Building a sustainable career in a in a uncertain and competitive industry
Table of contents
intro
live-sound engineering
studio engineering
Identity & personal brand
the modern industry and landscape in pro-audio
ethics and exploitation
conclusion
1. Intro
In this blog, I am going to explore two audio professions that might seem and sound really similar but are in fact very different. Whether there are still some similar skillsets needed is what we are going to find out. In order to find out more about how to get a long-lasting career in the audio industry and get a firsthand insight, I interviewed two audio professionals. A live sound engineer and a Studio engineer/producer.
By examining the crossover between the two audio professions, we can identify the shared ingredients for achieving success and building a sustainable career, regardless of the specific field. We can also look at the differences to understand how each sector presents its own challenges and demands distinct skills and strategies.
Through exploring both sides of these careers, this blog aims to help aspiring audio professionals gain a clearer sense of where their interests and strengths may fit best.
Additionally, this blog aims to shed light on real-world challenges and share practical insights from professionals, guidance that aspiring audio professionals can begin applying right away. By hearing directly from those with firsthand experience, we can uncover deeper truths about the realities of these careers, insights that go far beyond standard job descriptions or online advice. Whether you're a recent audio graduate, a career changer, or someone just beginning to create music at home, understanding the mindset and habits that drive success can help you navigate your own journey with greater purpose.
And finally learn what allows an audio professional to sustain themselves in a highly competitive and saturated industry.
2. Live-sound engineering
Seldom talked about but indispensable in the Music industry because no concert would ever be possible without them. Live-sound engineers are a big part of the music industry, but work mostly in the background.
I interviewed Filip Veirman, a live sound engineer, whom I had the pleasure of working alongside as a Stagehand early in my career. I was interested in asking him some questions about his work (which I heard myself and really respect and enjoy), now that I have also done my first steps into live-sound engineering.
( https://www.instagram.com/filipveirmanphotography/ )
Actually mixing the Show is only a small part of the job. Working as a live sound engineer often comes with intense stress and pressure, since every performance happens in real time and there are no second chances. You're juggling complex technical setups, quick problem-solving, and the expectations of artists and audiences. All while maintaining composure under tight deadlines and unpredictable conditions. A sudden microphone failure, feedback spike, or equipment glitch can happen at any moment, demanding instant decisions and steady nerves. The role requires not only deep technical knowledge but also emotional resilience and adaptability. Managing that pressure effectively is what separates a good engineer from a great one, the ability to stay calm, focused, and solution-oriented even when everything feels like it could go wrong.
"The better the prep the less pressure"
"The general prep is needed. Tech rider ,needs gear from the band etc. I would say it is 60/40. The better prepared, you will encounter less stress at the job."
It is a critical skill to be able to handle and stay calm in critical moments. Having the right mindset is crucial. When you're stressed the people around you will also get stressed leading to a tense environment. This helps no one and won't get you booked again for the next show.
"Knowing that when you stress, it jumps over to everyone around you. Take a deep breath. Analyse the situation and fix it."
Another big part of the job is the work with the Artist, the Venue and other Professionals that work on and around a Concert. Communication!
Communication is one of the most essential skills for a live sound engineer, as the role depends on clear collaboration with artists, stage crews, and production teams in high-pressure, time-sensitive environments. Whether it's understanding a performer's creative vision, giving quick cues to stagehands, or coordinating with lighting and event managers. Effective communication ensures that everyone is aligned and the show runs smoothly. Misunderstandings can easily lead to technical issues or performance disruptions. A good live engineer listens actively, speaks clearly, and maintains calm professionalism, even under stress. Strong communication doesn't just make the job easier, it builds trust, fosters teamwork, and helps deliver an exceptional live experience for both the performers and the audience.
When asked, how important communication and psychology is in this job? Mr. Veirman says :
"That's what a sound engineer is all about."
He also adds that one of the most important skills is People skills. Learning to deal with different people turned out to be way more important than you might expect. You are dealing with artists and managers who might have big personalities and a big audience on a daily basis. The job as a live-sound engineer is to make them all happy at the end of the night. Juggling these different expectations and personalities is what makes an engineer, an engineer that gets booked again and gets the jobs.
