[Type5]
Project 7 Studio Proposal & Planning
7. StudioProposalandPlanning[Type5]
Sec 2b : Summary Project Report of Final Accounts and Production Standards for Engineers / Producers.
“Action research is critical in the sense that practitioners not only look for ways to improve their practice within the various constraints of the situation in which they are working, but are also critical agents of change for those constraints and for themselves.” - Zuber-Skerrit, Cilliers (2007, p. 131)
This summary project report aims to encapsulate the practical outputs and findings so-far unearthed by the projects completed during this research inquiry’s duration to date. Inquiry follows the ethos presented here by Zuber-Skerrit, along with the outlined plan contained within this portfolio’s learning agreement, and the proposed methodological approach which frameworks practical work. Being a pragmatic practitioner's inquiry developing idiosyncratically, findings have predominantly been drawn from primary experience in present vocational circumstances.
In the context of a practical approach working for portfolio in a freelance engineering capacity, productions have been carried out in tandem with a record label. Being situated in production & organisational roles, primary experience in these areas have been documented in primary agile accounts & journal entries.
The following section 2b.1. Summary of Production Projects details each of the production’s aspects, including practical processes involved and each role I carried out, as well as its outputs in the form of digital assets. National Occupational Standards [NOS] - provided by The Skills Development Scotland Co Limited, (2015) - relevant to each practical process have been selected respectively based on their relevance as professional recommendations in the context of informing primary practical work.
The raw qualitative dataset generated from this selection process consists of :
Sec 4. Agile Documentary Accounts & Learning Journal Entries, including -
Entry 5 - National Occupational Standards - Recommendations & Considerations Towards Professional Standards in Audio Production.
Findings have been drawn from and culminated in the generation of itemised recommendations & considerations - being structured and informed by the accredited dataset of NOS recommendations, amalgamated with primary experiential findings of perspectives & considerations to contextualise and further inform development of skills & knowledge. The output of this has been presented in Sec 2b.2. Recommendations Of Skills & Knowledge Required For Professional Audio Engineering.
2b.1. Summary of Production Projects - Final Accounts
Being drawn from primary practice-based action research, documented in agile accounts and following those presented in Sec 2a. Portfolio of Practical Work. Each final agile account details :
- The production’s practical scope.
- The scope of participating roles for which I undertook
- The associated practical responsibilities within these roles.
- The associated agile entries, documented alongside the production.
- The relevant associated & recurrent practical processes documented within agile account entries.
- The production outputs.
Project 1 Basement Tapes - Audio & Visual Production
Scope : AV Production of four bands, performing two tracks each for a total of eight
live-lounge style music videos of live music.
Roles : Producer / Recording Engineer / Mixing Engineer / Mastering Engineer / Video Editor
Responsibilities : Session Management / Artist Liaise / Production Process /
Post-Production / Asset Delivery / Release Scheduling / Promotion Agile Entries : Entry 3 / Sec 3
Practical Processes :
- Production planning and scheduling : timing arrangements between the production teams, artists and venue were coordinated. [NOS CCSMB6 (2015)]
- Scouting and liaising with artists : organising a curated lineup of alternative / indie rock bands. [NOS CCSMB8 (2015)]
- Session supervising and project management : ensuring an effective production & personnel organisation was operating smoothly. [NOS SKSPA8 (2015)]
- Audio Recording : capturing live sound output to multi-tracks consistently and effectively. [NOS CCSMT13 (2015)]
- Audio Mixing : editing and post-processing recorded audio to a given sonic brief. [NOS SKSPP24 (2017)]
- Post production supervision : monitoring the progress of post-production, stepping in where required to maintain an effective and smooth process. [NOS SKSP33 (2019)]
- Asset delivery : Ensure the delivery of productions upon completion. [NOS SKSP37 (2019)]
Outputs [Project 1] :
Band : Modern Age (2024)
Track 1 [Take 2] : Katana [03:07 / MP4]
Track 2 [Take 2] : Eyeball To Eyeball [05:03 / MP4] Short Vertical Promo Clips x3 [MOV] / Announcer [PNG]
Band : Interail (2024)
Track 1 [Take 2] : Red [04:56 / MP4]
Track 2 [Take 4] : Easy Way Out [05:17 / MP4]
Short Vertical Promo Clips x3 [MOV] / Announcer [PNG]
Band : Bella Wright (2024)
Track 1 [Take 2] : Bite The Bullet [03:51 / MP4]
Track 2 [Take 2] : Fight Off The Night [03:29 / MP4] Short Vertical Promo Clips x3 [MOV] / Announcer [PNG]
Band : The Kites (2024)
Track 1 [Take 3] : Nineteen [04:30 / MP4]
Track 2 [Take 3] : Fly Away [03:26 / MP4]
Track 3 : The Jacaranda Basement Tapes Trailer [03:27 / MP4] Short Vertical Promo Clips x3 [MOV] / Announcer [PNG]
Project 2 Release Tracks
Scope : Mastering post-production of two tracks, alongside artist & label liasoning during onboarding process, as well as event organising & release promotion.
