20 Audio Engineer Resume Examples and Templates for 2026

Aliya Jackson
(555) 304-7182
[email protected]
Nashville, TN

Delivered a 14-track album mix for a Nashville-based indie label in 2022 that landed placement on three Spotify editorial playlists within its first month of release. Aliya Jackson brings six years of studio and live-sound experience across music recording, broadcast post-production, and corporate event audio. Her core strength is signal chain architecture — she can build a Pro Tools session from scratch, troubleshoot a noisy stage patch bay in under 10 minutes, and translate a producer’s vague tonal references into concrete EQ and compression decisions. Clients consistently return because she listens before she touches a fader.

Staff Audio Engineer, Bellwood Sound Studios, Nashville, TN | March 2021 – Present

• Engineer full album and EP projects for country, Americana, and gospel artists, averaging 40-plus session hours per project from tracking through final master delivery.
• Operate a 96-channel SSL AWS 948 console and manage Pro Tools HDX rigs across two tracking rooms and one mix suite, keeping all three spaces at 100% uptime by coordinating preventive maintenance with the facilities team.
• Collaborated with five producers and more than 30 performing artists in 2023 to translate creative briefs into finished mixes, including two projects that charted on Billboard’s Americana chart.
• Set up microphone arrays for live-in-studio orchestral sessions — string quartets up to 18-piece ensembles — selecting from the studio’s 120-plus mic inventory and positioning each for the room’s specific acoustic signature.
• Reduced session prep time by building a standardized Pro Tools template library (22 templates across genre types), which cut initial session configuration from 45 minutes to under 12 minutes.
• Trained three junior assistants on gain-staging protocol, console routing, and client communication, two of whom were promoted to lead assistant roles within 18 months.
• Identified and resolved a recurring 60 Hz hum traced to a faulty DI box in the live room, preventing the problem from appearing on four scheduled tracking dates the following week.

Audio Engineer / Production Coordinator, Clearview Media Group, Atlanta, GA | June 2018 – February 2021

• Mixed and edited dialogue, music beds, and sound effects for more than 60 branded video and podcast projects annually, delivering all final files in client-specified formats (Loudness Normalized to -16 LUFS for streaming, -24 LUFS for broadcast).
• Managed audio post-production inside Adobe Creative Cloud, syncing audio to picture in Premiere Pro and finalizing masters in Adobe Audition, which cut the handoff review cycle from three rounds to one on the majority of projects.
• Coordinated live audio for corporate events ranging from 200-seat conference panels to 2,000-person product launches, selecting PA systems, routing digital stagebox splits, and supervising load-in crews of up to six technicians.
• Built and maintained a shared equipment database in Microsoft Excel that tracked 180 assets across three warehouse locations, reducing gear-search time before events and eliminating two instances of double-booked equipment per quarter.
• Reported recurring wireless frequency conflicts in urban venues to the RF coordinator and helped develop a frequency coordination checklist now used across all Clearview live events.
• Recorded voiceover sessions with talent in a 200-square-foot isolation booth, directing pacing, tone, and breath control to meet client script requirements and minimize re-takes.

Assistant Audio Engineer, Palmetto Recording House, Columbia, SC | August 2016 – May 2018

• Assisted lead engineers on 35-plus recording sessions per year covering hip-hop, R&B, and spoken word, handling all pre-session setup including mic placement, headphone mix builds, and patch bay routing.
• Maintained and troubleshot outboard gear inventory of more than 80 units (preamps, compressors, EQs), logging service issues in a maintenance log and coordinating repairs with two local electronics technicians.
• Ran playback and punch-in recording during vocal tracking sessions, monitoring levels on a Pro Tools rig and flagging clipping events to the lead engineer in real time.
• Learned foundational mixing techniques by shadowing two staff engineers across 200-plus hours of session observation, then led independent mix sessions for four local artists by the final quarter of 2017.
• Assisted with the studio’s transition from a legacy ADAT-based archive system to a cloud-backed hard drive system running on Apple macOS, transferring and re-labeling more than 4 TB of session archives.

• Multi-track recording and mixing (Pro Tools, Logic Pro X, Ableton Live)
• Microphone placement and acoustic treatment
• Live sound reinforcement (Yamaha CL5, Allen & Heath dLive)
• Signal flow troubleshooting and gain staging
• Audio post-production for film and video
• Critical listening and frequency analysis
• Client communication and session direction
• Studio session setup and equipment maintenance
• Basic electronics and cable soldering

• Avid Certified User: Pro Tools | Avid Technology | September 2020
• Dante Certification Level 3 | Audinate | April 2022

Bachelor of Science in Audio Production
Belmont University, Nashville, TN | August 2012 – May 2016

Amar Singh
(555) 318-7042
[email protected]
Denver, CO

Moved from studio assistant to lead freelance engineer across four years of independent work, building a client roster that now spans indie rock, hip-hop, and podcast production in the Denver metro. Specializes in Logic Pro X session architecture and multi-source location recording with a Sound Devices 702T field recorder. Clients return for mix consistency across formats, from single-track vocal releases to eight-episode audio drama series.

Freelance Audio Engineer, Independent (Self-Employed), Denver, CO | March 2022 – Present

• Tracked, mixed, and delivered 14 full-length projects in 2023 alone, covering hip-hop, indie rock, and spoken-word genres for artists distributed on Spotify, Apple Music, and Bandcamp.
• Built a repeatable Logic Pro X session template adopted by three regular producer clients, cutting session-start overhead to under 12 minutes per booking.
• Recorded location audio for a six-episode audio drama produced by a Denver-area theater company, coordinating with the director on mic placement in two non-treated performance spaces.
• Mixed dialogue and ambient beds inside DaVinci Resolve for a 30-minute documentary short that screened at the Colorado Film Festival in 2024.
• Calibrated monitoring environment in a converted home studio using a Sonarworks SoundID Reference measurement and achieved flat response within plus or minus 2 dB across the 80 Hz to 16 kHz range.
• Maintained a rental network of seven condenser and dynamic microphones, logging each unit’s condition after every session and coordinating two repairs with a local gear technician.
• Collected written briefs from clients before each session to align on reference tracks, target loudness (LUFS), and delivery format, which cut revision rounds by about half across 22 projects.

Studio Recording Engineer, Foxridge Sound, Denver, CO | August 2020 – February 2022

• Engineered tracking sessions for more than 60 artists over 18 months at a mid-size commercial studio running Pro Tools HD on an Avid S1 control surface.
• Set up and tested microphone configurations for drum kits, including Glyn Johns and ORTF overhead setups, and documented each configuration with photos shared in the studio’s shared Google Drive.
• Prepared and distributed headphone mixes via Aviom personal monitoring units before each tracking pass, incorporating performer feedback within two minutes of any adjustment request.
• Separated and labeled stems for nine EP projects submitted to mixing engineers outside the studio, delivering organized session folders with zero mislabeled tracks across all nine deliveries.
• Identified a recurring ground loop in the patch bay affecting three input channels and coordinated a lift fix with the studio’s electrical contractor, resolving the issue before the next scheduled session.
• Trained a newly hired studio assistant on Pro Tools session navigation, channel strip gain staging, and cable-fault testing over a four-week onboarding period.

Studio Assistant, Foxridge Sound, Denver, CO | January 2020 – July 2020

• Supported senior engineers on podcast recording sessions by running cable, setting up SM7B and RE20 microphones, and conducting line checks before each session.
• Shadowed lead engineers across 40-plus sessions, observing console routing and compression decisions to build working knowledge of studio signal flow.
• Logged all outgoing gear loans in a shared spreadsheet, tracking serial numbers and return dates for a 30-piece inventory with no items lost or unaccounted for during the six-month tenure.
• Prepared session recall sheets for three repeat clients by documenting channel settings and outboard gear configurations after each booking.
• Assisted with a studio room acoustic treatment project by measuring RT60 values in two rooms using Room EQ Wizard software and reporting results to the studio manager.

• Multi-track mixing and stem organization (Logic Pro X, Pro Tools)
• Location and field recording (Sound Devices 702T, Zoom F6)
• Vocal comping and pitch correction (Melodyne, Flex Pitch)
• Room acoustics assessment and monitor calibration
• Signal routing and patch bay management
• Producer and artist communication during tracking sessions
• Dialogue editing and audio sync for video (DaVinci Resolve, Adobe Premiere Pro)
• Outboard gear operation (Universal Audio 610, Neve 1073 preamps)
• Critical listening across reference speakers and headphone systems

• Avid Certified User: Pro Tools | Avid Technology | November 2021
• Dante Certification Level 1 | Audinate | April 2023

Bachelor of Science in Audio Production
University of Colorado Denver, Denver, CO | August 2015 – May 2019

Melissa Anderson
(555) 614-2938
[email protected]
Austin, TX

Specializes in live touring and festival sound, where stage-plot chaos, last-minute lineup changes, and unpredictable venue acoustics demand fast decisions and a clean mix under pressure. Comfortable behind a Yamaha RIVAGE PM10 or an Avid VENUE S6L depending on what the house provides, and equally at home patching a 64-channel analog split when the digital snake goes down. Across eight years working club stages, amphitheaters, and conference arenas, she has kept audience-facing mixes consistently broadcast-ready and earned repeat calls from three regional touring companies.

Front-of-House Engineer, Redstone Live Productions, Austin, TX | March 2019 – Present

• Mix front-of-house audio for 40-plus shows per year across venues ranging from 800-capacity clubs to 12,000-seat amphitheaters, spanning country, indie rock, and hip-hop touring acts.
• Tune and align line-array systems using Smaart v9 real-time analysis, cutting average pre-show alignment time to under 90 minutes at new venues.
• Coordinate RF spectrum assignments for up to 32 simultaneous wireless channels using Shure Wireless Workbench, eliminating frequency conflicts across six consecutive festival dates in 2023.
• Collaborate directly with tour managers and production directors during advance calls to confirm input lists, stage plots, and PA requirements before each market.
• Built a standardized show-file template library for Yamaha RIVAGE PM10 and Avid VENUE S6L that seven Redstone engineers now share across road packages.
• Diagnosed a ground-loop fault in a 64-channel analog split rig during load-in at a 5,000-seat outdoor venue, resolving the issue 45 minutes before doors opened.
• Mentored two junior engineers on console navigation, mix-bus architecture, and show-file recall discipline during a 14-city regional tour.

