Assistant Engineer/Intern Job Descriptions

[magnet]

My partner and I are just about to hire an assistant engineer and Interns for our new studios and before doing so and with your help i thought it would be great to create a job description list for each position. I hope this can be helpful to others as well.

Lets start with a quote from Eric Rudd from Kevin Killens forum:

I'd love to put my 2cents in on this thread topic. I had the great pleasure of assisting Kevin on many sessions during the late '80s and early '90s. Those records were certainly highlights of my assisting career.

I don't wish to speak for Kevin, but I can tell you how I approached my work. It's important to be proactive...contact the 1st engineer prior to the session (don't wait for him to call the studio to ask who his/her assistant is), find out the details of the session...tracking, overdubs, mixing, etc.

Then prior to the engineer's arrival, set the ENTIRE session up. Machine alignments (showing my age), all patches and track assignments, setup and roughly position all microphones, headsets, do rough headphone mixes if possible, and label everything. About that time the engineer should walk in the door. All he or she should need to do is push up the fader. (if you're really worth your salt you can even get the mic pre gain pretty close!!)

A good assistant does his best to make the engineer look good to the producer and artist. Remember, in many cases the engineer is not all that familiar with your room so he will be at your mercy to make stuff work. You're job is NOT to verbally critique the work of ANYONE on the session. A good assistant keeps his mouth shut unless specifically asked for their opinion. (e.g., where do drums sound best in the studio?)

A good assistant admits when he's made a mistake and then works to fix it. Oh, and don't look or act like the world is coming to an end when something does go wrong...it doesn't instill confidence in the producer, engineer, or artist. Work to solve the problem quickly and with a minimum of antics.

The assistant's job is to function as a liaison between the studio and clients...to help the client get the best out of the studio and its equipment. I felt it was important to not come off as a know-it-all. I had two measures of success as an assistant...1) if the session was so well setup the engineer turned to me and said, "Why am I here?" and 2) if the band came in from recording a song and said, "Dude, it sounds better in the headphones than in the control room!" (although this was next to impossible with Kevin engineering!!!)

Eric Rudd
Assistant Engineer, Ocean Way Recording 1987-1994

Lets keep the ideas and suggestions coming.
If you have a job desription list you have used in the past please pass it on.
Thanks for your time and effort.

magnet

[EleKtriKaz]

I'm an assistant here in Nashville working full time with a mix guy (same guy everyday, I'm his assistant not the studio's.) This is what I do for him. Hope this helps.

My main focus is to make it so that when he walks in in the morning, he can sit down and mix. And when he's done mixing for the day, he can get up and leave. I take care of everything else (or at least try to). This involves:

Getting the tracks from the producers. Sometimes I have to drive to their place, sometimes I send an intern, sometimes they drop it off, whatever. My responsibility to get it, and if need be I bug them until they get it to me so that we stay on schedule.

Setting up the tracks. I organize every session the way he wants it with dividers, certain Pro Tools preferences turned on or off. Put in samples. Bounce down backgrounds or strings if it looks like there will be too many tracks in the session. Strip Silence all the tracks, so he can easily see what the arrangement is like and when things play. Make sure it is on the grid, or as close as it can get without actually editing anything. Clean up the tracks (bad edits, bleed, fades, etc...)

Cleaning vocals. This is part of setting up the tracks, but I list it separately because it's a big part of what I do. Can take anywhere between 30 minutes to 2 hours per song depending on how bad it is. I draw out clicks and pops with the pencil, do some creative fading, clean out bleed.

Putting the tracks on the desk. We work on an analog console, so I take everything from Pro Tools and assign it to where I know he wants it. There are some things that have standard locations like drums, bass, vocals and strings. And other things that have general locations where I make decisions about where they should go. Also, making sure everything is patched in the right place, toned out, passing signal etc.. As well as making sure that the desk is setup properly (stuff is being bussed correctly, time code is on and working, fader/switch protection). Set delay times on certain gear based on the tempo of the song.

