music producertosound mastering engineer
A music producer already meets 62% of what the sound mastering engineer role asks for. The move turns on 5 required skills not yet in the profile.
62%
35.8/ 100
1 Share of the sound mastering engineer role’s weighted skill requirement already met by the music producer profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.
Why this move works
A sound mastering engineer role treats 7 of its required skills as things a music producer already does. These are the ones it depends on most.
- assess sound quality
- audio editing software
- audiovisual products
- convert different audiovisual formats
- edit recorded sound
- manage sound quality
What stands in the way is 5 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 12 skills that carry over, these are the ones fewest other occupations ask for. A sound mastering engineer role needs them, and most people applying for one will not have them already. This is the part of a music producer background worth leading with.
- already held convert different audiovisual formats working with computers
- already held types of audiovisual formats arts and humanities
- already held assess sound quality constructing
- already held manage sound quality constructing
- already held audiovisual products arts and humanities
- already held operate an audio mixing console working with machinery and specialised equipment
All 12 carried skills, including the 7 the sound mastering engineer role treats as required.
Table 3 · What you would need to learn
The 6 missing skills fall into 3 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.
- required, not held audio mastering required
- required, not held audio technology required
- optional, not held audio post-production optional
- required, not held coordinate audio system programmes required
- required, not held operate audio-signal processors required
- required, not held adapt to artists' creative demands required
Table 4 · Where to start
The 3 entries a sound mastering engineer role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 adapt to artists' creative demands skill · sector specific
- 02 audio mastering knowledge · sector specific
- 03 coordinate audio system programmes skill · sector specific
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 12 skills that carry over
- already held assess sound quality skill
- already held audio editing software knowledge
- already held audiovisual products knowledge
- already held convert different audiovisual formats skill
- already held edit recorded sound skill
- already held manage sound quality skill
- already held types of audiovisual formats knowledge
- already held audiovisual equipment knowledge
- already held musical genres knowledge
- already held musical instruments knowledge
- already held musical theory knowledge
- already held operate an audio mixing console skill
1 supplementary skills, helpful but not required
- optional, not held audio post-production optional
25 held skills the sound mastering engineer role does not ask for
- not needed by the target role accounting techniques knowledge
- not needed by the target role assess financial viability skill
- not needed by the target role coordinate activities in audio recording studio skill
- not needed by the target role coordinate music components of the work skill
- not needed by the target role copyright legislation knowledge
- not needed by the target role develop professional network skill
- not needed by the target role financial jurisdiction knowledge
- not needed by the target role hire background musicians skill
- not needed by the target role identify music with commercial potential skill
- not needed by the target role implement marketing strategies skill
- not needed by the target role implement strategic planning skill
- not needed by the target role liaise with financiers skill
- not needed by the target role manage budgets skill
- not needed by the target role manage staff skill
- not needed by the target role marketing principles knowledge
- not needed by the target role musical notation knowledge
- not needed by the target role negotiate with artists skill
- not needed by the target role perform market research skill
- not needed by the target role plan marketing strategy skill
- not needed by the target role promote music skill
- not needed by the target role record multi-track sound skill
- not needed by the target role sales activities knowledge
- not needed by the target role supervise sales activities skill
- not needed by the target role supervise sound production skill
- not needed by the target role use audio reproduction software skill
3 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- required, not held audio mastering required
- required, not held audio technology required
- optional, not held audio post-production optional
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.