Roles : Mastering Engineer / Liaise / Promoter
Responsibilities : Artist Liaise / Post-Production / Asset Delivery / Release Scheduling / Event Organising / Promotion
Agile Entries : Entry 1 / 7 / Sec 3
Practical Processes :
- Mastering Post-Production : processing audio to finely balance frequency and levels to suit the material. [NOS CCSMT25 (2015)]
- Liaise with label : present the artists repertoire for potential release to the label. [NOS CCSMB16 (2015)]
- Liaise with artist : Communicate arrangement details, release timeline and contractual agreements with clients. [NOS CCSMB13 (2015)]
- Production planning : outlining plan for future productions to present artist development. [NOS CCSMB15 (2015)]
- Coordinate promotional event for release : organising a live showcase of the artist. [NOS CCSMB2 (2015)]
- Support promotional campaign : coordinate promotional activities, including preparing promotional materials to support a release campaign. [NOS CCSMB6 (2015)]
- Asset delivery & release : Ensure the delivery of productions upon completion, [NOS SKSP37 (2019)]
Outputs [Project 2] :
Band : Simorah (2024)
Track 1 : On The Prowl [03:27 / WAV] Track 2 : Tonight [03:28 / WAV]
Project 3 Vocal Artist Production
Scope : Session recording and post-production of four cover tracks, performed by a solo vocalist.
Roles : Recording Engineer / Mix Engineer / Mastering Engineer / Client Liaise Responsibilities : Session Planning, Management & Setup / Audio Monitoring & Recording / Take Selection / Post-Production Audio Editing, Mixing & Mastering Agile Entries : Entry 2
Practical Processes :
- Session Management : oversee and ensure a welcoming, calm and professional session facility. [NOS SKSPP23 (2017)]
- Session setup and engineering : organise hardware & software production equipment including microphone, cabling, audio interface and multi-track recording software. [NOS CCSMT3 (2020)]
- Post-production audio editing & mixing : utilise dynamic processors such as EQ and compression, along with digital effects processors such as reverb units. [NOS CCSMT18 (2015)]
- Delivery liaise and reception from client : evaluate production output and direct next iterative steps of revision. [NOS SKSRACC5 (2024)]
- Post-Production mastering : enhance mixes to given specification of additional lift to dynamics and level. [NOS CCSMT25 (2015)]
Outputs [Project 3] :
Artist : Chantelle
Track 1 : A Deeper Love (Aretha Franklin) [04:38 / WAV]
Track 2 : Get Here (Oleta Adams) [04:20 / WAV]
Track 3 : Love And Affection (Joan Armatrading) [04:22 / WAV]
Track 4 : Texas Hold ‘Em (Beyonce) [03:55 / WAV]
Project 4 Revisiting The Ocean Of Motion - LP Post-Production
Scope : Post-production combining two EP projects into one LP for release and event showcasing. Fourteen tracks in total, each requiring different stages of production from solely mastering to stem re-recording / mixing.
Roles : Recording Engineer / Mix Engineer / Mastering Engineer
Responsibilities : Overdub Recording / Track Selection & Conceptual Arrangement / Audio Editing / Mixing & Mastering Post Production / Surround Sound Asset Delivery
Agile Entries : Entry 4
Practical Processes :
- Creative conceptualisation and arrangement of track list : unify existing material into an LP maintaining a consistency of themes and aesthetics.
- Audio editing, mixing and post-production overdub recording : finalise tracklist varying track by track dependant on their individual requirements. [NOS SKSPP24 (2017)]
- Delivery to specified surround formats : ensuring outputs are compatible with the delivery requirements determined by the hardware playback system in use. [NOS SKSPP08 (2017)]
Outputs [Project 4] : Arist : Sociodelic
LP [14 Tracks] : Revisiting The Ocean of Motion [1:00:00 / WAV]
Project 5 Operationalized - Mastering For LP
Scope : Mastering service for an artist’s LP, comprising ten tracks of alternative / electronic music.
Roles : Mastering Engineer
Responsibilities : Mastering Post Production
Agile Entries : Entry 13
Practical Processes :
- Master Engineering : carry out final post-production stages of mastering, bringing audio up to commercial levels & processing dynamic range as needed. [NOS CCSMT25 (2015)]
- Working to a clients creative vision : ensuring the feel and sonic qualities of the music adheres to the given brief to the client’s satisfaction. [NOS SKSRACC5 (2024)]
Outputs [Project 5] :
Artist : NZanZu
LP [10 Tracks] : Operationalized [00:36:08 / WAV]
Project 6 Organisational Label Activities
Scope : Production project management across associated aspects of an independent record label - Jacaranda Campus Label [The Campus Label LTD, Initially Jacaranda Records LTD] - along with activities such as meetings / conferences / documentation writing / project planning / artist & label liasoning.