Troubleshooting/Maintenance. If something goes down I do my best to either fix it or figure out what the problem is.

Printing versions. When the mix is done he leaves. I print all the versions and do any 2-mix edits that may be necessary. Also, I backup all the data (mix sessions, print sessions, console/automation data) and make the mix books for turn in to the client/label.

Documentation. I document every piece of gear used on a mix. When we get something new in I either find a doc sheet for it online or make one myself.

Miscellaneous. I do a bunch of other stuff to like ship packages, research new products, maintain the computer systems, update software/plugins, make cables, hookup new gear, coordinate repairs and more stuff that I can't think of right now.

Recalls (I knew I forgot something). This is the most challenging part of my job. Getting a mix from 3 months ago to come back on an analog desk with tons of outboard gear, and you've setup and torn everything down 4 times in between, is NOT easy. Great documentation is key, as is knowledge of the signal flow in the room as well as troubleshooting skills.

What I don't do: Voice my opinion unless we are alone, and he specifically asks me. I never give an opinion in front of the client even if they ask me (you just have to find a way to dodge it).

I suppose my situation is a bit different than someone who works for the studio, but maybe this will help some.

[ryanojohn]

I agree entirely that it's the job of an assistant to make the engineer work comfortably in a studio they're not used to.

As an assistant it's best to be ahead of the game and be prepared for moves the engineer may make... It is also the assistants job to make the artist feel comfortable, be that doing food runs, helping move gear, or just being in a shadow...

Where are you guys located?

[Doc Mixwell]

I can certainly say, that quote in the first post is perfect. How can I say anything
after that. He has explained the job perfectly. As a kid who has been
there I feel I might have something to offer.

After going to school for my Assocites Degree, there was nothing in
the world I wanted more than to work at a professional recording
studio. I'm a guy who needs to be in a studio, in front of audio
equipment until I hit my head on the console and die, plain and
simple. So I knew I had the drive and desire to pick myself up and
try and get involved with anything I could. I worked for my Digital
Audio teacher at his studio. Don't know if I would call it work
though. I just sat there....silent. I knew this was an unwritten law
of the land. Don't say sh#t unless someone gets a strange notion to
suddenly give a f#*k about YOUR OPINION. Bottom line, you will pay
close attention to how other engineers work and ultimately pick up
things you might not have sitting in your parents basement sequencing
with a drum machine.

I was willing to start lower than dirt. Having really struggled to
find myself, I knew that I would not be able to get my foot in the
door without having a mop in front of my feet. I think that fact has
really helped me in the long run. It was understanding that I am not
just the bottom rung, but the greasy residue that resides on the
bottom rung. It would take me much work to get to that bottom rung. I
believed that working in a recording studio was the only thing I was
supposed accomplish in my mediocre existence.

It was this attitude that was the golden ticket in my opinion. When I
became an intern at Mercenary Audio, I became even lower than that
greasy rung on the ladder. I had to forget anything I had previously
learned in school, as it was not of much use working at the speed of
light. By this time, I was working as an assistant and trying not to
make too many mistakes, cause lord knows, I really don't like to make
mistakes. Over the course of the last two years I have found out some
interesting things about myself because of this internship I have
gone through at Mercenary Audio.

Gotta start somewhere right.

peace
mixwell

[magnet]

Thanks for the replys so far. I would love to get some more and maybe even see some written job descriptios that other studio owners have supplied to their assaistants in the past.
The 2 new rooms we are very close to opening are in Kingston, NY right outside of Woodstock. We are looking for an assistant.


Best
magnet mixerhands

[stevep]

Originally Posted by EleKtriKaz

I'm an assistant here in Nashville working full time with a mix guy (same guy everyday, I'm his assistant not the studio's.) This is what I do for him. Hope this helps.

My main focus is to make it so that when he walks in in the morning, he can sit down and mix. And when he's done mixing for the day, he can get up and leave. I take care of everything else (or at least try to). This involves:

Getting the tracks from the producers. Sometimes I have to drive to their place, sometimes I send an intern, sometimes they drop it off, whatever. My responsibility to get it, and if need be I bug them until they get it to me so that we stay on schedule.