Monitor Engineer / Audio Systems Technician, Copperline Event Services, San Antonio, TX | August 2016 – February 2019

• Ran monitor world for live events hosting up to 6,000 attendees, building individual in-ear and wedge mixes for artist lineups of four to 18 performers per show.
• Configured and maintained a 96-input DiGiCo SD10 monitor console across a 120-show annual schedule, keeping the console in service with zero unplanned downtime over two full seasons.
• Pulled and labeled every patch for festival stages using a color-coded analog split system, reducing soundcheck confusion between changeovers by keeping stage crews and production staff aligned on signal paths.
• Serviced and repaired the company’s microphone and DI inventory monthly, including soldering XLR connectors and replacing capsules on 14 Shure SM58 and Beta 57A units.
• Worked advance production on corporate and private event packages, writing input lists and rider-compliance summaries reviewed by clients before each show.
• Assisted with loudspeaker deployment and rigging verification for flown line-array configurations at three outdoor amphitheater sites under the supervision of a certified rigger.

Audio Production Assistant, Lone Star Sound and Stage, Austin, TX | June 2015 – July 2016

• Supported lead engineers on local club shows and corporate audiovisual installs, handling cable runs, mic placement, and equipment inventory for events averaging 300 to 900 attendees.
• Learned console operation on a Yamaha QL5 by running monitor mixes for opening acts during weekly residency nights at a 500-capacity Austin music venue.
• Cataloged and tested the company’s entire cable inventory, a pool of more than 400 XLR, TRS, and speakON lines, tagging faults and flagging 38 damaged cables for replacement.
• Pulled microphone specifications and polar pattern charts before sessions to match mic selection to source type, accelerating setup for a staff of five engineers.
• Shadowed senior engineers during broadcast feed handoffs at two locally televised awards ceremonies, observing split-signal routing and broadcast mix discipline.

• Front-of-house mixing for live touring (Yamaha RIVAGE PM10, Avid VENUE S6L)
• Monitor world engineering and in-ear mix management
• RF spectrum coordination (Shure Wireless Workbench)
• Stage-plot reading and advance production logistics
• Gain structure and console recall across multiple venue formats
• System tuning and loudspeaker alignment (Smaart v9)
• Patch bay wiring and analog split configuration
• Vendor communication and backline coordination
• Critical problem-solving under real-time performance conditions

• Certified Audio Engineer (CAE) | Society of Broadcast Engineers | November 2020
• Smaart Operator Certification | Rational Acoustics | April 2022

Bachelor of Science in Sound Recording Technology
University of Texas at San Antonio, San Antonio, TX | August 2011 – May 2015

John Bergsen
(555) 318-4072
[email protected]
Atlanta, GA

Live sound and studio recording specialist with seven years across touring concert production, broadcast post-production, and commercial recording in the Atlanta market. Fluent in Pro Tools, Dante networking, and Yamaha digital console architecture, with hands-on experience coordinating audio for events from 300-seat theaters to 8,000-capacity amphitheaters. Clients have included regional broadcast networks, independent record labels, and national touring acts — all delivered on time and to spec across more than 200 production days.

Senior Audio Engineer, Greystone Production Group, Atlanta, GA | March 2020 – Present

• Lead front-of-house and monitor engineering for 40-plus live events per year, covering corporate galas, theater productions, and multi-act music festivals across Georgia and the Carolinas.
• Designed and deployed a Dante-based distributed audio network for a 6,200-seat amphitheater residency series, cutting intercom latency complaints to zero across the three-night run.
• Collaborate directly with touring production managers and local promoters to build advance technical riders, resolving 9 out of 10 venue conflicts before load-in day.
• Mixed broadcast submixes for three live-streamed benefit concerts totaling more than 47,000 concurrent online viewers, delivering audio normalized to -16 LUFS per platform spec.
• Drafted stage plots and patch lists in AutoCAD for 18 different venue configurations, giving crew a single-page reference that replaced a 12-page legacy binder.
• Supervised a two-person A2 crew during complex festival setups, assigning mic placement and RF scanning duties to keep changeover windows under 12 minutes.
• Identified a recurring ground loop in a rented monitor desk mid-show and isolated the fault through the console’s gain structure settings without interrupting the artist’s performance.

Studio and Broadcast Audio Engineer, Peach State Media Studios, Atlanta, GA | June 2017 – February 2020

• Tracked, edited, and mixed recordings for 14 commercial releases across R&B, gospel, and hip-hop genres, with four projects charting on regional independent label sales reports.
• Managed session configuration in Pro Tools HDX for a 48-input tracking room, including routing templates that new engineers used to complete setup in under 20 minutes.
• Produced dialogue cleanup and music bed integration for broadcast spots airing on three Atlanta-area television affiliates, meeting ATSC A/85 loudness standards on every delivery.
• Selected and positioned microphone arrays for live-to-tape gospel choir recordings, achieving a mix approved by the client in two revision passes rather than the studio’s usual four.
• Used Adobe Audition inside the Creative Cloud post workflow to sync, clean, and export final audio for a six-part documentary series, delivering 31 total episode assets across an eight-week schedule.
• Repaired or flagged 22 pieces of outboard gear across a two-year span, coordinating with a third-party technician to keep bench time under five business days per unit.

Audio Production Assistant, Foxhall Sound & Events, Birmingham, AL | August 2015 – May 2017

• Supported senior engineers on corporate A/V installs and live event builds, accumulating more than 900 logged production hours over 22 months.
• Performed pre-show RF spectrum scans using Shure Wireless Workbench at university auditoriums and hotel ballrooms, flagging occupied frequencies before every wireless deployment.
• Assembled and tested speaker rigging, amplifier racks, and snake runs for events ranging from 150-person breakout sessions to a 2,400-seat commencement ceremony.
• Recorded voiceover and podcast content for four regional clients in an on-site isolation room, handling mic placement, headphone mix setup, and file delivery without direct supervision by the end of the first year.
• Maintained a shared inventory log in Microsoft Excel covering more than 80 line items of rental gear, bringing checkout accuracy to 96% across the final two quarters tracked.

• Studio session engineering (Pro Tools, Logic Pro X)
• Dante audio networking and digital console operation (Yamaha CL/QL series)
• Wireless microphone system coordination (Shure Axient, Sennheiser 6000 series)
• Vocal comping and multitrack stem arrangement
• Broadcast audio mixing and loudness compliance (ATSC A/85)
• Adobe Creative Cloud audio post workflow (Audition, Premiere Pro)
• Equipment fault diagnosis and field repair under live conditions
• Producer and performer communication during tracking and performance
• AutoCAD-assisted stage plot drafting and I/O list documentation

• Dante Certification Level 3 | Audinate | September 2021
• Certified Technology Specialist (CTS) | AVIXA | April 2019

Bachelor of Science in Sound Recording Technology
University of Alabama at Birmingham, Birmingham, AL | August 2011 – May 2015

Sarah Johnson
(555) 314-8820
[email protected]
Albuquerque, NM

Picked up a soldering iron at age 14 rebuilding a broken CB radio in her grandfather’s garage in Albuquerque — and never really put it down. Sarah brings five years of hands-on electronics technician experience across defense-adjacent manufacturing and commercial building automation, with particular depth in PCB-level fault isolation, oscilloscope-based signal tracing, and IPC-A-610 workmanship standards. Her diagnostic process cuts mean-time-to-repair on production lines and keeps equipment uptime above target without relying on vendor support calls.

Electronics Technician II, Sunbelt Instrumentation Systems, Albuquerque, NM | March 2022 – Present

• Diagnose and repair mixed-signal PCBs for industrial flow-measurement instruments, maintaining a board-level repair yield of 91% across 340-plus units processed since joining the team.
• Operate Tektronix TDS2024C oscilloscopes and Keysight 34461A digital multimeters daily to isolate faults down to the component level, replacing failed op-amps, voltage regulators, and ceramic capacitors without scrapping parent boards.
• Reduced average repair cycle time to under four hours per board by developing a fault-tree reference guide now used by all three technicians on the day shift.
• Calibrate pressure transducer assemblies against NIST-traceable standards on a 90-day cycle, maintaining calibration compliance across a 78-unit active inventory with zero overdue certs in the last six quarters.
• Interpret AutoCAD Electrical schematics and red-line drawings to support engineering change orders, catching two wiring discrepancies before they reached the production floor.
• Authored 14 service bulletins documenting recurring failure modes — primarily electrolytic capacitor ESR drift in high-temperature enclosures — which cut repeat-failure tickets by 38% over 12 months.
• Train incoming technicians on ESD protocols and IPC-A-610 Class 2 workmanship standards during a structured two-week onboarding shadowing period.

Electronics Technician I, Mesa Verde Control Technologies, Santa Fe, NM | June 2020 – February 2022

• Assembled and tested programmable logic controller enclosures for commercial HVAC building automation systems, completing an average workorder volume of 22 panels per month against a production target of 18.
• Performed point-to-point wire verification on 480 VAC and 24 VDC control panels using approved loop diagrams, flagging four wiring errors during final inspection across 260 panels built.
• Ran functional tests on analog I/O modules using a custom in-house LabVIEW test fixture, logging pass/fail data into a shared Microsoft Excel tracking sheet reviewed weekly by the QA supervisor.
• Supported field service calls at three commercial building sites, swapping failed relay modules and re-terminating shielded sensor cables under time constraints with minimal supervision.
• Maintained soldering station calibration logs and replenished consumables inventory (solder, flux, heat-shrink) on a biweekly cycle, keeping stockouts at zero for 18 consecutive months.
• Collaborated with the lead engineer to reverse-engineer a discontinued relay driver card, producing a hand-drafted schematic that enabled in-house board reproduction and saved roughly $4,200 in replacement part costs.