Role : Head of Audio / Producer / Recording Engineer / Mixing Engineer / Mastering Engineer / Video Editor /
Responsibilities : Production / Organisational planning research & development Agile Entries : Entry 8 / 9 / Sec 3
Practical Processes :
- Meetings & Conferences : partake and contribute to communication across production project planning & progress. [NOS TECHDUCW1 (2022)]
- Organisational Documentation Writing : writings on label organisation and process for the purpose of communicating relevant information to stakeholders. [NOS CLDSCCD23 (2023)]
- Documentation Review : reflection and iterative editing to organisational documentation. [NOS INSBE002 (2022)]
- Production Project Management : undertaking the role of producer, working to ensure that the AV production process of The Basement Tapes is effectively carried out from planning to completion. [NOS ECIPMD12 (2015)]
- Project Planning : scoping, personnel arrangement, venue scheduling, and organisational communication for the planning & pre-production stages of The Basement Tapes. [NOS SKSP12 (2019)]
- AnR Scouting & Artist Onboarding : headhunting bands to a brief for the purpose of arranging releases through the label. [NOS CCSMB15 (2015)]
- Post-Production Service Overviewing : meetings on the final release material for greenlighting. [NOS LANWFS11 (2020)]
- Release Delivery : final checks on technical specs & metadata before passing over to the relevant department for release scheduling. [NOS SKSP37 (2019)]
- Showcase Event : associated live music event for the promotion of the production project release. [NOS CCSMB4 (2015)]
Outputs [Project 6] :
Project 1 - Basement Tapes AV Production
Appendix A - Basement Tapes Release Schedule
Appendix B - The Campus Label Executive Summary
Appendix C - The Campus Label Outline
Appendix D - Artist’s Service Outline
Appendix E - Project 2 Release Promotional Event Poster
Appendix F - Label Business Canvas
Appendix G - Vinyl Production Financials & Timeline
Appendix H - Production Contract Examples
Project 7 Studio Proposal & Planning
Scope : Ideation and planning for an audio production studio. Roles : Project Management
Responsibilities : Business Planning / Service Organisation Agile Entries : Entry 12
Practical Processes :
- Setup and familiarisation with studio equipment : ensure hardware / software for studio recording & post-production is operational and configured correctly [NOS CCSMT3 (2020)]
- Produce a strategic summary & pitch proposal, including personnel background / service offering / market research & strategy, operations & logistics, financial strategy and forecasting [NOS CFAM&LFA1 (2015)]
Outputs [Project 7] :
Lighthouse Studio Proposal
2b.2. Recommendations & Considerations Of Skills & Knowledge Required For Professional Audio Engineering.
The following recommendations and considerations [R&Cs] are informed by each relevantly associated NOS and the primary accounts of production work conducted and presented within this research project. Utilising the given NOS topic areas of practical process for consideration, each statement draws from both primary findings and existing accredited standards to generate a new advisory recommendation towards professional approach to practical audio engineering processes.
The selection of NOS standards has been done alongside practical work, with practical work determining then which are most relevant to the vocational circumstances and production settings which this inquiry has taken place within. Beginning with a broad directory of standards across the full scope of associated production processes and roles, the selection process of base data collection derived from each NOS has been done according to relevant processes then undertaken in practical work. These have then been contextualised and adapted taking into documented entires of primary findings, written throughout project durations as agile accounts of experience. Ongoing alongside practical work, the base data collected from NOS standards have also cyclically informed practical work.
R&Cs Towards Professional Standards in Record Engineering
Outline of relevant recording standards across studio session based production work, regarding : production professionalism, etiquette and workflow processes.
Recommendations on skills [S] & knowledge [K] :
[CCSMT13] Assist with recording of live sound location sources.
- Assist with pre-production recording processes, e.g. microphone placement & line checks. [S]
- Clarify production documentation with relevant personnel, e.g. distribute & communicate production schedules. [S]
- Safely connect production equipment in line with production requirements, e.g. proper gain staging procedure, zeroing gain before amplification connections. [S]
- Ensure proper fault reporting procedure is followed e.g. communicate to studio manager any technical issues. [S]
- Partake in production recording operations e.g. track arming, signal checking, tracking & monitoring during recording. [S]
- Understand common defects in recording technologies, e.g. clipping resulting from excessive gain. [K]
- Understand relevant microphone principles e.g. placement & positioning and its impact on recordings. [K]
- Understand signal-to-noise ratios and ensure proper gain-staging to ensure high-fidelity dynamic range, e.g. ensure gain-structures are amplified cleanly from source to recording. [K]
[CCSMT3] Set up, configure and maintain studio equipment, software, hardware and instruments.
- Appropriately select hardware & software recording equipment & facilities to meet creative requirements, e.g. software-based midi recording sessions requirements such as input & capture equipment differ from acoustic instrumentation recording. [S]
- Ensure instrumentation placement for recording is positioned in optimal locations, e.g. stereo pairing microphone placement is accurate, accounting for potential room acoustics and source instrument sonic qualities. [S]
- Utilise patchbay wiring effectively to route signal between equipment where required, e.g. route vocal monitoring signal through outboard reverb for performer’s monitors. [S]
- Understand standard control wiring & audio routing options for channel paths / signal monitoring paths / foldback mix paths, e.g. establish a distinction between monitoring & channel routing [K]
- Understand signal characteristics between stereo / mono / surround, to inform recording approach, e.g. observe stereo & mono recording applications, determining appropriability for source. [K]
- Understand principles of signal transmission e.g. determine the latency of a system to counteract via input buffering. [K]
[SKSPP23] Support clients and colleagues in post production facilities.
- Communicate with clients in a welcoming & friendly manner to ensure a comfortable session to enhance the ethos of a studio, e.g. offer refreshments and allow for settling at session onset. [S]
- Respond to client requests promptly in a supportive and hospitable manner, e.g. work with a client’s creative inputs and exercise an exploratory approach to the recording process. [S]
- Maintain readiness in production processes, e.g. remain agile and note requests to sequence into the recording process. [S]
- Understand production facility layout between equipment and studio spaces, e.g. appropriately select between control room / live room use for recordings. [K]
- Understand the professional relationship between production personnel & clients to ensure good rapport, e.g. take a preliminary interest in a client's released material to better understand their musical vision. [K]
- Aim to anticipate client’s needs for any performance production processes, e.g. provide water for vocalists, check requirements for breakables with drummers. [K]
R&Cs Towards Professional Standards in Mix Engineering
Outline of standards for mixing services, regarding : operational processes, genre dependent workflows, working to client expectations / artist's vision, technical specifications.
Recommendations on skills [S] & knowledge [K] :
[SKSPP24] Mix recorded sound.