Setting up the tracks. I organize every session the way he wants it with dividers, certain Pro Tools preferences turned on or off. Put in samples. Bounce down backgrounds or strings if it looks like there will be too many tracks in the session. Strip Silence all the tracks, so he can easily see what the arrangement is like and when things play. Make sure it is on the grid, or as close as it can get without actually editing anything. Clean up the tracks (bad edits, bleed, fades, etc...)

Cleaning vocals. This is part of setting up the tracks, but I list it separately because it's a big part of what I do. Can take anywhere between 30 minutes to 2 hours per song depending on how bad it is. I draw out clicks and pops with the pencil, do some creative fading, clean out bleed.

Putting the tracks on the desk. We work on an analog console, so I take everything from Pro Tools and assign it to where I know he wants it. There are some things that have standard locations like drums, bass, vocals and strings. And other things that have general locations where I make decisions about where they should go. Also, making sure everything is patched in the right place, toned out, passing signal etc.. As well as making sure that the desk is setup properly (stuff is being bussed correctly, time code is on and working, fader/switch protection). Set delay times on certain gear based on the tempo of the song.

Troubleshooting/Maintenance. If something goes down I do my best to either fix it or figure out what the problem is.

Printing versions. When the mix is done he leaves. I print all the versions and do any 2-mix edits that may be necessary. Also, I backup all the data (mix sessions, print sessions, console/automation data) and make the mix books for turn in to the client/label.

Documentation. I document every piece of gear used on a mix. When we get something new in I either find a doc sheet for it online or make one myself.

Miscellaneous. I do a bunch of other stuff to like ship packages, research new products, maintain the computer systems, update software/plugins, make cables, hookup new gear, coordinate repairs and more stuff that I can't think of right now.

Recalls (I knew I forgot something). This is the most challenging part of my job. Getting a mix from 3 months ago to come back on an analog desk with tons of outboard gear, and you've setup and torn everything down 4 times in between, is NOT easy. Great documentation is key, as is knowledge of the signal flow in the room as well as troubleshooting skills.

What I don't do: Voice my opinion unless we are alone, and he specifically asks me. I never give an opinion in front of the client even if they ask me (you just have to find a way to dodge it).

I suppose my situation is a bit different than someone who works for the studio, but maybe this will help some.

WoW ! dude,, your Hired !


.

[magnet]

I agree with pegleg that a list per se is not ideal but not having a list of tasks is not ideal either. As a studio owner I have found that I have a hard time adding jobs as they come up once the person has been hired and has established a rhythm around the studio. Obviously you can't tell them everything that may come up and sometimes it's crappy work that they may not have had to do before and then feelings etc. come into play that i'd prefer to minimize. I'd like my assistant to think outside of the list as well and a good assistant will or he is not a really good assistant and not likely really comiited to this business. But this time i'd like to supply a really excellent written job description that we can all contribute to and personally edit to our own tastes for future hiring situations.

any assistance would be greatly appreciated.

magnet mixerhands

[tiny333]

wow some great responses

its a great job being a tape op and its one that changes as you learn....

elektikatz is obviously really good at his job which is however slightley different from working 4 a studio and you wont expect young folk you hire to be bouncing stuff down!!
they might not even now how to plug things in!!

i did this job for 7 years ..im a bit slow and it changed as i got better......

but the main thing has to be enthusiasm (not spelling)

a keen attitude.. its ok not to know something but its not ok not to care...

a smile helps alot as studios are pressure cookers with delicate peoples dreams on the line and alot of money....

i would rather have someone young and keen with less knowledge than someone with experience that thought they new it all and it was all a bit beneth them.....

when you have got them in shape they will welcome your clients and sooth their worries !! have a nice cuppa ready and everything well set up and hopefully have stuff done b4 they are asked

good luck

if i was younger i would apply 4 the job!!!