Bench Technician (Part-Time), High Desert Electronics Repair, Albuquerque, NM | August 2019 – May 2020

• Repaired consumer and small-commercial electronics — amplifiers, power supplies, and variable-frequency drives — for walk-in customers, completing 8 to 12 diagnostic assessments per week alongside a full course load.
• Documented each repair with a written fault description, parts replaced, and test results, building a shop service log that the owner credited with cutting warranty callbacks by roughly 25% over nine months.
• Sourced replacement components through Mouser and Digi-Key, comparing datasheet specifications to confirm drop-in compatibility before ordering, which kept parts returns under five per quarter.
• Practiced hot-air rework on donated boards to sharpen SMT skills before applying them to customer units, cutting solder-bridge rework incidents to fewer than two per month by the end of the role.

• PCB troubleshooting and component-level repair (oscilloscope, multimeter, LCR meter)
• Soldering and rework (through-hole and SMT, IPC-A-610 Class 2 and 3)
• Schematic and wiring diagram interpretation (AutoCAD Electrical)
• Preventive maintenance scheduling and documentation
• Signal tracing and noise isolation on analog and digital circuits
• Test fixture operation and functional test scripting
• Technical writing for service bulletins and repair logs
• Cross-functional collaboration with production engineers and QA leads
• ESD handling, calibration compliance, and metrology basics

• IPC-A-610 Certified IPC Specialist (CIS) | IPC International | November 2021
• OSHA 10-Hour General Industry Safety | U.S. Occupational Safety and Health Administration | April 2020
• EPA 608 Technician Certification (Type I and II) | U.S. Environmental Protection Agency | January 2022

Associate of Applied Science in Electronics Technology
Central New Mexico Community College, Albuquerque, NM | August 2017 – May 2019

Lily Ginsberg
(555) 402-7183
[email protected]
Portland, OR

Cuts and delivers editorial content for streaming, broadcast, and branded campaigns across the entertainment and digital media industries, with nine years of hands-on post-production work spanning short-form social, documentary, and long-form narrative. Adobe Premiere Pro is the primary NLE, with heavy use of After Effects for motion graphics integration and DaVinci Resolve for color-assisted finishing. Clients consistently receive broadcast-ready deliverables ahead of platform deadlines, a streak that held across 14 consecutive series launches without a single missed air date.

Senior Video Editor, Tidal Creek Media, Portland, OR | March 2020 – Present

• Lead editorial on three to five simultaneous branded documentary and short-form projects per quarter, managing timelines from rough assembly through final client-approved export.
• Rebuilt the department’s bin and labeling conventions inside Premiere Pro, cutting media retrieval time by 40% and eliminating a recurring sync mismatch that had stalled two prior deliverables.
• Edited a six-part docuseries on Pacific Northwest land conservation; the series averaged 2.3 million views per episode across YouTube and the client’s owned platform in its first 90 days.
• Collaborated directly with directors during picture lock reviews, translating on-the-fly creative notes into same-day revision cuts for 11 separate projects over the past calendar year.
• Produced all motion graphic title sequences using After Effects, working from brand guidelines to deliver consistent lower-third and end-card packages for four agency clients.
• Mentored two mid-level editors on DaVinci Resolve color finishing, covering node structure and primary/secondary correction workflows over eight hands-on sessions.
• Maintained a shared media server spanning roughly 48 TB of project assets, coordinating with IT to set folder permissions and archive protocols that kept active project load under 6 TB at any given time.

Video Editor, Northgate Content Studio, Seattle, WA | July 2017 – February 2020

• Assembled and delivered more than 200 finished pieces across social, web, and broadcast formats during a 32-month tenure at this mid-size content agency serving retail and consumer brand clients.
• Edited a 30-second product spot that went on to win a regional Telly Award in the branded content category; handled all cuts from raw footage through final audio mix handoff.
• Ingested and synced multi-camera footage from shoots ranging from single-camera interviews to eight-camera live event captures, building organized Premiere Pro sequences for each production.
• Worked with the audio post team to time dialogue edits precisely to music beds, reducing the number of sound revision rounds from an average of four per project down to fewer than two — verified across a sample of 30 projects.
• Delivered platform-specific export packages for Facebook, Instagram, and broadcast television in a single pass by building a Premiere Pro export preset library used by the entire edit team.
• Coordinated with the agency’s creative director on weekly review sessions, incorporating written and verbal feedback within 24 hours to keep approval cycles tight across high-volume campaign periods.

Junior Video Editor / Post-Production Assistant, Waverly Film Collective, Portland, OR | August 2015 – June 2017

• Assisted lead editors on seven independent film and documentary projects, handling rough cut assembly, clip logging, and export for review screeners.
• Transcoded and organized raw footage from RED and ARRI camera formats into Premiere Pro-ready proxies, processing a combined total of roughly 11,000 individual clips across all active productions.
• Edited three short films that screened at regional festivals, including the Portland Film Festival and the Northwest Filmmakers’ Showcase, under tight post-production windows of six weeks or fewer.
• Prepared edit decision lists and cut notes using a shared Google Workspace drive, giving directors clear version histories that reduced back-and-forth email threads by more than half.
• Learned color workflow basics by assisting the DIT during one long-form documentary grade in DaVinci Resolve, building foundational node structure knowledge applied in all subsequent roles.

• Non-linear editing (Adobe Premiere Pro, DaVinci Resolve, Final Cut Pro)
• Motion graphics integration (After Effects, Adobe Creative Cloud)
• Color correction and grading workflows
• Multi-camera assembly and sync
• Narrative pacing and story structure
• Dialogue and music bed timing
• Delivery spec compliance (H.264, ProRes, MXF formats)
• Project organization and media asset management
• Cross-department coordination with directors and sound teams

• Adobe Certified Professional in Video Design | Adobe | November 2021
• DaVinci Resolve Certified Trainer | Blackmagic Design | April 2023

Bachelor of Fine Arts in Film Production and Post-Production
Emerson College, Boston, MA | September 2011 – May 2015

Rachel Thompson
(555) 214-8837
[email protected]
Minneapolis, MN

Sound engineer with three years of experience across commercial recording, live event production, and broadcast audio. Specializes in signal routing on Neve 8078 analog consoles and hybrid DAW workflows in Pro Tools and Logic Pro, with a secondary focus on multitrack session organization for genre-spanning projects. Clients consistently cite mix clarity and fast turnaround on revisions as reasons to return — the studio’s repeat booking rate held at 83% through every quarter of 2023 and 2024.

Staff Recording Engineer, Blue Spruce Sound, Minneapolis, MN | March 2022 – Present

• Track and mix full-length records and EPs for indie rock, hip-hop, and jazz artists across two 48-channel rooms, averaging 14 billable sessions per month.
• Operate a Neve 8078 console with outboard processing from Empirical Labs, Universal Audio, and Chandler Limited, calibrating gain structure before every session to keep noise floor below -90 dBFS.
• Placed microphone arrays for a nine-piece big band session in March 2023, coordinating room placement in under two hours and delivering a final stereo mix that the client licensed for use on a regional public radio broadcast reaching 47,000 weekly listeners.
• Cut mix revision cycles by standardizing a session template library in Pro Tools — 22 genre-specific templates covering drum replacement, parallel compression, and stem export routing — which new clients now receive on intake.
• Collaborate directly with producers and performing artists before tracking begins to align on sonic references, instrument tuning, and headphone mix preferences, reducing mid-session restarts by roughly a third over the past year.
• Identified a ground loop introduced by a new patch bay installation in Studio B, traced it to a lifted shield on a TRS normalling point, and coordinated the repair with the facility’s maintenance contractor within 48 hours.
• Mentored two assistant engineers on Pro Tools session management, console recall documentation, and studio communication etiquette across a six-month onboarding period.

Live Audio Engineer, Lakeshore Stage Productions, Milwaukee, WI | August 2020 – February 2022

• Mixed front-of-house audio for touring acts and regional headliners at venues ranging from 300-capacity clubs to a 4,200-seat amphitheater, advancing each show’s technical rider and confirming PA configuration with production managers 72 hours before load-in.
• Programmed scene-based show files on a Yamaha Rivage PM10 console, including VCA assignments, dynamic EQ snapshots, and effects routing tailored to each act’s live stems or playback tracks.
• Resolved a wireless microphone dropout during a sold-out New Year’s Eve show by switching to a backup frequency within 11 seconds — the audience experienced no audible interruption.
• Coordinated with monitor engineers and backline crew to build stage plots and input lists for 60-plus events across FY2021-FY2022, with zero shows delayed at top-of-show due to documentation errors.
• Ran RF spectrum scans using Shure Wireless Workbench at each new venue, filing intermodulation reports that the company now keeps as a standard pre-show checklist item.
• Loaded in, tested, and struck PA systems including d&b audiotechnik J-Series and L-Acoustics Kiva II line arrays, inspecting rigging hardware and verifying amplifier assignments before each hang.

Studio Assistant Engineer, Rivergate Recording Co., St. Paul, MN | May 2019 – July 2020

• Prepared rooms for tracking sessions by selecting microphone models, positioning stands, and confirming headphone mix levels before artists arrived — handled setup for more than 90 sessions across 14 months.
• Handled tape library organization and session archiving in a facility that maintained both analog 2-inch tape and Pro Tools HD rigs, labeling and storing 36 reels with no misfiled sessions during the tenure.
• Watched and contributed to mixing work under two senior engineers, building practical knowledge of low-mid carving on acoustic guitar and sibilance control on lead vocals.
• Maintained an equipment fault log in Microsoft Excel, cataloging issue descriptions, affected gear, and repair status — the log helped the studio owner prioritize a $6,800 maintenance budget allocation at the start of 2020.
• Recorded voiceover and spoken-word sessions for a local podcast network, managing talent communication, slate logging, and file export to client-specified format specs.