- Carry out accurate observations of track characteristics, e.g. assess multi-tracks preliminarily to mix, determining potential processing requirements, treatment or creative effects. [S]
- Adjust individual tracks to present the desired balance between elements e.g. ensure gain relationships between main / backing vocals are appropriate to predominate main vocal lines. [S]
- Position and balance tracks across the stereo field to achieve desired creative & aesthetic effects account to the client's vision, e.g. ensure articulation of client’s internal image of a mix’s spatial arrangement, and utilise processing such as panning to achieve it. [S]
- Understand principles of audio editing and processing, e.g. appropriately cut track noise from silent sections, or compress where required to more evenly level dynamic sections. [K]
- Understand the characteristics which contribute to tonal quality and perspective and how to achieve them e.g. use effective use of FX processing such as saturation or expansion to emphasise & highlight tonal qualities within recorded tracks. [K]
- Understand how to discuss and respond to client’s creative and technical requests, e.g. ensure opportunity for open communications on reflection & reception of mix either through digital test pressing delivery or client accompanied post-production sessions. [K]
[SKSP33] Supervise the post-production process.
- Plan and coordinate post-production requirements and schedules with appropriate personnel / clients, e.g. identify main stages of post-production and establish a timeline of processes for effective communication. [S]
- Maintain focus on the original creative brief, working to the clients requests, e.g. A/B mix with reference tracks sought from client preliminarily. [S]
- Estimate and communicate post-production costs for services with clients, e.g. provide a transparent breakdown of associated costs including service rate for client to consider before project commencement. [S]
- Understand the processing paths and channel processing structures established for appropriate mixing processes, e.g. be conscious of the impact of FX processing order between varying processor units, such as levelling lead parts with compression before or after additions such as reverb / delay. [K]
- Understand the uses of and need for various processing units or functionalities required or to be utilised in post-production, e.g. uses and applications for upwards / downwards compression, or mid / side attenuation. [K]
- Understand the production’s delivery requirements, e.g. ensure final audio assets are delivered to provided specs of sample rate / bit-depth / filetype. [K]
[CCSMT18] Operate analogue and digital dynamics and effects equipment for music and audio industries.
- Determine and control parameters of dynamics processor units, e.g. set attack / release times appropriately / creatively to shape tonal output. [S]
- Customise and utilise parameters of FX processing units, e.g. set reverb parameters such as reflection or diffusion to achieve desired timbral ambience. [S]
- Research technical information for knowledge gaps on processing parameters and experimentally practise for a first-hand understanding, e.g. quickly trial uses of compression ratios & attack / release times to apply, observing audio output and its sonic impact. [S]
- Understand the differences between dynamics processing in software / hardware domains, including the limitations and benefits of both, e.g. hardware limitations of signal level or tonal impact of circuitry / emulators. [K]
- Understand how dynamics processors interact between one another and the mixing console, e.g. determine signal paths such as parallel or insert methods of processing unit utilisation. [K]
- Understand the terminology associated with each type of effects unit, e.g. bright or dark EQ, harsh or warm distortion, dynamic or flat compression. [K]
R&Cs Towards Professional Standards in Master Engineering
Outline of standards for mastering services, relating to : technical specifications of delivery requirements, processing methods, working with clients to given requirements.
Recommendations on skills [S] & knowledge [K] :
[SKSP37] Oversee the delivery of productions upon completion.
- Establish and agree on method and lossless format of delivery material with relevant people, organised in clear file structures and zipped for transferring, e.g. determine and set sample rate / bit depth / file format specified by organised project brief. [S]
- Assemble and confirm all relevant master material is satisfactory with the client, e.g. produce preview assets such as digital test pressings to present final assets before master exporting. [S]
- Create and tag all relevant assets with relevant metadata documentation, confirming material has been received and approved, for final master export files, e.g. confirm and input track name(s) / artist name(s) / release name / production & performer credits / ISRCs / copyright lines. [S]
- Understand the given audio content through reference in the context of its genre, alongside client’s brief on desired qualities and delivery schedule, e.g. preliminarily discuss and note reference tracks, intended feel and musical aesthetics and project timeline with client. [K]
- Understand how to identify and promptly remedy any errors or omissions, such as the production assets received for post-production mastering, e.g. if received files are either not to required specification, or contain non-reversible audio faults such as unintended clipping / bitcrushing - communicating effectively with client. [K]
- Understand aspects of mastering post-processing such as relevant processor unit utilisation (Compression / Expansion / Limiting / EQ), their subtle application and impact to finalising signal levelled in-line with given references, e.g. familiarise through reference via calibrated audio systems to gain a clear picture of pre/post processed signal qualities & level. [K]
[CCSMT25] Develop techniques for mastering and restoring audio using critical listening skills.
- Aurally review characteristics of given audio material and reference material to select relevant processing techniques suitable to the genre-specific context, to enhance and highlight areas of interest throughout a piece, e.g. apply suitable compression with care to maintain dynamic transients in quite sections, automating subtly where necessary to then accommodate louder sections. [S]
- Precisely locate areas of identified audio errors using aural observation techniques such as observation of the stereo images foreground / background, or listening modes such as active & attentive listening / casual listening, e.g. continually shift aural focus from specific audio elements (such as individual track layers) to the overall stereo image and vice-versa. [S]
- Note and communicate appropriately any identified irresolvable audio errors and their probable causes, using authorised solutions for repairable errors where agreed, e.g. appropriately fading in / out at a track’s start / end to mitigate sudden noise-floor increases / decreases. [S]
- Understand how to set up a calibrated stereo monitoring system, e.g. establish the relevant reference signal level for a system utilising signal generators to unify metering & playback levels across playback / processing hardware. [K]
- Understand the reference material both aurally and technically, e.g. monitoring and determining focal elements and sections, noting metered parameters throughout such as peak levels & RMS balance. [K]
- Understand permissible solutions for repairing audio errors identified in given material, e.g. familiarise with clipping processors and use attentively to shape distortion creatively where desired effect is set by client. [K]
[SKSPP08] Deliver completed work to format.