In the end, what makes a good engineer, concert and collaborations between the engineer and the artist is…
"One thing, communication"
3. Studio engineering
A dream for most young engineers is making a living working out of your own Studio. Producing, recording, mixing or mastering the way you like it, with your clients. Someone who achieved that is, Gidon Carmel, a drummer, producer and audio engineer who runs "Lone Pine" Studio in Berlin. I interviewed him for this Blog in order to get more knowledge about the work in an independent studio, straight from a professional.
( https://www.instagram.com/lonepineberlin/ )
Being self-employed in a market that is highly saturated and competitive, it seems difficult to build a lasting and sustainable career. I wondered what the most important skills were in order to achieve that. Gideon's answer was:
"Being creative, is the most important"
"I get booked to be that strange guy"
There are so many other good engineers that know their craft really well, that you need to stand out in some way. You have to give the people a reason to come to you and choose you over somebody else. Just doing a good mix is often not necessarily good enough. Especially when everybody can mix on their own laptop in their DAW. A lot of people can get a good result so that won't be the reason people will come back to your Studio or want to work with you again. But If you can come up with strange and creative ideas and new methods that they would not have come up themselves and get an interesting result that is unique to you and your work. Chances are, that they will come to you again for your input and unique production.
Gideon finds that, what makes a successful collaboration is:
"Sensitivity, to be sensitive to the room, the atmosphere and the people."
"It's really really about sensitivity and less about getting the best possible result"
Trying to create a positive atmosphere in your studio or sessions is important because if the musicians feel comfortable you will get better performances and therefore better results. If you make their experience as enjoyable as possible and they end up leaving with not only a positive result but also a positive experience. That's the reason people will book you again and that's how you build a sustainable relationship with a client that will last.
Communicating with the artist is, therefore, essential and is also the thing that most young engineers get wrong. They often end up getting stressed and then making mistakes and communicating incorrectly. Getting visibly stressed or frustrated is a normal and human thing to do, but is very counterproductive in the Studio. Even if you get stressed internally, you should not let that get in the way of your performance in the studio since stress is highly contagious. When you show that you are stressed, you stress out the people around you as well. This will prevent everybody from feeling relaxed and concentrating on doing good work.
" a lot of things have to do with communication with the artist"
"Getting stressed during the session, is not good for anyone"
The biggest challenge a self-employed engineer faces is probably the business aspect. Being self-employed means not only doing what the actual job is but also handling the business side of it. Setting rates, having to pay bills for equipment and Studio spaces and making enough to live and maybe provide for a family.
"The instability is a big thing. Because, for example, now I have a great month and next month too, but what is happening in July?? You're constantly on the search for work. (…) Right now I have enough work, but later, what is happening then?"
The financial uncertainty also forces engineers to think long-term in a way that can be mentally exhausting. Unlike salaried roles, there is no predictable safety net, which means constantly budgeting for quieter periods and making careful decisions about when to invest in new gear or upgrades. In many ways, success as a self-employed engineer depends not only on talent in the studio, but on resilience and adaptability.
Another challenge lies in valuing one's own work. Setting rates can be difficult, especially early on. When one's experience is still growing and there is pressure to accept lower-paying jobs just to stay busy or build a portfolio. This can lead to a cycle where engineers undervalue their time and skills, making it harder to raise prices later. Learning to say no, negotiating fairly, and understanding one's worth becomes a crucial part of sustaining a long-term career.
"Be aware of your clientele, but because we are a professional recording studio we have the benefit of setting the price that we want."
On top of that, the blurred line between personal and professional life can take a toll. Freelance engineers often work irregular hours, late nights, and weekends, depending on client needs. Without clear boundaries, it becomes easy to overwork, leading to burnout. Managing time, setting limits, and maintaining a healthy balance becomes just as important as delivering high-quality work in the studio.
In the end, to the question what makes a great engineer Gidon said:
So, what's important: "communication and sensitivity again"
4. Identity & Personal Brand
A sustainable audio career often begins with understanding and shaping your professional identity. How you present yourself within the industry dictates the kinds of opportunities that come your way. Developing a clear creative identity, whether as an engineer, producer, or sound designer, helps others understand your unique strengths and expertise. Establishing a personal brand goes beyond showcasing talent. It's about crafting a consistent presence that communicates your values, style, and professionalism across platforms. In today's landscape, online visibility plays a crucial role. Platforms like Instagram, LinkedIn, and SoundCloud have become key spaces for networking, sharing work, and finding clients or collaborators. Choosing whether to focus on a specific niche or to remain more of a generalist can shape how you're perceived and the types of projects you'll attract. Ultimately, talent may open doors, but it's your visibility and identity that determine how far and how often those doors stay open.