• Multitrack recording and session architecture (Pro Tools, Logic Pro)
• Analog console operation (Neve 8078, API 1608)
• Frequency spectrum analysis and mix referencing
• Microphone technique for drums, brass, and ensemble recording
• Signal chain troubleshooting and impedance matching
• Vocal comping, pitch correction, and region-based editing
• Live monitor mixing and stage communication protocols
• Producer and artist collaboration during tracking and overdub sessions
• Loudness normalization and codec-specific delivery formatting (LUFS, MP3, WAV, AAC)

• Avid Certified User: Pro Tools | Avid Technology | November 2021
• Dante Certification Level 2 | Audinate | April 2023

Bachelor of Science in Sound Recording Technology
University of Massachusetts Lowell, Lowell, MA | September 2015 – May 2019

Omar Ahmed
(555) 614-2983
[email protected]
Philadelphia, PA

Delivered the final mix on 14 commercial releases across hip-hop, R&B, and indie rock during two years at Tremolo Sound Group, with every project clearing label quality review on the first submission. Ten years of studio and live experience covering everything from multi-track tracking sessions to front-of-house reinforcement for crowds topping 4,000. Fluent in Pro Tools, Logic Pro X, and an Neve 8078 console workflow, with a secondary command of signal routing on Dante-networked Yamaha CL5 rigs. Engineers hear the room first, then the mix — that philosophy is what keeps clients coming back.

Staff Recording Engineer, Tremolo Sound Group, Philadelphia, PA | March 2021 – Present

• Lead tracking, editing, and mixing on an average of 22 projects per year across genres, delivering final stereo masters and stems to label A&R contacts within agreed turnaround windows.
• Operate the studio’s 48-channel Neve 8078 console daily, managing recall sheets and patch bay documentation so session changeovers take under 40 minutes.
• Placed and tested microphone arrays for 11 live-to-tape sessions in 2023, selecting from a locker of more than 80 microphones and coordinating positions with each artist’s producer before tape rolled.
• Negotiated a revised monitoring chain by demoing five different reference speaker pairs for studio ownership; the adopted setup cut client revision requests by roughly one-third across the following 12 months.
• Caught a phase cancellation issue during a 17-piece string overdub session that would have required a full re-track; resolved it by readdressing three spot microphones before the conductor raised a baton.
• Mentored two assistant engineers on console routing, cue mix building, and file-naming conventions, both of whom moved to junior engineer roles within 18 months.
• Compiled and archived session files weekly using a structured macOS folder tree and Git commit log for text-based project notes, giving any staff engineer full recall access within minutes.

Audio Engineer, Keystone Live Productions, Philadelphia, PA | June 2018 – February 2021

• Mixed front-of-house audio for 130-plus live events per year at venues ranging from 300-capacity clubs to a 4,200-seat amphitheater, covering music, theater, and corporate productions.
• Configured and tuned line arrays using Smaart v8 real-time analysis, achieving audience-level SPL within ±2 dB of target across every zone on large-format rigs.
• Managed RF coordination for events with up to 24 simultaneous wireless channels, filing frequency plans with venue contacts in advance and resolving intermodulation conflicts before doors opened.
• Pulled and prepared all required show gear from a 3,000-square-foot warehouse, cross-referencing rider requirements against inventory so last-minute substitutions dropped to fewer than three per quarter by 2020.
• Reported a recurring intermittent fault in a Crown DCi amplifier to the equipment manager, providing a written symptom log that sped up the repair vendor’s diagnosis and avoided a $9,500 replacement order.
• Collaborated with stage managers and production directors before each show, translating technical rider language into plain-language setup notes the stagehands crew could action without engineering oversight.

Studio Assistant / Junior Engineer, Rowan Bridge Recording, Camden, NJ | August 2015 – May 2018

• Assisted senior engineers across more than 200 tracking sessions during the three-year tenure, handling microphone setup, headphone mix routing, and Pro Tools session prep before each session started.
• Built a labeled cable inventory system for the facility’s 400-plus XLR, TRS, and speaker cables, cutting the time staff spent hunting misrouted lines to near zero within the first month.
• Recorded spoken-word and voice-over talent in the 180-square-foot isolation booth, adjusting input levels and monitoring talent cues through the talkback while the senior engineer focused on the mix.
• Separated drum, bass, and vocal stems from live tracking recordings and prepped them for mixing in Pro Tools, maintaining clean region labels and color-coding across every session.
• Shadowed two staff engineers through the studio’s Pro Tools HD-to-HDX platform migration, absorbing session transfer protocols that later let the studio complete the switchover with no client-facing downtime.
• Earned Pro Tools Operator certification (Music) during this period, applying coursework directly to daily session responsibilities within weeks of completing the exam.

• Multi-track recording and session engineering (Pro Tools, Logic Pro X)
• Analog console operation (Neve 8078, SSL 4000-series)
• Stem mixing and vocal comping
• Live sound system tuning (Smaart, Meyer Sound SIM3)
• Microphone placement and preamp gain staging
• Signal flow troubleshooting and outboard gear maintenance
• Producer and artist communication during tracking
• Session file organization and version archiving (Apple macOS, Git)
• Critical listening and mix referencing across translation formats

• Avid Certified Operator: Pro Tools (Music) | Avid Technology | April 2018
• Smaart Operator Certification | Rational Acoustics | November 2019

Bachelor of Science in Audio Production
Drexel University, Philadelphia, PA | September 2011 – June 2015

Andrew Park
(555) 304-7182
[email protected]
Seattle, WA

Migrated a mid-sized Nashville indie label’s entire session archive from a fragmented Pro Tools 10 / iLok 1 setup to Pro Tools Ultimate with cloud-linked session management over roughly 14 months at Sycamore Sound, giving the studio clean recall on 200-plus projects dating back to 2016. Ten years total across studio tracking, mixing, and live production in the music and independent film industries. Particularly strong in multi-track vocal production and hybrid analog-digital signal routing on SSL and Neve-format consoles. Clients regularly book return sessions within 90 days, which is the number that matters most.

Staff Recording Engineer, Sycamore Sound, Seattle, WA | March 2021 – Present

• Lead tracking and mixing for 60-plus projects per year spanning indie rock, folk, hip-hop, and spoken word, working directly with producers and artists to translate creative direction into recorded sound.
• Executed a 14-month archive migration from Pro Tools 10 to Pro Tools Ultimate, restoring clean session recall for 200-plus legacy projects and eliminating iLok 1 compatibility failures that had blocked four clients from accessing masters.
• Configured and maintain a hybrid console path combining an API 1608 console with outboard compression from a Neve 33609 and Universal Audio 1176 units, reducing the average per-session setup window to under 22 minutes.
• Directed microphone selection and placement for drum rooms, tracking live kits with a 17-mic array on sessions where producer specs required full stem separation.
• Supervised two studio assistants, setting signal-routing standards that cut recall discrepancies to zero across all sessions from January 2023 through December 2024.
• Delivered 14 album and EP masters to label clients meeting Spotify loudness normalization targets (-14 LUFS integrated) and Apple Digital Masters verification on first submission, every project since 2022.
• Negotiated and installed an Avid MTRX Studio interface upgrade that raised the facility’s sample-rate ceiling to 192 kHz, opening the studio to post-production clients requiring high-resolution audio deliverables.

Recording and Mix Engineer, Harborview Recording, Seattle, WA | August 2018 – February 2021

• Engineered tracking sessions for more than 110 local and regional artists across a 31-month tenure, managing session flow from room setup through final bounce.
• Mixed 38 commercial releases during this period, with eight reaching regional streaming playlist placements on platforms including Spotify Editorial and Amazon Music.
• Isolated and resolved a persistent low-frequency resonance problem in Live Room B by repositioning bass traps and adjusting console low-shelf filters, improving the room’s usable frequency floor by approximately 15 Hz.
• Handled all console recall documentation using a combination of Recall Pro templates and handwritten track sheets, maintaining a library of 200-plus session templates that the studio’s current staff still uses.
• Conferred with film score clients on sync deliverable specs, producing stems in formats meeting requirements for three separate licensing houses including broadcast-ready -23 LUFS LKFS targets for TV placement.
• Repaired three failing channel strips on the facility’s Neve 8078 console by diagnosing op-amp failures, sourcing replacement ICs, and soldering replacements in-house, saving an estimated $7,300 in third-party service fees.

Assistant Engineer, Puget Sound Post, Seattle, WA | June 2015 – July 2018

• Supported four staff engineers across podcast, voiceover, and music sessions totaling more than 400 hours of tracked audio per year.
• Prepared live rooms and isolation booths before each session, covering microphone selection, cable testing, and headphone mix routing for talent, typically completing setup in 30 minutes or less.
• Patched and verified analog signal paths on a 48-point patchbay for every session, documenting any impedance mismatches or ground-loop sources in a shared fault log that cut re-testing time for recurring configurations.
• Edited dialogue and ambient audio for six independent short films, conforming deliverables to picture lock using Pro Tools and Avid Media Composer sync workflows.
• Took ownership of the studio’s microphone locker, auditing all 43 microphones on a quarterly schedule and flagging four capsule failures before they affected client sessions.
• Absorbed live session workflow by assisting on a 12-piece jazz ensemble recording, learning orchestral microphone array placement and headphone submix management under the lead engineer’s direction.

• Multi-track recording and session recall (Pro Tools Ultimate, Logic Pro X)
• Console operation: SSL 4000-series and Neve 8078 formats
• Microphone placement and preamp gain staging for live-in-studio tracking
• Mix referencing and translation testing across nearfield, midfield, and consumer playback
• Signal chain troubleshooting and outboard gear maintenance
• Vocal production direction and talent communication during tracking
• Audio delivery formatting (Dolby Atmos, stereo, 5.1) for label and sync licensing specs
• Session documentation and track sheet management (Apple macOS, Dropbox, Google Drive)
• Critical listening across acoustic environments with varied room treatment profiles

• Avid Certified User: Pro Tools | Avid Technology | November 2022
• Apple Digital Masters Certification | Apple Inc. | March 2023

Bachelor of Science in Audio Production
Belmont University, Nashville, TN | August 2011 – May 2015

Liam O’Brien
(555) 847-2293
[email protected]
Chicago, IL

Promoted from studio assistant to lead tracking engineer within 18 months at Tangent Recording Group, then recruited to head post-production at a regional film and television house. Eleven years of hands-on work span commercial recording, live broadcast mix, and dialogue post for episodic content. Pro Tools HDX is the daily driver, with additional fluency in Logic Pro X and iZotope RX for restoration work. Clients leave sessions with a mix that translates cleanly on streaming platforms, earbuds, and theatrical monitors alike.