- Verify the material’s source transferability, ensuing additionally provided formats retain required quality, e.g. master appropriately for given delivery specs, accounting for differing format requirements of multiple end user formats (audio only formats / audio & video formats) [S]
- Liaise with production colleagues who can resolve errors when assets are received with faults, e.g. communicate fault and determine time frame for redelivery in-line with production schedule [S]
- Check delivery material you supply is complete, functioning and to given requirements in its final master output form, e.g. confirm audio asset playback with final listen through check upon completion. [S]
- Understand and identify the requirements of clients that receive completed assets, noting specified file formats and specs whilst accounting for the requirements of variations, e.g. delivering multiple asset versions such as with bit-depth variation requirements will also alter audio aspects such as available dynamic range. [K]
- Understand secure file transfer practices for final delivery of assets, e.g. discuss and agree on password protection requirements and protocol for file delivery with clients to ensure the security of both assets and services. [K]
- Understand requirements of organisational procedures that must be met before delivering completed works, e.g. ensure assets have been appropriately logged and stored for backup, confirming financial arrangements as agreed with client prior to delivery. [K]
R&Cs Towards Professional Standards of Independent Record Labels & Production Houses
Given recommendations focus around operational standards of established production / publishing houses in the current industry / vocational setting, in relation too : working with labels & production clients / production services / promotion. With the count of relevant & applicable NOS standards being significantly higher in relation to record labels and production houses, for each selected NOS one summarised recommendation independantly towards skill and knowledge has been contextualised and presented.
Recommendations on skills [S] & knowledge [K] : [CCSMB6] Support a music industry marketing campaign.
- Devise effective marketing stratergies through working with colleagues or clients to produce campaign material, assessing similar case-study examples in relevant production contexts, plan and coordinate a timeline / budget for promotional activities, monitoring against expectations and revising where necessary to effectively communicate to potential audiences the subject of promotion. [S]
- Understand the varying roles involved within a music marketing organisation, identifying individual roles & responsibilities along with process communication as an organisation, accounting for external factors in affect such as a client’s requirements and aims [K]
[SKSPP23] Support clients and colleagues in post production facilities.
- Identify client’s and colleagues needs during production sessions, communicating at ease relevant information, responding to requests when given and carrying out with a practical readiness and a supportive and hospitable manner. [S]
- Understand the range of needs that a client may have regarding information, process, production, deliverables and creative desires. Ensure they feel heard, and relay back to them to confirm given information [K]
[CCSMB8] Support the identity, brand and characteristics of a record label.
- Explore / support / recommend brand identity, establishing and agreeing the case for working under a given branding strategy - assisting in the process of selecting a brand name and image which is in-line with the objectives for branding, and ensuring that the desired positioning is maintained. [S]
- Understand the importance of branding, its makeup of conveyed characteristics and effective communication across types of available services or arrangements provided - including relevant strategies and trends relating to the genre and their market segment’s consumer profile to most effectively reach towards potential audiences.
[SKSPA8] Contribute towards and maintain effective working relationships on film and TV projects.
- Clarify the scope and nature of roles within the production, ensuring assistance is available where needed to facilitate successful processes across relevant production stages. Proactively engage in discussions in order to maintain effective interaction and engagement within the production’s organisation, working with goodwill towards colleagues with a courteous attitude towards their skills & contributions. [S]
- Understand the culture that exists within the production and contribute towards any additional support roles where applicable - seek help and information from or for those who it regards, or support in directing towards relevant colleagues / management if needed as according to reporting procedure. [K]
[CCSMB16] Identify and recommend music with commercial potential that is viable for the company.
- Identify music / artists with commercial potential, determining the associated merits and shortfalls as found and assist in selecting appropriate routes for repertoire development / promotion. Identifying appropriate music matching an organisation's target market, providing justification to support the choice and communicating effectively with clients / colleagues to establish planning processes for promotional positioning & repertoire development. [S]
- Understand both the commercial aims of a company and the aesthetic and direction of an artist and their repertoire, spotting and expanding potential wherever it’s found. Aim to have an open and unobstructed judgement beyond subjective music tastes, and communicate effectively the valuable qualities and vision for repertoire development / promotional direction. [K]
[CCSMB13] Understand how artist agreements and contracts work.
- Contribute to the negotiation and documentation of generation of or amendments to artist agreements, suggesting precedents and standard form arrangements - responding and communicating to relevant parties any updates that occur. Present and liaise agreements between parties where required. [S]
- Understand how contracts are constructed, sectioned and presented - as well as the contents and purpose of differing contract types within the music industry, to familiarise with the types of information that they should contain [K]
[CCSMB15] Identify development and repertoire opportunities for artists.
- Liaise with artists and identify / access repertoire to advocate and support repertoire development - presenting repertoire recommendations or production processes where applicable and justified - communicating effectively to ensure a positive and productive working relationship. [S]
- Understand commercial and creative potential and how to spot it in an artist’s repertoire development, along with the promotional routes and production processes for the development and presentation of repertoire through potential release / publishing / marketing opportunities. [K]
[CCSMB2] Organise promotional events for the music industry.
