by The StiKman
I vowed that if I ever learned a functional understanding of audio tech that I wouldn’t hide it from others, or roll my eyes at them, or reply to them with incomprehensible jargon. I am dedicated to share what I learn. The method I use for imparting techniques is the age-old system of internship. I have had many interns over the years. There’s limited real estate in control-rooms and mixer stations, so to justify your place you must contribute.
If you are here as an intern, your directive is to pay attention and help the Engineer. Help could mean get coffee, sweep up, adjust the angle of that microphone, coil that cable, or many other tasks.
If your attendance does not make my life easier, I will consider other options that will. As you attend sessions and I perceive the current extent of your abilities I will expand your role.
Most interns don’t last more than one or two sessions. If we are not simpatico there is no reason to continue. The best way to move forward in studio production is to be attached to a project. Then you see how the decisions we made on the first day are harvested in the final mix process. This can be hard on interns because the production schedule is not set for you, but for the artist and resources, and because you are not being paid. Along with music-type studio production I also we go out on sound-reinforcement jobs and documentary recordings. Advancing up to a paid engineer at these jobs is a bit faster and will help you survive the learning curve of the other if that is you goal. Some prefer this sort of work, and there is a fair amount around.
My most successful intern is probably Dan Rathbun who became my friend and my business partner. I wish I could take credit for all of his brilliance, but more realistically I can say that our association was an important part of his development.
If you are interested in this intern program please go to the contact page and email me “Re: internship.”