Lead Audio Engineer, Crestfield Sound & Post, Chicago, IL | March 2019 – Present

• Lead audio post for a slate of six to eight short-form documentary and branded-content projects per quarter, delivering final mixes that meet broadcast loudness standards (-24 LKFS for broadcast, -14 LUFS for streaming) on every deliverable since January 2020.
• Designed and executed a Pro Tools session template library covering dialogue, music, and effects stems — adoption across the team cut average session-build time by 45 minutes per project.
• Conferred with directors and picture editors weekly during post schedules to align music placement, effects design, and dialogue clarity before each mix pass, reducing revision rounds on four episodic series to a single round of notes each.
• Mixed and edited dialogue, Foley, and music for a 10-episode true-crime podcast series that reached No. 14 on Apple Podcasts’ Society & Culture chart within its first three weeks of release.
• Restored archival interview recordings using iZotope RX 10, recovering usable audio from 23 of 27 files flagged as too degraded for broadcast by the original production team.
• Oversee two junior engineers, holding monthly one-on-one technical reviews focused on gain staging, monitor calibration, and client communication skills.
• Identified a recurring ground loop in Studio B’s patchbay that was causing intermittent noise artifacts; traced the fault to a single unbalanced insert point and coordinated a rewire that resolved the issue before a contracted live session for a national retailer’s campaign.

Staff Recording Engineer, Tangent Recording Group, Chicago, IL | June 2015 – February 2019

• Engineered tracking and mixing sessions for more than 80 independent and label-signed artists across four years, spanning hip-hop, jazz, gospel, and indie rock genres.
• Operated a Neve 8078 console for live-in-studio tracking, managing 48-plus simultaneous inputs during full-band sessions with an orchestra complement of up to 14 players.
• Selected and positioned microphone arrays for drum recording, A/B testing placements on eight studio kits to build a documented reference chart now used by all staff engineers during client bookings.
• Promoted from studio assistant to staff engineer after 18 months, taking on independent session responsibility and client-facing roles ahead of the standard 24-month track.
• Prepared all technical riders and I/O documentation for four artists’ live-album recording sessions, coordinating signal flow between the studio’s Pro Tools rig and an outside mobile recording truck.
• Reported a failing power-conditioning unit that was causing voltage fluctuations in the machine room; flagged the issue to the facility manager with a written fault log, and the unit was replaced before any data loss occurred.

Studio Assistant / Junior Engineer, Tangent Recording Group, Chicago, IL | January 2014 – May 2015

• Supported staff engineers on roughly 120 booked sessions during 17 months on the floor, covering load-in, cable runs, mic pulls, and console setup.
• Built and organized the studio’s physical mic locker inventory — cataloging 64 microphones by type, polar pattern, and frequency response card — so engineers could pull a matched pair without cross-referencing a binder.
• Ran headphone mixes for vocal and overdub tracking by following the engineer’s gain structure and adjusting monitor blends based on real-time direction from talent in the booth.
• Shadowed the mix process on commercial jingle sessions for three regional broadcast clients, learning frequency referencing and bus compression techniques that carried forward into independent engineering work.
• Helped prepare the studio’s sample-rate conversion workflow when a broadcast client required 48 kHz deliverables; researched the correct Bounce to Disk settings in Pro Tools and documented the steps in the studio’s internal reference guide.

• Pro Tools HDX session management and advanced editing
• iZotope RX dialogue restoration and noise reduction
• Microphone placement and signal chain design for tracking sessions
• Monitor calibration and room acoustic assessment
• Live broadcast mix and IFB routing for television production
• Stem-based mixing and mastering for streaming delivery (Spotify, Apple Music loudness specs)
• Producer and talent communication during tracking and overdub sessions
• Outboard gear maintenance and signal-path fault isolation
• Critical listening across near-field, mid-field, and in-ear translation

• Avid Certified User: Pro Tools | Avid Technology | September 2021
• iZotope RX Certified Expert | iZotope | April 2022

Bachelor of Science in Audio Arts and Acoustics
Columbia College Chicago, Chicago, IL | August 2010 – May 2013

Imani Carter
(555) 814-2293
[email protected]
Los Angeles, CA

Specializes in high-end studio tracking and post-production for film, television, and commercial music, where session complexity, talent management, and mix translation across formats demand equal precision. Navigates Pro Tools HDX systems and Neve 8078-era console signal chains with the same fluency, carrying work from raw tracking through final deliverable with minimal handoffs. Producers and directors return because the mixes hold up everywhere, from streaming speakers to theatrical playback, and the sessions run tight. Twelve years of work spans major-label album campaigns, network TV sound design, and large-scale live broadcast.

Senior Audio Engineer, Monarch Sound & Post, Los Angeles, CA | March 2020 – Present

• Lead tracking and mixing for 12 to 15 album projects per year across R&B, hip-hop, and indie pop genres, with three projects placed on Billboard’s Top 200 chart since 2021.
• Architect Pro Tools HDX session templates tailored to genre-specific signal chains, cutting assistant setup time across the team by roughly 45 minutes per session.
• Coordinate directly with label A&R, producers, and mixing engineers to align sonic direction before tape rolls, preventing costly revision cycles that previously averaged two extra recall sessions per project.
• Built a stem delivery workflow that satisfies Dolby Atmos Music, Apple Digital Masters, and standard stereo streaming requirements out of a single mix session, eliminating the need for a separate mastering-prep pass.
• Supervise two associate engineers on daily session prep, gain-staging sign-off, and outboard gear calibration, with all four staff engineers passing facility equipment audits every year since 2022.
• Resolved a longstanding low-frequency buildup in Studio B by repositioning bass traps and recalibrating monitor placement, confirmed with RTA measurements showing a 14 dB reduction in the 80 Hz problem node.
• Manage the facility’s 200-plus piece microphone inventory, scheduling annual calibration checks and retiring seven mics in 2023 after diaphragm degradation affected polar pattern consistency.

Audio Engineer, Crescent City Sound, New Orleans, LA | June 2016 – February 2020

• Recorded and mixed more than 60 full-length projects across jazz, blues, gospel, and brass band genres, working with artists whose releases were reviewed in DownBeat and No Depression.
• Designed and maintained a hybrid analog-digital signal chain combining a 48-channel API 1608 console with Pro Tools 192 I/O, preserving analog warmth while enabling nondestructive DAW editing.
• Captured live-in-studio ensemble recordings for artists with up to 18 players simultaneously, selecting microphone arrays and room positions that achieved natural bleed balance without gating.
• Partnered with film and documentary producers to deliver location sound and dialogue replacement sessions for six regional productions, all delivered within broadcast-spec loudness tolerances of -24 LUFS.
• Sourced and installed a new Dante-based headphone distribution system that replaced an aging analog cue send, giving talent individual web-browser monitor control and eliminating crosstalk complaints.
• Cut tape-degradation losses by digitizing and archiving the studio’s 400-reel analog catalog in AIFF 96kHz/24-bit format, completing the project across two off-season months with zero data loss confirmed by MD5 checksums.

Staff Recording Engineer, Sandstone Audio Group, San Antonio, TX | August 2013 – May 2016

• Engineered tracking sessions for regional and touring artists across country, Tejano, and Latin pop genres, averaging 30 billable session days per month at peak.
• Set up and tested PA systems and monitor wedges for 14 live broadcast events produced on the studio’s exterior stage, troubleshooting RF wireless conflicts in real time for audiences up to 800.
• Prepared all microphone placements, console routing sheets, and cue mix builds independently for sessions booked without an assistant, turning rooms in under 90 minutes for back-to-back tracking days.
• Reported and tracked outboard gear faults through a shared maintenance log, resulting in repair turnarounds that kept equipment downtime below three days per incident across the 2014-2016 period.
• Mixed and edited voiceover, music beds, and Spanish-language narration for 22 regional broadcast commercials, delivering final files formatted to client spec across both ProRes and MP4 containers.
• Increased studio booking retention by working directly with Spanish-language production houses unfamiliar with the facility, translating technical session requirements and building trust with five new repeat clients.

Assistant Audio Engineer, Terrapin Recording House, Austin, TX | January 2012 – July 2013

• Supported three senior engineers across pop, folk, and punk sessions, handling cable runs, patch bay normalization, and Pro Tools session naming under direct supervision.
• Prepared headphone mix templates in Aviom personal monitor systems for tracking sessions involving up to eight musicians, reducing cue mix build time and earning a promotion ahead of the standard 18-month track.
• Cataloged 150-plus items of rental equipment using a Microsoft Excel tracking sheet with check-in/check-out timestamps, reducing unreturned item disputes to zero during the last six months of the contract.
• Observed and documented session signal chains for 11 full album projects, compiling a personal reference manual that later informed my own template designs at Sandstone.
• Assisted with live room acoustic experiments during studio downtime, helping staff engineers compare room treatments and contributing notes that fed into a funded room redesign completed in late 2013.

• Studio session coordination and talent communication
• Multi-format mixing: stereo, 5.1 surround, and Atmos stem prep
• Pro Tools HDX operation and session architecture
• Microphone placement and preamp selection for tracking
• Live broadcast audio routing and real-time level management
• Signal flow troubleshooting and outboard gear maintenance
• Loudness normalization and format delivery (LUFS, dBFS, streaming specs)
• DAW-based sound design and SFX layering for post-production
• Cross-platform critical listening (studio monitors, headphones, consumer playback)

• Avid Certified Expert: Pro Tools | Avid Technology | April 2019
• Dante Certification Level 3 | Audinate | November 2021
• Dolby Atmos Music Mixing Certification | Dolby Laboratories | February 2023

Bachelor of Science in Audio Engineering and Music Production
Belmont University, Nashville, TN | August 2007 – May 2011

Certificate in Music Business and Licensing
Berklee Online, Boston, MA | September 2015 – March 2016

Joshua Lee
(555) 402-7831
[email protected]
Kansas City, MO

Studio-trained engineer with a B.S. in Audio Production and six years of hands-on work across commercial recording, live sound, and post-production for independent film. Fluent in Pro Tools and Logic Pro X, with particular depth in tracking, mixing, and session workflow inside professional studio environments. Clients consistently cite clean, broadcast-ready deliverables and communication that keeps sessions moving without wasted time.