- Clarify all pertaining details of the event’s arrangement, contribute towards the planning and organising across scheduling / budgeting / bookings / tickets, providing efficient support for promotional aspects such as attendance records, information distribution, networking opportunities - making recommendations for future changes where appropriate. [S]
- Understand the importance of effective communication, clear organisation and promotional activities in the aim of coordinating a successful promotional event - along with the means to achieve this gauged through attendee / internal / external personnel satisfaction. [K]
[SKSRACC5] Work to a brief for radio and audio content.
- Engage with and identify the objectives of a brief, including the intended target audience, timescale, format medium and expected deliverables or resources you are expected to work with or provide. Produce the audio assets setout in the given brief, informing relevant people of its progress along the production’s duration. [S]
- Understand the context for the brief, including genre / style / culture / release arrangement to contextualise commissioned content’s delivery - obtaining reliable information from relevant people through effective communication and utilising techniques for questioning / listening to pertinent questions to establish the fixed and negotiable elements of the brief. [K]
[TECHDUCW1] Carry out remote online working and collaboration.
- Configure a remote office environment including microphone / camera / speakers - testing communication networks & software work correctly. Effectively plan and schedule meetings with a regularity, communicating efficiently relevant information pertaining to organisational activities / planning objectives / operational goals. [S]
- Understand how to collaborate and communicate remotely, to maintain engagement and mitigate against the possibility of distractions / disconnection / disengagement. [K]
[CLDSCCD23] Strengthen the organisational development of groups.
- Support group organisation in its strategic planning and operational approach, facilitating review of current practices and policies to better align with established good practice. Along with supporting information gathering, processes development and implementation of required changes - engagement and effective action on this by individuals should be supported. [S]
- Understand participatory techniques to assist organisations in the review of their aims, objectives, practical processes, planning strategy, role allocation and procedural system to support the management of change and long-term sustainability of the organisation. [K]
[INSBE002] Define and develop your products and services.
- Establish and define services on offer effectively through clear communication and presentation, identifying aspects such as unique selling points, or point of sale positions to support client acquisition - orientating available services to better reach potential clients. [S]
- Understand relevant areas of business practice relating to services such as market research / target markets / marketing strategies / service charges and production terms - to better inform approach to service offers, positioning amongst market competitors, sales strategies / expectations, and levels of service. [K]
[ECIPMD12] Manage project activities and resources.
- Manage aspects of the project’s production, organisation, and objectives - providing oversight across all moving parts through authorisation of production-stage commencement / completion, taking into account evaluations of progress and managing activities / resources as planned - adapting where necessary whilst maintaining consistency with project objectives. [S]
- Understand the context and format of the project across the scope of production stages, including the processes of authorisation for each to be completed & commenced, as well as how to maintain steady control across processes and resources through appropriate project management methods. [K]
[SKSP12] Plan and schedule productions.
- Identify and allocate sufficient time scheduling / resources / personnel to each stage in the production project, setting out objectives and the processes / methods to reach their completion. Accounting for required scope of production, with clear establishment of planning communicated to relevant parties / clients to ensure consensus on progress upon commencement. [S]
- Understand how to identify and scope creative and practical briefs for production projects, accounting for required sequential stages of production and how schedules are structured to fit requirements - factoring in budgets, contingencies, and potential risks. [K]
[LANWFS11] Manage the operational performance of workplace and facilities services.
- Manage and carry out work within the contextual setting of facility based services such as studio productions - identifying and establishing achievable and measurable objectives for delivery of services in accordance with business procedures / efficiencies / practices in-line with high-level operational performance outputs. [S]
- Understand the standard operational performance / procedures / processes of production facility services, as well as the techniques for identifying and defining functional, quality and performance requirements and the means to ensure or improve on high-level operations. [K]
[CCSMB4] Support music industry promotional activities.
- Prepare and coordinate promotional activities & events through sourcing appropriate venues, scheduling relevant talks or performances, producing engaging promotional materials, and effectively communicating towards target audiences and relevant networks in aim of raising awareness of the subject of promotion. [S]
- Understand the marketing process within the context of music industry promotion & events, including techniques and processes suitable to the promotional activities at hand - as well as who and how external people could bring in further potential reach via associations or network opportunities. [K]
[CFAM&LFA1] Implement and evaluate strategic business plans.
- Setout and outline strategic business planning to stakeholders in engaging formats, communicating vision and scope across services offerings, operations & logistics, target markets / market gaps / unique selling points - providing advice, guidance, and support to those who partake in the venture. Demonstrate personal commitment to the plan, leading in the aim of achieving key strategic objectives, whilst regularly reviewing and adapting and communicating where necessary to ensure smooth implementation and operational performance. [S]
- Understand the principles and methods of strategic planning, including the importance of clearly communicating to stakeholders and potential clients any relevant areas of services / operations. Understanding the sector specific knowledge such as trends & developments, as well as the context specific elements relevant to the organisation - including it’s grounding / structure / communications / timeline / culture / business processes / client expectations / client acquisition strategies / reception of services / key roles and resources / vision / short-term & long-term aims, to achieve strategic objectives [K]
Sec 3 : Reflective Report - Pragmatic Production Project Participation
The purpose of this reflection report is to retrospectively document the practical aspects of working as a production engineer in tandem to a record label as setout in the project plan, being a part of the vocational circumstances I find myself traversing. Put chronologically and being derived from primary experience, the new knowledge generated from organisational undertakings outlines a primary account from this specific practical context. In line with the approach of Koshy (2005), who states “action research is about generating new knowledge based on enquiries conducted within specific and often practical contexts.”.