[swisha31]

I sent resume's out and tried to get jobs as an asst. engineer everywhere, mainly in LA though. but being from MISSISSIPPI, when i tell them that I am from mississippi they all look down on me even though i have experience in the field. I just graduated college not long ago and called every studio in los angeles, hollywood, new york, florida and nobody is looking for anybody from mississippi. it sucks. this is supposed to be the industry that gives people chances but nope. everybody talks to me in a very condescending manner. I've tried Ocean Way and as soon as i said the magic word, Mississippi, the were quick to say that they weren't looking for anybody. right now i just say forget it.

[tiny333]

dont give up .. stop living along way from the jobs

move!!!

keep asking be keen polite and insistant

you'll get a job if you are bright

its hard for studio owners to find good people as well......

and move ffs

[FossilTooth]

If you ask me, good Assistants should get paid three times the rates they get.

Eric Rudd summed up a what it means to be a good assistant very well: "If the session was so well setup the engineer turned to me and said, "Why am I here?"".

That's what's expected of an assistant at any A-list place. However, it can be pretty draining to continuosly provide that level of service for only $10-$15/hr! That's one of the reasons I don't really assist any more.

A good assistant seems to be working 4 times "harder" than the "engineer", and gets paid at least 4 times less!

Since I worked as the sole engineer at B and C list studios so much before assisting at an A list place, I was pretty shocked when I first started assisting. Secretly, I thought to myself: "...wait, I'm doing all the work! Isn't this ...engineering? It's the same stuff I was doing for $20-$30/hr, except the client just asks someone else for their aesthetic opinions instead of me!"

But, a good assistant never lets anyone know he feels that way. Even when he thinks he could do "a better job" than a particular engineer, he or she never, ever, EVER gives any such inclination.

The one good thing about being a good assistant, is that if you're personable, work hard and the session turns out well, your work is truly, greatly appreciated, and people let you know.

Even after my little gripes about the role of the assistant, if someone offered me a gig assisting for a great engineer or artist, or a gig engineering for some real garbage, I'd take the assisting gig any day of the week!

Originally Posted by swisha31

I sent resume's out and tried to get jobs as an asst. engineer everywhere, mainly in LA though. but being from MISSISSIPPI, when i tell them that I am from mississippi they all look down on me even though i have experience in the field. I just graduated college not long ago and called every studio in los angeles, hollywood, new york, florida and nobody is looking for anybody from mississippi. it sucks. this is supposed to be the industry that gives people chances but nope. everybody talks to me in a very condescending manner. I've tried Ocean Way and as soon as i said the magic word, Mississippi, the were quick to say that they weren't looking for anybody. right now i just say forget it.

Dude. It's not 'cause you're from Mississipi. Do you know how many resumes I sent out before I got my first gig at a prime studio in NYC? And I'm from here!

I got a lot of this:

Them: "Your resume looks great. We'd love to hire you. Will you work for free indefinitely?"

Me: "No, I don't have a trust fund and I already make my living in audio."

Them: "OK. There's 20,000 other resumes for us to choose from"

Thusly, I have very few credits with recognized artists! Oh, the cost of having to pay rent. I should probably go back to assisting more.

[Dan]

Well, you're from Mississippi, so you should just forget about being in the recording biz.





A phone call to a studio is the very least you could do. Wait, no an email is the least you could do. Nobody is looking for somebody who does the least they could do.

[swisha31]

Originally Posted by Dan

Well, you're from Mississippi, so you should just forget about being in the recording biz.


A phone call to a studio is the very least you could do. Wait, no an email is the least you could do. Nobody is looking for somebody who does the least they could do.

Dan maybe you shouldnt write in forums if you can't read. If you could you would have seen me type that "I called every studio in Los Angeles, Hollywood,etc...." Now for me to no longer address the ignorant asshole of gearslutz and talk to the more sensible.