Studio Engineer, Westfield Sound Co., Kansas City, MO | March 2022 – Present

• Track and mix 12 to 15 album and single projects per year spanning hip-hop, R&B, and indie rock, delivering masters to label partners within agreed revision windows every year since 2022.
• Configure Pro Tools sessions for each client before arrival, including I/O routing, headphone cue mixes, and reference track imports, cutting engineer setup time by about 40 minutes per session.
• Placed microphone arrays for a nine-piece live recording session in the main room, coordinating with the bandleader and producer to isolate bleed below acceptable thresholds without overdubs.
• Mixed a 14-track EP for a regional R&B artist whose single reached a streaming milestone of 280,000 plays within 90 days of release.
• Authored a troubleshooting log for outboard gear failures that studio ownership now uses as the primary maintenance reference, cutting repair response time to under 48 hours on documented faults.
• Confer with producers before every session to align on sonics, referencing target tracks and establishing EQ and compression direction so revision rounds stay at two or fewer per project.

Audio Engineer, Bridgeport Post & Sound, St. Louis, MO | August 2020 – February 2022

• Edited and mixed audio for 23 short-form documentary and branded video projects, delivering all files to client specs for web, broadcast, and festival submission.
• Operated a Yamaha CL5 console for live corporate and theatrical events serving audiences of 150 to 900 attendees, maintaining consistent SPL and mix clarity across varied venue acoustics.
• Separated dialogue, ambient sound, and original score stems during post-production, then recombined them against picture lock under director review using Pro Tools with video satellite.
• Flagged a ground loop issue tracing back to a shared power strip in the control room, resolving it with a balanced DI reroute and saving a scheduled overnight mix session from rescheduling.
• Recorded voiceover talent across eight commercial campaigns for regional clients, coordinating pickup lines and timing notes between talent and the agency creative director in real time.
• Managed equipment checkout for three junior staff members, logging serial numbers and return conditions in a shared Microsoft Excel tracker that reduced gear loss incidents to zero across 18 months.

Assistant Audio Engineer, Prairiefire Recording, Lawrence, KS | May 2019 – July 2020

• Supported lead engineers on 40-plus tracking sessions during the first year, handling mic placement, cable runs, and patch bay routing under direct supervision.
• Prepared headphone cue mixes for talent by building monitor sends in Pro Tools, receiving consistent positive feedback from vocalists on in-ear balance during takes.
• Tested and labeled all XLR and TRS cables after the studio’s inventory audit, identifying 17 faulty cables before they reached a client session.
• Learned gain-staging fundamentals by calibrating input levels against a reference tone at the start of every session, a habit maintained through the current role.
• Assisted a staff engineer in recording a 40-person choir for a regional nonprofit’s fundraising video, managing two room mics and four spot mics from a laptop-based Pro Tools rig.

• DAW proficiency: Pro Tools, Logic Pro X, Ableton Live
• Microphone placement and preamp gain structure
• Multitrack recording and stem mixing for commercial release
• Live monitor and front-of-house mixing (Yamaha CL and QL series)
• Signal flow troubleshooting and outboard gear patching
• Loudness normalization and format-specific audio delivery (LUFS, dBFS)
• Producer and artist communication during tracking and playback
• Session organization and project file archiving (macOS, external RAID)
• Critical listening across multiple playback environments

• Avid Certified User: Pro Tools | Avid Technology | September 2020
• Dante Certification Level 2 | Audinate | April 2022

Bachelor of Science in Audio Production
University of Missouri-Kansas City Conservatory of Music and Dance, Kansas City, MO | August 2015 – May 2019

Daniel Robinson
(555) 814-2293
[email protected]
Richmond, VA

Grew up running cables for a family friend’s recording sessions in a converted garage studio in Raleigh, which led to an internship at a proper facility before finishing college. Now, after 13 years working rooms from mid-size indie studios to a major-market post house, the specialty is mastering: translating a finished mix into a release that holds up on every format from vinyl lacquer to streaming DSP. Fluent in Weiss DS1-MK3, Sontec-style parametric EQ, and stem mastering workflows; clients regularly cite improved sync placement rates and stronger first-listen impact from retail partners.

Senior Mastering Engineer, Tidewater Post & Mastering, Richmond, VA | March 2019 – Present

• Master an average of 180 projects per year spanning indie rock, hip-hop, country, and orchestral genres, delivering files that meet streaming LUFS targets and client revision windows under 48 hours.
• Built a stem mastering service tier from scratch in 2021; by the end of FY2023, it accounted for 34% of total studio revenue, adding a new client segment that had previously gone to Los Angeles facilities.
• Calibrated the mastering chain after installing a Dangerous Music MONITOR ST unit, reducing low-frequency translation complaints from playback on consumer earbuds to fewer than three per quarter across all projects.
• Collaborate weekly with mix engineers and label A&R representatives to align on reference tracks, format priorities, and genre-specific loudness targets before touching a single file.
• Introduced ISRC registration and metadata verification as a standard deliverable, catching missing or duplicate codes on 47 projects in the first year and preventing downstream DSP ingestion failures.
• Supervise one junior mastering assistant: structured a six-month listening curriculum using reference-heavy A/B comparisons, and the assistant now runs independent vinyl prep sessions with minimal oversight.
• Prepared lacquer-ready masters for two vinyl pressing runs in 2022 and one in 2024, coordinating mono compatibility checks and mid-side EQ adjustments directly with the pressing plant’s QC team.

Staff Recording and Mixing Engineer, Quarry Lane Sound, Baltimore, MD | June 2015 – February 2019

• Tracked and mixed across more than 60 sessions per year for local and regional artists, operating a 48-channel SSL 9000 series console and maintaining its recall documentation in a shared Apple macOS session archive.
• Designed and executed microphone placement schemes for drum rooms with varying acoustic treatments, learning to read room modes without measurement software by ear alone across 12 different tracking environments over four years.
• Mixed a regional gospel choir’s live-to-two-track recording in a 900-seat venue, managing 32 inputs with no soundcheck rehearsal and delivering a broadcast-ready stereo file within two hours of the final song.
• Proposed a patchbay rewiring plan that consolidated analog inserts for outboard compressors, cutting the signal routing setup time per session by roughly 20 minutes and eliminating a persistent ground loop introduced by a shared TT bay.
• Reported a recurring digital clocking inconsistency between the studio’s Pro Tools HDX rig and an external converter bank; worked with the service tech to identify a faulty word clock cable, resolving months of intermittent dropout complaints.
• Prepared talent headphone mixes using a Hear Technologies system across six monitor sends, adjusting levels in real time during takes based on verbal cues and non-verbal feedback from performers in the booth.

Studio Assistant Engineer, Monument Row Recording, Baltimore, MD | August 2012 – May 2015

• Supported lead engineers across jazz, R&B, and spoken word projects by setting up microphone arrays, running headphone lines, and verifying gain structure before every session began.
• Catalogued more than 400 pieces of outboard gear and vintage microphone inventory using a spreadsheet system in Microsoft Excel, enabling the studio manager to locate any item in under two minutes during peak booking periods.
• Shadowed the head engineer on a 17-song full-length record over eight months, observing stem separation techniques and compressor gain-reduction choices that directly shaped personal mixing philosophy.
• Edited raw voiceover recordings for three commercial clients by cleaning breaths, aligning takes, and exporting files to broadcast-spec WAV at 48 kHz/24-bit with properly labeled region names.
• Managed session file backups to a RAID-configured NAS nightly, maintaining zero data loss incidents across every project from September 2013 through the final day of employment.

• Mastering chain design (Weiss DS1-MK3, Dangerous Music MONITOR ST, Neve 542 iron)
• Loudness normalization and LUFS targeting for Spotify, Apple Music, and YouTube standards
• Stem mastering and parallel processing for genre-specific delivery
• Vinyl lacquer prep: RIAA curve compliance, sibilance control, and low-end mono management
• Metadata embedding and ISRC tagging for digital distribution (TuneCore, DistroKid, CD Baby)
• Critical listening and spectral analysis using iZotope Ozone 11 and Fab-Filter Pro-Q 3
• Producer and artist communication during approval rounds
• Format-specific sequencing: album track order, spacing, and CD PQ coding in Sequoia
• Signal flow troubleshooting and outboard gear calibration

• Avid Certified User: Pro Tools | Avid Technology | April 2018
• iZotope Music Production Certificate | iZotope, Inc. | November 2021

Bachelor of Science in Music Technology
James Madison University, Harrisonburg, VA | August 2008 – May 2012

Robert Davis
(555) 841-2290
[email protected]
New Orleans, LA

Scoring stages, ADR bays, and Foley rooms at a mid-size post-production house gave Robert Davis hands-on command of the full film sound pipeline, from production recording through final deliverable mastering. His strongest technical ground is dialogue editing and Foley supervision inside Pro Tools Ultimate, where he has shepherded seven feature-length projects to picture lock without a single delivery rejection from distribution QC. He reads a room’s acoustic signature before placing a microphone, and that instinct cuts troubleshooting time on set to near nothing.