Entering into the industry seeing primarily the cultural hegemony projected by majors onto record label organisations, it became quickly apparent that my understanding of the surroundings about me needed developing. Going into my role under the impression of stepping into a fairly upright independent structure, I soon found that the level of organisation was also in need of research & development. Initially agreeing to the role of an engineer and producer, as this took place it became apparent that the expectation on myself was larger than anticipated, across additional coordination and organisational roles. Being in for the experience and keen to gain a decent portfolio from the role I found myself in however, I quickly adapted to this and found myself in the position of a Head of Audio for the label.
On this development, I spent considerable time inquiring into the subject of record labels and their organisational operations, business models and structures. Investigating label models including that which pertains to my own vocational circumstances was a crucial diligence. It has also gleaned a far better pragmatic understanding of arrangements which are encapsulated in a record label. Topic areas such as project management, production process, liaison arrangements, label strctures, organisational roles of personnel are expected areas of development which I had anticipated - given these are fundamental to operations. Investigation into these areas outlined a much more grounded understanding in the relationship between artists / labels / producers / engineers, as well as the reality of change resulting from predominantly physical manufacturing pre-internet to digital distribution in the present day.
Seeing as how the traditional model of a record label consists of advance orientated arrangements, it was quickly very apparent that there was a question mark over the arrangements between an independent record label and funded production / client work.
With labels having traditionally fronted funds for productions - recuperating debt via copyright agreements & mechanical rights ownership - this was reflected on and identified as an undesirable arrangement in today’s climate of low-payout streaming. With moral objection towards putting an artist into debt positions, it was proposed that the label follows an artist-service type of arrangement. This arrangement establishes that a production engineer such as myself would work as a freelancer for artists involved with releasing through the label - with the collective personnel benefitting from the overarching marketing umbrella provided, to both support and promote the artists & production personnel in their project work. Handing the autonomy & means to those directly involved with production to direct their work independently, with distribution and promotion support offered where arranged.
The following section details reflection on specific practice within several projects being carried out in tandem to the label, from my production orientated position as reflection on associated productions.
Organisation through my role of Head of Audio at the label saw through a number of production projects orientated for release. Following from the appointment of myself to the role, I began to follow the brief of finding artists in the local music scene who’d fit the rock’n’roll aesthetic of The Jacaranda. Seeking out bands who were rising in the local venue circuit, specifically frequenting the venue itself to draw in the emphasis to it’s sphere of local artists - I’d found in Simorah a well-rounded rock outfit that was a suitable choice for this first run of releases.
Artist / Label liasoning was first carried out, including introductory meetings with the band to convey information about the independent label along with the process involved with release tracks - including promotional planning, contractual arrangements / copyright splits, and production arrangements. Bringing artists and bands onto the label through AnR roles of talent scouting was the breadth of scope involved for myself in this arrangement, bridging between an independent band and an independent label. Prior to this arrangement, I had sought recent tracks from the band to release - receiving the two tracks provided in this portfolio - being recorded and mixed in a local studio, and requiring the final mastering stages of post-production which I undertook to bring them to a release ready level.
The larger production project which was carried out consisted of the production of music videos for The Basement Tapes series. Having done AV productions before, I saw this as a good opportunity to build up some professional portfolio in this area - as well as to network and work alongside other production professionals and artists. Whilst the production did encounter a number of curve balls, it was successful in this way - with outputs outweighing the occurring issues, having been resolved quickly through my own adaptation to the changing circumstances.
Initially scoping my own responsibility across one afternoon session, focused on one band being The Kites with two tracks being in a recording / mix engineer & producer role - there was as the post-production developed seemingly more aspects required for the successful completion of the wider series of production tracks, requiring further work. With vacancies opening up in the role of video editor most notably, following the completion of the audio engineering for The Kite’s tracks - It ultimately fell to myself to then also gather all relevant video / audio assets for each of the four sets, edit them with the audio and schedule them for release.
Being uncertain predominantly due to volatility of production roles, it was used as an opportunity to test my own skills in adapting and overcoming unexpected issues throughout a production. In this way it was very beneficial, as it has given me a better understanding of the processes involved not only between production personnel, but also in the flow of information / organisation to better coordinate projects going forward.
It’s especially worth noting the professional service provided by the film crew team - who in also working for portfolio did a top-quality job of the filming roles. With video editing being a post-production role which in of itself typically involves a segment of audio engineering - it was great to work with the assets which they provided, with them being a team of three individuals I had three camera angle shots to work with for each production and this meant for some exciting dynamic changes in shot which really adds a quality to these which in my view stands them apart from the previous format of four panel shots arranged continuously together. This new format decision was one such adaptation which I put forward with this series, given that it was identified that a fresh style to the AV presentation through the edit would provide this.
Upon completion of the post-production editing & release scheduling, in reflection of this project’s outputs and being within an interpretivist perspective, my view is that the production of The Basement Tapes has been a success. Entering into this project in the role of producer, from beginning to end the production process has provided a hands-on opportunity to develop my own skills and understanding of the practical processes and responsibilities that come along with the role.
Comparatively self-reflecting on practical work continuously alongside the production projects presented have led to development in numerous avenues of skills & knowledge relevant to the field and roles expected of an audio engineer & producer. Utilising the deep resource directory provided by The Skills Development Scotland Co Limited (2015) in the form of National Occupational Standards [NOS] has been a crucial resource towards this aim. In my view I feel I have worked well where unexpected circumstances have often appeared, along with the development of informing practical action through NOS standards having provided significant guidance towards professional development and my own pragmatic approach generally.
