@mxtthxw Donlt neglect to point out to them that the job isn't all riding faders while musical magic happens. There's a lot of grunt work that can be repetitive and boring (but still finicky and exacting).
@mxtthxw Just remind them that 'all jobs suck!'. This is so they can get through the grind, and tell them not to forget to enjoy the incredible moments as they occur. 'This is why I do this!'.
@mxtthxw As a sound engineer, I'd encourage them to keep up their music study as far as they can. The route from engineer > producer (and therefore % credits) is closed off if you don't have enough music knowledge. That moment when the band turns to you as an engineer and say 'what do you reckon....'
I'll tell me f-i-l. He was a sound engineer for years, worked with some Big Names in the 60s mainly, but didn't know much about music per-se - just sound, acoustics etc. and was very technically-minded.
He had the good fortune of working with a good producer a lot of the time (Tony Hatch) and engineering / producing hits like "Down Town".
He (f-i-l) often mentions the fact that he was overlooked credits-wise (unless you count respect from his peers) .
@mxtthxw I think you could probably teach them some really useful things. I think being this side of the Fediverse (at being conscious of big tech) give one a better perspective.
I'm sure there's a lot to say about producing music nowadays.
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