Film Sound Engineer, Pelican Post Sound, New Orleans, LA | March 2021 – Present

• Led sound editorial on four theatrically released features and two limited-series pilots since 2021, delivering all final mixes on schedule against distributor specs.
• Cut and conformed dialogue for a 98-minute dramatic feature using iZotope RX 10, resolving location noise on 62 scenes that would have required ADR re-records.
• Designed and supervised the Foley stage workflow for a six-episode genre series, coordinating three Foley artists across 14 recording days and keeping the cue-sheet log current for picture-lock compliance.
• Mixed 5.1 stems for theatrical release and separate stereo masters for streaming, passing all four QC reviews submitted to the distribution platform without a single bounce-back.
• Collaborated directly with three directors and two composers per project cycle to align music-bed levels with dialogue intelligibility targets before final printmaster.
• Routed a 128-channel Dante network connecting the scoring stage, ADR bay, and machine room, replacing a legacy analog patchbay and cutting reconfiguration time between session types by about 40 minutes per changeover.
• Mentored two assistant engineers on RX noise reduction protocols and Pro Tools session archiving standards used across all Pelican Post projects.

Production Sound Mixer / Post Audio Engineer, Gulf Coast Motion Pictures, Baton Rouge, LA | August 2018 – February 2021

• Recorded production audio on 11 short and feature-length film sets across Louisiana and Mississippi, operating a Sound Devices 888 mixer and a six-channel boom and plant mic setup.
• Selected, placed, and rigged microphones for 30-plus shooting days per year, including a crowd scene with 200 background performers that required four discrete ISO tracks for post clarity.
• Flagged 17 problematic takes during principal photography using real-time monitoring notes, giving the picture editor usable alternatives without scheduling ADR pickups for any of those scenes.
• Transferred and synced daily sound reports in the production office, keeping metadata consistent across a 43-day shoot so the post team’s assembly edit needed no file-renaming corrections.
• Edited and premixed a documentary feature’s 74-minute cut inside Pro Tools, balancing interview dialogue, ambient location beds, and score cues to hit -24 LKFS for broadcast delivery.
• Identified a recurring RF interference pattern tied to a facility’s HVAC control panel during an interior shoot, coordinated with the production designer to reschedule those set-ups, and preserved 19 planned shots that would have been scrapped.

Assistant Sound Engineer, Tidewater Audio & Film, Mobile, AL | June 2016 – July 2018

• Supported senior engineers on 80-plus sessions across two years, covering commercial voiceover, regional television spots, and short-film post work.
• Prepared studio rooms for each session by building Pro Tools templates with pre-assigned I/O labels, which the senior staff adopted as the facility standard after the third project.
• Recorded voiceover talent across a 220-square-foot treated booth, adjusting polar patterns and mic distance based on each performer’s projection to minimize edit cleanup later.
• Assembled and labeled more than 400 session archives on a NAS-based storage system, giving the retrieval library a 97% first-search success rate during the facility’s end-of-year audit.
• Tracked down a 120 Hz low-frequency rumble introduced by a new HVAC unit, tested six mic positions, and landed on a placement shift that brought the noise floor below the session floor spec.
• Learned loudness metering practices by monitoring every deliverable against client broadcast specs, catching three submissions with out-of-range integrated loudness values before they left the building.

• Dialogue editing and ADR conforming (Pro Tools Ultimate, iZotope RX 10)
• Foley recording and cue sheet management
• Film mix stem creation and 5.1/7.1 theatrical deliverables
• Production sound monitoring and boom placement strategy
• Loudness normalization to ATSC A/85 and EBU R128 specs
• Signal routing via patchbay and Dante audio networking
• Microphone selection and placement for controlled and location environments
• Cross-department collaboration with directors, picture editors, and composers
• Critical listening across theatrical, broadcast, and home-video translation formats

• Avid Certified User: Pro Tools | Avid Technology | November 2019
• iZotope RX Certified Professional | iZotope | April 2022

Bachelor of Science in Sound Recording Technology
University of New Orleans, New Orleans, LA | August 2012 – May 2016

Caleb Foster
(555) 408-2917
[email protected]
Detroit, MI

Recording engineer with seven years of experience tracking, mixing, and delivering audio across commercial studios, independent film, and live broadcast. Specializes in Pro Tools HDX session architecture and microphone placement for both large-format orchestral dates and intimate vocal recording. Clients have included regional label acts, sync licensing houses, and documentary production companies, with finished work placed in national ad campaigns and festival-selected films.

Staff Recording Engineer, Trestle Bridge Recording, Detroit, MI | March 2021 – Present

• Track and mix full-length albums and singles across hip-hop, jazz, and indie rock genres, averaging 14 completed projects per calendar year across both live-room and vocal booth formats.
• Operate a 72-channel SSL Origin console paired with a Pro Tools HDX rig, managing session templates, I/O routing, and recall sheets so any staff engineer can pick up a session mid-project without re-patching.
• Placed and calibrated microphone arrays for a nine-piece jazz ensemble over three days of live-to-tape recording, achieving a bleed-to-isolation ratio clean enough that the producer requested no overdub dates.
• Delivered 22 masters in FY2022 and FY2023 meeting both Apple Digital Masters spec and Spotify loudness normalization targets, with zero revision requests from either platform’s quality review team.
• Collaborated with four independent film composers to conform and print their final stems against picture-locked cuts, cutting turnaround time on each deliverable package to under 48 hours.
• Diagnosed a low-frequency resonance problem in Studio B traced to an unsecured HVAC duct; coordinated with the building contractor and the resonance was resolved before a booked orchestral session began.
• Mentored two assistant engineers on Pro Tools session organization, gain-staging discipline, and client communication, both of whom moved into lead engineer roles within 18 months.

Audio Engineer, Waxwing Post & Sound, Detroit, MI | June 2018 – February 2021

• Edited and mixed dialogue, music beds, and effects for documentary and branded-content projects totaling more than 60 finished program minutes across the three-year tenure.
• Built ADR sessions in Pro Tools for a feature-length documentary, syncing replacement lines from six on-camera subjects to picture and matching room tone so that edited passages were undetectable in the final mix.
• Recorded voiceover talent for national radio spots and podcast ad reads, setting up acoustic baffling and headphone blends that kept retake rates below one take per completed line across 11 campaign sessions.
• Used Adobe Creative Cloud to manage project file versioning and asset hand-off with a four-person picture editing team, keeping audio and video cut revisions aligned through eight rounds of client changes.
• Calibrated studio monitors to 85 dB SPL reference level and verified room acoustics quarterly using RTA measurements, flagging two instances where bass buildup had skewed mix decisions from the prior month.
• Reported a failing power conditioner on the outboard rack before it caused a session loss; sourced a replacement unit within 24 hours and kept a booked broadcast mix date on schedule.

Assistant Engineer, Coppertone Audio Works, Ann Arbor, MI | August 2016 – May 2018

• Prepared tracking sessions for lead engineers by pulling and testing microphones, setting headphone mixes for talent, and confirming signal from every input before the session clock started.
• Logged and organized a Pro Tools session archive of more than 300 projects, applying a consistent naming convention that reduced file-retrieval time during recalls to under three minutes per session.
• Set up and struck live-in-studio recording equipment for 40-plus sessions over the two-year period, covering everything from solo acoustic guitar to full five-piece band tracking dates.
• Shadowed the head engineer through post-production on a regional TV commercial, learning session consolidation, OMF export, and delivery spec formatting for broadcast.
• Inventoried and documented the studio’s microphone and cable locker using a shared spreadsheet in Microsoft Excel, catching $5,600 worth of missing or damaged gear that had not been reconciled in over a year.

• Multitrack recording and session management (Pro Tools HDX, Logic Pro X)
• Microphone selection and placement for orchestral and chamber ensembles
• Mix translation across near-field monitors, headphones, and consumer earbuds
• Signal flow troubleshooting and outboard gear integration (compressors, preamps, EQ)
• Dialogue editing and ADR conforming for picture-locked video
• Loudness normalization to LUFS specs for streaming, broadcast, and podcast delivery
• DAW automation and stem export for sync licensing and re-versioning
• Client communication and real-time session direction during talent recording
• Preventive maintenance logging and equipment fault reporting

• Avid Certified User: Pro Tools | Avid Technology | November 2017
• Dante Certification Level 2 | Audinate | April 2022

Bachelor of Science in Sound Recording Technology
University of Michigan – Flint, Flint, MI | August 2012 – May 2016

Maria Torres
(555) 814-2903
[email protected]
Miami, FL

Delivered clean final mixes on 14 original albums released across independent and mid-size labels between 2019 and 2024, working out of Tanglewood Sound in Miami. Three years as a staff engineer followed by a move into senior tracking and mixing work sharpened Maria’s ear for live-room acoustics, dialogue cleanup, and complex stem sessions. She builds headphone mixes talent actually want to perform to, and her sessions consistently clear label QC on the first submission.

Senior Audio Engineer, Tanglewood Sound, Miami, FL | March 2021 – Present

• Tracked and mixed 14 full-length albums and EPs across Latin pop, hip-hop, and R&B genres, with all 14 passing label QC without revision requests.
• Placed and aligned microphone arrays for live drum sessions in a 1,200-square-foot tracking room, selecting from a 40-piece mic locker to match the room’s low-frequency buildup at the north wall.
• Programmed in-ear monitor mixes for talent using a Waves SuperRack rig, cutting average soundcheck time to under 18 minutes per artist.
• Coordinated session logistics with six independent producers over a shared scheduling system, keeping the main room booked at 87% utilization from January 2022 through December 2024.
• Identified a ground loop fault in the studio’s 500-series rack that had introduced intermittent low-frequency noise into four recent sessions, isolated the faulty module, and filed a repair order that resolved the issue within two business days.
• Built and maintained per-project recall sheets covering console routing, insert chain settings, and microphone positions, reducing setup time for multi-day projects by a measurable margin across repeat clients.
• Mentored two assistant engineers on Pro Tools session architecture, monitor control protocol, and patch bay documentation over an 18-month period.

Studio Audio Engineer, Sandbar Recording Co., Fort Lauderdale, FL | August 2018 – February 2021

• Recorded and edited voiceover, acoustic music, and commercial jingle sessions for nine regional advertising agencies, completing 120-plus booked sessions across FY2019 and FY2020.
• Mixed dialogue, music beds, and spot sound design for 30- and 60-second radio spots, delivering final files to broadcast spec (LUFS-I -24, true peak -2 dBFS) on every contracted deadline.
• Selected and rigged microphone setups for ensemble string sessions, coordinating room placement with two outside producers to capture separation adequate for individual stem editing.
• Maintained the studio’s outboard inventory of 32 hardware units, scheduling annual calibration for all metered gear and flagging three units for vendor repair in the spring 2020 cycle.
• Reported a pattern of wireless mic dropouts tied to frequency conflicts with a neighboring broadcast facility, researched an alternative frequency block, and coordinated the re-license with studio ownership.
• Operated a hybrid analog/digital signal chain (SSL SiX desktop console feeding Pro Tools HDX) and trained two part-time session assistants on gain-staging and routing fundamentals.