The overall output of the nine-video series in my view also now stands as a very noteworthy element of my portfolio, as well as the portfolio of the bands and production personnel who partook. This in my view is a key valuable aspect of this research project, alongside the unexpectedly extensive section - 2b.2. Recommendations Of Skills & Knowledge Required For Professional Audio Engineering - which has not only provided me with an informative set of practical recommendations for professional practice, but also an approach to self-development in the field that I’ve found invaluable.
Alongside the production of The Basement Tapes and associated aspects relating to audio engineering roles, these recommendations have informed associated practical aspects each production project, as well as label / production related organisation including :
- Partaking in meetings & conferences
- Organisational documentation writing & review
- Label personnel networking & organisation
- Production arrangements and client expectations
- Contractual arrangements
- Production project management & planning
- AnR roles of scouting / onboarding / liaising
- Release delivery & promotion
Whilst undertaking these processes, roles and production projects, the gantt schedule setout in the proposal stages of this research project has provided a clear timeline of processes which has worked supportively in this module. Whilst vocational circumstances have been dynamic, the timeline has been adapted to present the actuality of production processes over time - being a key resource towards time management which has allowed for the managed extensiveness of portfolio outputs.
Alongside the additional practical production projects and organisational documentation produced & presented within this portfolio, In my view this module as a professional development scheme in the context of the proposed research project has been a significant learning experience. In a very honest sense, it has provided me with a strong developmental bridge from educational portfolio circumstances into professional vocational circumstances within the field, and has positioned me far better to approach the practical scenarios and processes within professional engineering & production roles.
Going forward I intend to continue this process as outlined within the research projects proposal, working with the generated dataset of recommendations & considerations on skills and knowledge to further generate and implement into practical work. I aim to integrate these findings and reflect on their implementation within the final module, and account for further reception & feedback, as well as further perspectives & considerations to finalise into accounts of informative guidance across the associated roles within audio production.
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[Accessed : 04/07/24] NOS Standards :
- CCSMB6 (2015), ”Support a music industry marketing campaign.”, Creative & Cultural Skills
- CCSMB8 (2015), ”Support the identity, brand and characteristics of a record label.”, Creative & Cultural Skills
- SKSPA8 (2015), ”Maintain effective working relationships on film and TV projects.”, ScreenSkills
- CCSMT13 (2015), ”Assist with recording of live sound location sources.”, Creative & Cultural Skills
- SKSPP24 (2017), ”Mix recorded sound.”, ScreenSkills
- SKSP33 (2019), ”Supervise the post-production process.”, ScreenSkills
- SKSP37 (2019), ”Oversee the delivery of productions upon completion.”,ScreenSkills
- CCSMT25 (2015), ”Develop techniques for mastering and restoring audio usingcritical listening skills.”, Creative & Cultural Skills
- CCSMB16 (2015), ”Identify and recommend music with commercial potential that isviable for the company.”, Creative & Cultural Skills
- CCSMB13 (2015), ”Understand how artist agreements and contracts work.”, Creative & Cultural Skills
- CCSMB15 (2015), ”Identify development and repertoire opportunities for artists.”, Creative & Cultural Skills
- CCSMB2 (2015), ”Organise promotional events for the music industry.”, Creative & Cultural Skills
- CCSMB6 (2015), ”Support a music industry marketing campaign”, Creative & Cultural Skills
- SKSP37 (2019), ”Oversee the delivery of productions upon completion.”, ScreenSkills
- SKSPP23 (2017), ”Support clients and colleagues in post production facilities.”,ScreenSkills
- CCSMT3 (2020), “Set up, configure and maintain studio equipment, software, hardware and instruments.”, Creative & Cultural Skills
- CCSMT18 (2015), “Operate analogue and digital dynamics and effects equipment for music and audio industries”, Creative & Cultural Skills
- SKSRACC5 (2024), “Work to a brief for radio and audio content.”, ScreenSkills
- CCSMT25 (2015), “Develop techniques for mastering and restoring audio using critical listening skills”, Creative & Cultural Skills
- SKSPP24 (2017), “Mix Recorded Sound”, ScreenSkills
- SKSPP08 (2017), “Deliver completed work to format”, ScreenSkills
- CCSMT25 (2015), “Develop techniques for mastering and restoring audio using critical listening skills”, Creative & Cultural Skills
- SKSRACC5 (2024), “Work to a brief for radio and audio content”, ScreenSkills
- TECHDUCW1 (2022), “Carry out remote online working and collaboration”, E-Skills
- CLDSCCD23 (2023), “Strengthen the organisational development of groups”, CLD Standards Council Scotland
- INSBE002 (2022), “Define and develop your products and services”, Skills CFA
- ECIPMD12 (2015), “Manage project activities and resources”, ECITB
- SKSP12 (2019), “Plan and schedule productions”, ScreenSkills
- CCSMB15 (2015), “Identify development and repertoire opportunities for artists”, Creative & Cultural Skills
- LANWFS11 (2020), “Manage the operational performance of workplace and facilities services”, Lantra
- SKSP37 (2019), “Oversee the delivery of productions upon completion”, ScreenSkills
- CCSMB4 (2015), “Support music industry promotional activities”, Creative & Cultural Skills
- CCSMT3 (2020), “Set up, configure and maintain studio equipment, software, hardware and instruments”, ScreenSkills
- CFAM&LFA1 (2015), “Implement and evaluate strategic business plans”, Skills CFA
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