I understand that they are always looking for good AEs and I do want to move and I am going to move eventually but I just don't wanna leave with no job hoping i get something. I would rather having something first and then leaving which is why I sent resume's out and called. There is no point in sending Emails if you don't call first because the studio manager's assistant weeds through those if they havent heard from you, DAN. I actually tried Sanctum Sound Studios in boston too. oh well. ill keep trying and comments like, "you're from mississippi, so you should just forget about being in the recording biz" will be ignored. ignoramous.

[stevep]

Originally Posted by FossilTooth

But, a good assistant never lets anyone know he feels that way. Even when he thinks he could do "a better job" than a particular engineer, he or she never, ever, EVER gives any such inclination.

This is always a problem, especially now days with lots of guys already recording in there bedroom/garage they already have all the skills they need ...or they think they do

I have guys wanting "intern positions"sending me demos of "there" mixing skills from there home studio .......

i dont see that many people really wanting to assist ,.. they want to run the show themselves


So i continue to work solo,....... What i really need is a good Tech to work on the Studer and desk so i can mix and track without having to to all the tech work

[swisha31]

Originally Posted by stevep

This is always a problem, especially now days with lots of guys already recording in there bedroom/garage they already have all the skills they need ...or they think they do

i dont see that many people really wanting to assist ,.. they want to run the show themselves

So i continue to work solo

Yeah I understand what you are saying bigtime. It's funny actually. I actually try to use the fact that i've interned before and have done my own work for 6 years now as leverage to try to get a job as an asst. I'm not interested in "running the show" as you put it. I just think those people really want the pay checks and credits but havent really paid dues or proved themselves. A lot of them can't even function around people and won't be able to make engineers or artists feel comfortable. Some engineers can't either but at least they know what they are doing. I figure that since I have experience as an intern in a real studio and have done a lot of production and side projects on my own(with references), I think I am well qualified to work at some of the places that I've called.



Btw, Steve you got a nice place man.

[stevep]

Thanks man, thumbsup

It shouldn't be a problem that your in Miss. get on a plane and in a few hours your on either coast !

But the cost of living is high either here in LA or in NYC

If i had it my way i would have built my new room in Whitefish Montana ) but there is only one band there and i think they have been playing the same gig for the last 10 years ..... also really bad......



keep trying the right job will open up




.

[swisha31]

Originally Posted by stevep

Thanks man, thumbsup

It shouldn't be a problem that your in Miss. get on a plane and in a few hours your on either coast !

But the cost of living is high either here in LA or in NYC
keep trying the right job will open up

.

Yeaah man everybody tells me about the cost of living but it doesnt bother me. Paying rent and bills with food is perfect for me. I'm not a "clubhopper" or anything so all of that night life and drinking and stuff wouldnt really effect me. I have a couple people that tell me the same thing man, "you should just go out there and stay a week or two and let them see who you are." I know a couple people that stay in LA that tells me i shouldnt have a problem getting work out there, just have to get there. Id rather go to the LA area anyway. I'll keep trying though.

[seagleson]

Originally Posted by swisha31

Yeaah man everybody tells me about the cost of living but it doesnt bother me. Paying rent and bills with food is perfect for me. I'm not a "clubhopper" or anything so all of that night life and drinking and stuff wouldnt really effect me. I have a couple people that tell me the same thing man, "you should just go out there and stay a week or two and let them see who you are." I know a couple people that stay in LA that tells me i shouldnt have a problem getting work out there, just have to get there. Id rather go to the LA area anyway. I'll keep trying though.

Move to LA, get a part time paying job, and intern at a studio. You can prove yourself that way and get bumped up to assistant over time. They're about a million other audio grads living in LA that are calling the same studios. It's all about living within one mile from the damn place! haha.

[swisha31]

Originally Posted by seagleson

Move to LA, get a part time paying job, and intern at a studio. You can prove yourself that way and get bumped up to assistant over time. They're about a million other audio grads living in LA that are calling the same studios. It's all about living within one mile from the damn place! haha.

hahaha yeah man i know and that's what i plan on doing too. the thing that seperates me from them is the fact that i do have experience. quite a bit of experience in a professional setting as well as my own.

who knows though man, i'm just gonna pack it up and get a small apt and just work somewhere and get to a studio just like you said. I might have to go to steve's place haha.

