Career Overlap Transition record Edition 1 · ESCO v1.2.1
Table 1Transition record

radio producertosound mastering engineer

A radio producer already meets 28% of what the sound mastering engineer role asks for. The move turns on 8 required skills not yet in the profile.

From radio producer
28%
Overlap1
To sound mastering engineer
4 Skills carried over
8 Required, not held
63.8 Difficulty2
Career overlap Distant match

28%

Learning distance Substantial retraining

63.8/ 100

1 Share of the sound mastering engineer role’s weighted skill requirement already met by the radio 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

Why this move works

A sound mastering engineer role treats 4 of its required skills as things a radio producer already does. These are the ones it depends on most.

  • assess sound quality
  • audio editing software
  • edit recorded sound
  • types of audiovisual formats

What stands in the way is 8 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.

Table 2

Table 2 · What you already bring

Of the 4 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 radio producer background worth leading with.

Skill the target role also needs Area
  • already held types of audiovisual formats arts and humanities
  • already held assess sound quality constructing
  • already held audio editing software information and communication technologies (icts)
  • already held edit recorded sound working with computers

All 4 carried skills, including the 4 the sound mastering engineer role treats as required.

Table 3

Table 3 · What you would need to learn

The 14 missing skills fall into 5 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.

Skill to acquire Tier
01 arts and humanities 3 required, 5 supplementary
  • required, not held audio mastering required
  • required, not held audiovisual products required
  • required, not held audio technology required
  • optional, not held audio post-production optional
  • optional, not held audiovisual equipment optional
  • optional, not held musical instruments optional
  • optional, not held musical theory optional
  • optional, not held musical genres optional
02 working with machinery and specialised equipment 2 required, 1 supplementary
  • required, not held coordinate audio system programmes required
  • required, not held operate audio-signal processors required
  • optional, not held operate an audio mixing console optional
03 communication, collaboration and creativity 1 required
  • required, not held adapt to artists' creative demands required
04 constructing 1 required
  • required, not held manage sound quality required
05 working with computers 1 required
  • required, not held convert different audiovisual formats required
Table 4

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.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 4 skills that carry over
Skill Type
  • already held assess sound quality skill
  • already held audio editing software knowledge
  • already held edit recorded sound skill
  • already held types of audiovisual formats knowledge
6 supplementary skills, helpful but not required
Skill to acquire Tier
  • optional, not held audio post-production optional
  • optional, not held audiovisual equipment optional
  • optional, not held musical instruments optional
  • optional, not held musical theory optional
  • optional, not held operate an audio mixing console optional
  • optional, not held musical genres optional
27 held skills the sound mastering engineer role does not ask for
Skill Type
  • not needed by the target role apply organisational techniques skill
  • not needed by the target role assess financial viability skill
  • not needed by the target role brand marketing techniques knowledge
  • not needed by the target role broadcast equipment knowledge
  • not needed by the target role copyright legislation knowledge
  • not needed by the target role create script for artistic production skill
  • not needed by the target role develop creative ideas skill
  • not needed by the target role develop program ideas skill
  • not needed by the target role develop programming schedule skill
  • not needed by the target role edit scripts skill
  • not needed by the target role evaluate broadcast programs skill
  • not needed by the target role identify music with commercial potential skill
  • not needed by the target role interview people skill
  • not needed by the target role manage budgets skill
  • not needed by the target role manage digital archives skill
  • not needed by the target role manage feedback skill
  • not needed by the target role manage staff skill
  • not needed by the target role monitor broadcast programming skill
  • not needed by the target role multimedia systems knowledge
  • not needed by the target role negotiate with artists skill
  • not needed by the target role obtain relevant licenses skill
  • not needed by the target role perform market research skill
  • not needed by the target role prepare broadcasts skill
  • not needed by the target role project management principles knowledge
  • not needed by the target role select music skill
  • not needed by the target role select scripts skill
  • not needed by the target role supervise sound production skill
8 gaps that are knowledge rather than practice

Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.

Skill to acquire Tier
  • required, not held audio mastering required
  • required, not held audiovisual products required
  • required, not held audio technology required
  • optional, not held audio post-production optional
  • optional, not held audiovisual equipment optional
  • optional, not held musical instruments optional
  • optional, not held musical theory optional
  • optional, not held musical genres optional
Index

Other moves recorded from radio producer

Full index of moves from radio producer

Note

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.