Just making a good mix or recording is not enough to build a sustainable career anymore. As we looked into both live and studio engineering, we saw that there is so much more to both careers, and being good at the audio part is the basic you have to have, but to stand out and showcase your work and the type of work you make and would like to make, to actually make it in the industry.
"You can see on instagram, we are constantly pushing the Studio and what we do"
-Gideo
Adding to that, as the audio industry continues to evolve at incredible speed with technology, AI, and new content platforms, professionals must also be forward-thinking. The ability to adapt is becoming just as crucial as knowing your craft.
"Experience and be open to discover new things. I still learn new things every day even with over 35 years of experience."
-Fillip Verimann
Ultimately, being prepared for the future of the audio industry means not only working on your craft but being flexible, strategic, and open to change.
5. The modern Industry and Landscape in pro- audio
As technology improves, artists can make more with less from their own bedrooms and without needing specialised equipment from an external Studio or professional engineers. So employment in studios is becoming increasingly scarce. And with the implementation of AI, internship and entry level places disappear.
Studios are having a harder time finding new clients resulting in lower growth and therefore have no use for new engineers. On the other side, the amount of new engineers looking for work is increasing. One can send out hundreds of emails, CVs and cover letters and still never get an answer or a positive response.
One needs alternatives and find other ways into the industry.
If one can't find a direct way into a studio you might try with freelancing. Working on small projects in your home studio without expensive analog gear at a professional studio working with what you have and making the best out of that. One still needs to find people to work for in that case.
Finding your first clients can go many different ways. Reaching out to people online, attending concerts, talking to others in the scene, and generally staying aware of what's happening around you can help a lot when looking for people to work with.
After completing a few projects, you can hope that your network will grow without any extra work, all through the power of word of mouth. A virtuous cycle where a solid reputation leads to better opportunities and higher pay. However, in the early stages, earning trust can be difficult, and many engineers will find themselves working for free for extended periods. It's hard not to feel exploited in these circumstances. Because so many are willing to give everything for the dream of becoming an audio professional, it is hard to ask for pay at the start of one's career, with still a lot of competition. This reality makes entering such an overly saturated and desired industry deeply challenging.
6. Ethics and exploitation
With so few job opportunities and so many aspiring professionals and people wanting to work the only opportunities people give out are for almost none to actually pay. If people are ready to do it for free just for the opportunity, why would the studios that are already in a precaire situation most of the time not use that.
This obviously plays into the hands of people who have the time to do free labor and promotes socio-economic injustices. This system of having to work for free to get a shot in the industry, although highly unfair, is still almost impossible to undo.
Since the studios, engineers and corporations assume they can always find someone willing to work for free, asking for fair pay makes you a less attractive option and undesirable. When supply far exceeds demand, this imbalance leaves beginners with little to no bargaining power.
This is also promoted by other engineers that have had the same way of getting into the industry, now claiming that since they had to go that difficult and unfair route, the next generation has to do the same in order to prove their worthiness.
7. Conclusion
Even if Live and Studio engineers do very different things and have to work with very different challenges, there are big non audio related skills that professionals in both fields need to have in order to have a successful career.
People skills and being good at communication is essential to the work of an audio engineer. If you mix a live concert or record a Band in the Studio, in order to have a successful collaboration and outcome, one of the biggest parts is communicating with the Band, Producers, Managers and any other people that are part of that Project. If you want to get booked again, you need to be professional but you also need to be fun to be around, be a great "hang" and be able to create a good atmosphere or bring a good vibe into an otherwise often stressful environment.
An essential skill for both professions, is working in stressful and high-pressure situations without letting that take over. Staying relaxed and even creative in such moments is not easy but crucial for a sound professional in live scenarios or the Studio. Not only to be able to perform but also to be able to make that a sustainable and long time profession without burning out.
Also being very flexible and prepared to work long hours and Weekends is a non-negotiable for someone trying to get into the field of sound engineering. Since it's so often freelance work, you have to always be able to adapt to new things and live with long-term uncertainty. It is quite difficult getting into these jobs but once one has one it does not necessarily get easier.
Finally I think that it is still one of the most rewarding jobs one can have and it is definitely worth pursuing a career in Sound engineering and making a living if that is one's passion.