[Dan]

Swisha, that's what I was telling you. (Although not in the most direct way.) I was in a similar situation to you. I got in the car, drove out there, and found a few places that offered me jobs. People will pay much more attention when you show initiative. Do your homework on the studio you want to work at, walk in the door and say something like; Hi, I came from across the country to work here. It is my dream, and I will do whatever it takes to work here. I want to work at this studio because...

and if you can't finish that sentence, you're just another faceless dude with a pipe dream. If they say no, call the next day, or a week later. (don't be a pest though) I'm not saying it's easy, but it's doable. Oh, and be prepared to be poor for the rest of your life.

BTW, I'm now a studio owner, and yes, I did read your post, and yes I occasionally hire people. [read: potential employer] So there's lesson two, no need for name calling. You really don't know where people are coming from all the time. It's better to come from a place of wanting to learn.

[swisha31]

Originally Posted by Dan

Swisha, that's what I was telling you. (Although not in the most direct way.) I was in a similar situation to you. I got in the car, drove out there, and found a few places that offered me jobs. People will pay much more attention when you show initiative. Do your homework on the studio you want to work at, walk in the door and say something like; Hi, I came from across the country to work here. It is my dream, and I will do whatever it takes to work here. I want to work at this studio because...
BTW, I'm now a studio owner, and yes, I did read your post, and yes I occasionally hire people. [read: potential employer] So there's lesson two, no need for name calling. You really don't know where people are coming from all the time. It's better to come from a place of wanting to learn.

well Mr. Dan Schulz, for you to say, "you're from mississippi, just forget being in the recording industry" isnt exactly the best thing to say to a kid that has a dream of being something. That's basically what people think of mississippi and don't know what kind of talent people possess here and it's sad. I'm happy you recently became studio Owner BUT for somebody to have gone through what I'm going through right now, what you said was a bit insensitive and borderline rude dont you think?? But yes i will eventually move and show my face a lot but until then, working hard and producing the best music I can.


Btw, I checked out the place in dallas and its a nice setup as well as Steve.

[Dan]

I was repeating one of the ideas in your post back to you, and following it with a because I believe you're not seing the limiting belief. You said it was ignorant; well, I agree.

Quote:
I sent resume's out and tried to get jobs as an asst. engineer everywhere, mainly in LA though. but being from MISSISSIPPI, when i tell them that I am from mississippi they all look down on me even though i have experience in the field. I just graduated college not long ago and called every studio in los angeles, hollywood, new york, florida and nobody is looking for anybody from mississippi. it sucks. this is supposed to be the industry that gives people chances but nope. everybody talks to me in a very condescending manner. I've tried Ocean Way and as soon as i said the magic word, Mississippi, the were quick to say that they weren't looking for anybody. right now i just say forget it.

End Quote

In this post, YOU are placing the idea that being from Mississippi is stopping you. (Whether you consciously believe it, or not.) It's not where you're from that stops you, it's where you are. Both physically, and mentally. There is opportunity all over the country, but judging from your screen name, (pot reference?) maybe ATL is the place you oughta be. Or, load up the truck, and move to Beverly. (Now I'm messing with you again) Seriously, good things do not come from self pity. (accept maybe in song writing)

Bottom line, Intern job description: Do what is necessary to make client happy and comfortable. Do that, learn the ropes, and opportunity will arise when you are truly ready. NOT when you think you are.

[swisha31]

Originally Posted by Dan

I was repeating one of the ideas in your post back to you, and following it with a because I believe you're not seing the limiting belief. You said it was ignorant; well, I agree.

Quote:
I sent resume's out and tried to get jobs as an asst. engineer everywhere, mainly in LA though. but being from MISSISSIPPI, when i tell them that I am from mississippi they all look down on me even though i have experience in the field. I just graduated college not long ago and called every studio in los angeles, hollywood, new york, florida and nobody is looking for anybody from mississippi. it sucks. this is supposed to be the industry that gives people chances but nope. everybody talks to me in a very condescending manner. I've tried Ocean Way and as soon as i said the magic word, Mississippi, the were quick to say that they weren't looking for anybody. right now i just say forget it.

