Music & Audio Jobs

Digital audio workstation (DAW) proficiency is foundational. Pro Tools is the industry standard for broadcast, studio recording, and high-end podcast production. Adobe Audition is widely used in digital media and podcast environments. Logic Pro X is common among Mac-based producers. Hindenburg Journalist is used in many public radio and documentary audio workflows. Familiarity with audio processing plugins, noise reduction tools, and mastering basics will strengthen your candidacy for most audio production roles.

The specific responsibilities vary considerably by show type and team size, but a podcast producer typically handles the end-to-end production of episodes: developing show concepts and story structures, booking and briefing guests, recording and editing audio, adding music and sound design, writing show notes and promotional copy, and coordinating publication and distribution. On narrative and documentary series, producers may also do original reporting and writing. On interview formats, the producer's role often focuses more heavily on research, guest development, and technical production.

Music supervision is a competitive field with limited entry points. Common paths include working as an assistant at an established music supervision company, starting in music licensing or sync licensing at a label or publisher, or beginning in music coordination at a production company. The Music Supervisors Guild (MSG) is the industry's professional organization and a useful networking resource. A deep working knowledge of music copyright law, licensing terms, and publisher and label relationships is essential, as is a broad and genre-spanning musical knowledge.

Remote work availability in audio has expanded significantly. Podcast editing, audio post-production, and music supervision can often be done entirely remotely with access to good recording equipment and a home studio setup. Recording and live broadcast engineering roles generally require physical presence at a studio or broadcast facility. The growth of Source-Connect and similar remote recording tools has made remote audio sessions increasingly viable even for high-production-value work.

An audio editor works primarily with recorded material: cleaning up dialogue or interview recordings, removing noise, cutting and assembling raw audio, balancing levels, and producing a clean, polished mix. A sound designer creates original audio elements: building ambient soundscapes, creating synthetic or manipulated sound effects, and designing the sonic signature of a film, game, podcast, or brand audio identity. These roles overlap in some production contexts but are distinct specializations with different creative emphases.