A massive stadium concert, a small intimate gig, a studio album, a radio broadcast, a TV ad - none of these would be possible without the technical expertise and talent of sound engineers.
"A sound engineer is an operator of mixing consols, tape recording equipment and effects producing units," Larry O'Toole, course co-ordinator of the higher national diploma in music technology at Ballyfermot College of Further Education, says.
"They also act as an intermediate between the producer and the musician and they control the technical interpretation of the record producer's ideas."
Working on recording music in the studio is the "highest form" and most complex type of sound engineering, O'Toole says, but there are many other endeavours which require sound engineers. "Most people who want to work as sound engineers are interested in music in the studio, but they could also be working on live sound, setting up public address systems or the systems for gigs and live events or they could be monitoring the sound for a band on stage at a live gig. Sound engineers are needed for post-production of ads for television, where the add the sound effects or music beds. Similarly in films they work as audio-visual sound engineers. They also work in broadcasting and in the theatre," says O'Toole.
The development of new technologies, including the internet and hi-tech video games, has significantly increased the job opportunities for sound engineers. "There is a new breed of desktop sound engineers who are involved in multi-media and webcasting or in game design on the side of sound effects for consols," he says.
Technological developments have also served to make sound engineering equipment more accessible and affordable, and sound engineers, in any sphere, must be technically minded and be right up to date with industry innovations.
"Everything is gone digital and it's very important that sound engineers have a high level of computer skills. The industry has changed and a huge amount of small studios are setting up because the technology is a lot more affordable. Instead of going and booking time in Windmill Lane, people will buy the equipment and do it themselves, so there is a boom in small project studios set up in someones house."
Sound engineering used to be learned on the job, O'Toole says - for example, by making the tea in a large studio and working your way up. "It used to self-taught and some argue that's still the best way." The demand for qualifications has led to the establishment of a small number of courses. The Ballyfermot music technology course is a two-year PLC leading to a HND level-4 BTEC qualification. Kylemore College, also in Ballyfermot, Bray Senior College and C≤lβiste Stiofβin Naofa in Cork all have PLC courses leading to a FETAC award.
The Sound Training Centre and Pulse Recording College both run well-respected private courses leading to City and Guilds qualifications. The fees for private courses are often quite high, sometimes more than £3,000.
Half of the music technology graduates in Ballyfermot go on to further education, says O'Toole. Others gain experience in community radio stations, before moving on to national stations, and some will start working straight away with small bands. O'Toole gets 250 applicants for 24 places so students must show a strong interest in sound to get on the course. "Applicants should have a tape or CD of things they've recorded themselves. They should show an interest in sound systems - and having tried to get experience in a studio would be helpful."
Physics, art, maths and music are useful school subjects and an interest in technology and the ability to discern pitch are a must. "You should be interested in music to the point of healthy obsession. You need to have a good temperament, to be tactful and sensitive to musicians. You need a high level of energy and concentration - and if you can't wire up a video and you can't count music or hear pitch, sound engineering is not for you."