End Quote

In this post, YOU are placing the idea that being from Mississippi is stopping you. (Whether you consciously believe it, or not.) It's not where you're from that stops you, it's where you are. Both physically, and mentally. There is opportunity all over the country, but judging from your screen name, (pot reference?) maybe ATL is the place you oughta be. Or, load up the truck, and move to Beverly. (Now I'm messing with you again) Seriously, good things do not come from self pity. (accept maybe in song writing)

Bottom line, Intern job description: Do what is necessary to make client happy and comfortable. Do that, learn the ropes, and opportunity will arise when you are truly ready. NOT when you think you are.

actually no this was a nickname given to me in high school and has nothing to do with pot. assumptions. and it isnt self pity nor placing the idea that it is stopping me. i know exactly how it sounds when someone is talking down to you, especially WHEN IT HAPPENS AFTER YOU TELL THEM WHERE YOU ARE FROM. i wasnt making that up or trying to make myself sound dramatic. their whole tone and demeanor changed directly after i said i was from Mississippi on more than one occasion. what is so hard to understand about that. it happens all the time to people other than me but i was giving you what happened to ME. obviously, you HAVENT been in my situation as you stated before . Also dont try and base your advice? off of assumptions.

[magnet]

Ok, Lets get the post back on track. It is not about Mississippi or Swisha.
But on your location issue swisha. It has been my experience that the very best assistant engineers i have ever worked with were not from the area the studio was in. They moved to the studio area and they were serious about there job. It's just an observation after reading your post.
Now i am still hoping some studio owners will supply the list of jobs that they supply to their assistants and interns when they are hired so we can all pick and choose from these and create a list for our own facilities. Any former assistants have a list from a facility they have worked in?

best wishes
magnet mixerhands

[swisha31]

Originally Posted by magnet

Ok, Lets get the post back on track. It is not about Mississippi or Swisha.
But on your location issue swisha. It has been my experience that the very best assistant engineers i have ever worked with were not from the area the studio was in. They moved to the studio area and they were serious about there job. It's just an observation after reading your post.
Now i am still hoping some studio owners will supply the list of jobs that they supply to their assistants and interns when they are hired so we can all pick and choose from these and create a list for our own facilities. Any former assistants have a list from a facility they have worked in?

best wishes
magnet mixerhands

Well it wasnt supposed to be about me. It just kind of swung in my direction after i shared what i've been through already . but after talking to a couple studio managers and after being an intern, some of the things that i can give you are of course:

1)Setting up and breaking down equipment
2)food runs and other errands
3)Great personality to keep the mood in the studio light
4)Making sure that the artists/bands are as comfortable as possible
5)Being able to help run sessions or at least help do the small things such as track the artists/bands, give valuable input when asked, back-up projects, etc...
6)Show confidence
7)The ability to learn quickly

[ronzie]

Magnet, the idea from the ownnership/business point of view in reference to the asst.

is pretty straight forward. The facility wants to "raise" engineers who become future

clientel. Working your way backwards with that in mind, should help you in creating

a job description for certain employees. The request for a list is a little nebulous not

knowing what's in the facility, how large it is, how it's laid out, or the client base etc.

The others have covered the basics and you should just "season to taste". Rule #1

for the asst's in my book is the client's are not "your friends"; they're "my clients"

and treat them with the utmost respect as you represent the facility. GOOD

ASSISTANTS are a double edged sword; you want to keep them and at the same time

they must out grow the facility. My hat's off to them ( and you know who you are).

Ron Allaire, Skyline

[drewrevolution]

I must say this thread is EXTREMELY helpful to a young engineer like myself.

I've already been in touch with two engineers about assisting and this is a great read for me to try and get ready for the jobs ahead.

Thanks!

[Jules]

Originally Posted by ronzie

ASSISTANTS are a double edged sword; you want to keep them and at the same time

they must out grow the facility. My hat's off to them ( and you know who you are).

Ron Allaire, Skyline

Yeah, after a while its like, 'come on, are you going to ask me for a rise or what'?

You cant expect the facility you have been working for to pop champagne corks if you announce that you are leaving them after 4 years (and all the training) to go freelance, but at the same time its expected

I remember my studio boss being grumpy that I was offered a one month freelance engineering gig in Sweden. At the time (1986) I was on about £5 ($10) per hour driving the SSL, Soundtracks & custom built desks at the facility I was 'in-house' for. The band from Sweden (Trance Dance) asked me what I charged as engineer and I was about to say ffffffffffffffffffffiiiiiiii and then I stopped myself (remembering my fathers suggestion to think before talking) and asked what the pay in Sweden was and they said 'about £15 per hour' ($45) and I responded, we shouldn't have a pppppppppppproblem! .

I think it was the wages the studio boss was grumpy about, he didn't want me to spin round after the job and ask him for a rise.

It all part of the engineer / studio owner dynamic.

[wirerecording]

Here is a list i made long ago (note analog tape references)
General Assistant rules:

• Arrive 1/2 hour before every session to prepare studio/Lock up after session
• Do not offer an opinion unless asked directly !!!!!!!!
• Turn on tube mics FIRST
• Clean tape heads
• Make coffee well.
• Replace light bulbs as you notice them go out
• Constantly look for trash/cups/messes to clean up
• Keep tape logs
• Keep track of tapes used (DAT's/Cassette/1/4"-1/2"-2")
• Answer phone after hours (Be polite and take messages)
• Put together food orders and pick it up
• Run ANY errand the client wants, no matter how annoying.
• NEVER be rude to anyone.
• NEVER touch anyone's instrument or amplifier unless expressly asked.
• NEVER sit in big chairs if ANYBODY is in the control room
• Give up your seat to clients without being asked
• Keep a personal log of your work day(times/basic description of job/unusual events)
• If you are not always doing something, you are not doing your job!
• DO NOT smoke or drink during a session and DO NOT DEAL DRUGS to clients !!

AFTER SESSIONS:

• Tear down and put away mics/stands/cables/baffles/carpets
• Make sure all client data is backed up of studio Hard Drives
• Make sure B-3 and piano are in place
-If piano is moved, let the office know (needs to be retuned every
move)
• Clear out all non-studio equipment(outboard gear/monitors/instruments/amps/notes/tapes)
• Make sure all supplies are stocked( CD’s DVD’s/splicing tape,1/2"-2" leader/Q-tips/Alcohol/razor blades)
• Clear out fridge for new sessions

EVERY NIGHT:

• Turn monitors down at console
• Make sure no equipment is left in a dangerous situation
• Clean up all trash (food/cups/newspapers/any mess) in any part of studio
• Make sure coffee stuff/paper towels/toilet paper is stocked
• Turn off coffee pot and empty it out
• Keep a running list of any equipment problems (DO NOT PUT THINGS LABELED "BAD" BACK INTO CIRCULATION!!! WHEN YOU FIND A PROBLEM, LABEL AND LIST IT!!)
-Engineer's "broken list” includes console/outboard gear/monitors/tape machines
-Assistant's "broken list" includes EVERYTHING else


stuart

[Tibbon]

You really should have an employee handbook. Most payroll companies actually can help you with the creation of it. It might sound totally stupid to have, but having written terms that are distributed to employees that deal with sick time, vacation, payroll policies, dress code, sexual harassment, computer usage, etc... will save your ass in court in case there ever becomes a lawsuit. Consider it another form a liability insurance.

In that handbook, or written as a separate entity, you should also have job descriptions of each position. You might (in some states) have a harder time winning a case if you fire someone for 'not doing their job' and they claim sexual harassment against you. If you can't prove what their job was, then your claim might be diminished.