Assistant Audio Engineer, Corridor Audio & Production, Orlando, FL | May 2016 – July 2018

• Supported lead engineers on podcast, voice acting, and corporate narration sessions totaling more than 200 booked hours across the two-year tenure.
• Set up and tested recording equipment before each session, including patching compressors, verifying phantom power levels, and confirming DAW clock sync with external hardware.
• Edited raw vocal takes in Pro Tools, applying noise reduction and de-essing passes that shortened the post-production cleanup step on narration projects by an average of one hour per session.
• Logged equipment checkouts and returns in a Microsoft Excel tracking sheet, catching three instances of undocumented gear loans that would have affected billing accuracy.
• Shadowed senior engineers on 40-plus mixing sessions and absorbed console workflow, plugin chain philosophy, and client communication habits that directly shaped later work.
• Prepared headphone cue mixes for voice talent by building custom Aux sends in Pro Tools and adjusting levels in real time based on verbal direction from the booth.

• Multitrack recording and gain-staging (Pro Tools, Logic Pro X)
• Live-room microphone placement and preamp selection
• Stem mixing and parallel processing for sync and licensing deliverables
• Signal chain diagnostics and outboard gear troubleshooting
• Monitor mix programming for in-ear and wedge systems
• Producer and artist communication during tracking and overdub sessions
• Loudness normalization and format compliance (Spotify, Apple Music, broadcast LUFS specs)
• Session documentation and recall sheets for multi-day tracking projects
• Critical listening across small-room, large-format, and consumer playback environments

• Avid Pro Tools Operator Certification | Avid Technology | November 2017
• Dante Certification Level 2 | Audinate | March 2022

Bachelor of Science in Music Technology
University of Miami Frost School of Music, Miami, FL | August 2012 – May 2016

Mei Zhang
(555) 814-2903
[email protected]
Sacramento, CA

Migrated a regional PBS affiliate’s entire audio infrastructure from analog tape-delay routing to a Dante-over-IP network at Riverview Public Broadcasting during a 14-month capital project, cutting signal-path failures by more than half before the 2022 fall pledge season. Broadcast audio engineer with six-plus years spanning live television, documentary post, and studio recording across the Sacramento market. Holds a CTS credential and brings depth in Pro Tools HDX session architecture, loudness compliance to ATSC A/85 standards, and real-time mix execution under tight air-clock deadlines. Producers regularly cite clean, first-pass deliverables as the reason they rebook.

Broadcast Audio Engineer, Riverview Public Broadcasting, Sacramento, CA | March 2021 – Present

• Serve as lead audio engineer for two nightly newscasts plus a weekly 60-minute arts magazine program, mixing live-to-air audio across a Calrec Brio 36 console for audiences averaging 280,000 viewers per broadcast quarter.
• Designed and deployed a 24-node Dante audio network replacing a 28-year-old analog routing matrix, eliminating the recurring ground-loop failures that had generated 11 documented on-air audio interruptions across the prior broadcast year.
• Calibrate all program output to ATSC A/85 loudness targets using a Minnetonka SurCode meter suite and a TC Electronic Clarity M, earning a clean pass on every CPB compliance review from FY2022 through FY2024.
• Collaborate with the station’s documentary unit to mix four independent short films per year, handling dialogue cleanup, music bed balance, and archival audio restoration inside Pro Tools HDX.
• Built a mic-locker inventory system in Microsoft Excel with conditional-format alerts that flagged servicing intervals, reducing unplanned equipment downtime by keeping six Sennheiser MKH 416 shotguns and 14 lavaliers on a predictable maintenance schedule.
• Train two production assistants each season on IFB wiring, mix-minus bus configuration, and talkback protocol, with both moving to full A2 rotation before their contracts end.
• Coordinate directly with the graphics and control-room director during breaking-news coverage to adjust open-mic and music-bed levels in real time, maintaining broadcast-standard headroom without interrupting the anchor feed.

Audio Engineer, Tidewater Post & Production, Sacramento, CA | August 2018 – February 2021

• Mixed dialogue, sound design, and music tracks for 17 branded documentary and corporate video projects per year, delivering finished stems in Dolby stereo, 5.1, and mobile-optimized mono formats for clients including regional hospital networks and state agency communications offices.
• Recorded voiceover and narration talent across a 320-square-foot isolation booth, patching sessions through a Universal Audio Apollo x8P interface to Pro Tools, and regularly delivered approved reads within the same production day.
• Restored and conformed archival interview audio recorded in the field on mismatched recorders, using iZotope RX 9 spectral repair to bring 39 hours of source material to broadcast-presentable quality for a 2020 California Water Resources documentary.
• Authored and maintained a session template library covering eight project types (corporate, PSA, narration, event recap, long-form doc, promo, training, and web series), cutting average session-open-to-record time to under eight minutes across the team.
• Managed audio QC for outgoing deliverables, catching format specification errors on 14 client files before export, which prevented expensive re-delivery charges under two time-sensitive festival submission windows.
• Reported a persistent 3 kHz resonance in the main recording room to facilities management, traced its source to a loose HVAC baffle, and coordinated the repair that resolved the issue before a major client session the following week.

Studio Recording Assistant, Capitol Row Sound, Sacramento, CA | June 2016 – July 2018

• Assisted senior engineers on live-tracking sessions for 40-plus recording projects spanning folk, hip-hop, and spoken-word genres, preparing mic stands, cable runs, and headphone submixes before talent arrived.
• Set up and tested microphone arrays for a six-piece acoustic ensemble session, placing a matched pair of Neumann KM 184s in an ORTF configuration overhead and spot mics on each instrument, achieving a natural room sound the producer approved without re-tracking.
• Edited vocal comps and drum replacement in Pro Tools, handling roughly 60 edit sessions across two years and developing speed on keyboard shortcuts that let the lead engineer stay on the console rather than the mouse.
• Learned signal-flow diagnostics by methodically tracing a phantom-power fault across a 48-channel patch bay, identifying a corroded TT connector that had caused intermittent dropout on three earlier sessions.
• Helped two clients understand the mix revision process by walking through A/B reference comparisons during playback, which reduced the number of revision requests per project from an average of four rounds to two.
• Maintained a clean-room policy for the tape machine and outboard rack, logging cleaning and alignment checks in a paper logbook that the studio’s insurance auditor cited as a model during a 2017 equipment-valuation review.

• Pro Tools HDX session architecture and surround mixing
• ATSC A/85 and EBU R128 loudness compliance
• Dante audio-over-IP network configuration and routing
• Microphone selection, placement, and preamp gain staging for broadcast environments
• Live TV mix execution (IFB, mix-minus, and intercom coordination)
• Complex problem-solving under live-air time constraints
• Signal chain diagnostics and outboard gear maintenance
• Producer and talent communication during on-camera recording sessions
• Score and dialogue editorial in Apple Logic Pro and Avid Media Composer audio workflows

• Certified Technology Specialist (CTS) | AVIXA | April 2022
• Pro Tools Operator Certification | Avid Technology | November 2019

Bachelor of Science in Audio Production
California State University, Sacramento, Sacramento, CA | August 2012 – May 2016

Trevor Brooks
(555) 847-2193
[email protected]
Salt Lake City, UT

Promoted from audio assistant to lead game audio engineer at Polygon Sound Group in under two years, then recruited to Axiom Interactive to build the studio’s in-house audio pipeline from scratch. Fluent in Wwise middleware integration, spatial audio design for 3D environments, and procedural sound systems that adapt to real-time player states. Delivers consistent, broadcast-quality game audio across PC, console, and mobile platforms, having shipped 14 titles across six years without a single failed platform certification audio submission.

Lead Game Audio Engineer, Axiom Interactive, Salt Lake City, UT | March 2021 – Present

• Architected the studio’s Wwise audio pipeline from the ground up, defining bus routing conventions, event naming standards, and RTPCs that all five audio staff now build against.
• Shipped six titles across PC, PlayStation 5, and Xbox Series X with zero platform-certification audio failures, covering loudness, metadata, and channel-assignment requirements on every submission.
• Directed voice recording sessions with a rotating pool of 28 actors across three recording facilities, handling real-time coaching and punch-and-roll editing to hit schedule milestones on two overlapping projects.
• Designed a 4,200-asset Foley library recorded on-location across nine months, reducing third-party sound-purchase spend by $31,000 over the following fiscal year.
• Built adaptive music systems with 11 horizontal re-sequencing layers per combat state, working directly with two composers to define handoff specs and loop-point contracts.
• Mentored two mid-level engineers on spatial audio bus design and occlusion modeling, cutting their independent implementation time by roughly half across the first quarter of coaching.
• Resolved a recurring CPU voice-budget spike in an open-world title by auditing 800-plus active sound events and culling 19% of redundant one-shot triggers without affecting perceived density.

Game Audio Engineer, Polygon Sound Group, Salt Lake City, UT | August 2018 – February 2021

• Implemented audio for seven shipped titles using FMOD Studio, covering SFX, ambient beds, UI sounds, and music state machines across mobile and PC platforms.
• Recorded and edited more than 600 original weapon, environment, and character sound assets using a Sennheiser MKH 416 and a pair of DPA 4060 lavs in varied acoustic locations around the Salt Lake metro.
• Collaborated with four lead designers per project to align audio feedback cues with UX flow, participating in weekly playtests and documenting every mix-note in a shared Confluence tracker.
• Cut dialogue pre-production time on a 90-minute narrative title by building a standardized ADR session template in Pro Tools, consolidating region naming, routing, and clip gain conventions into a single import-ready session file.
• Managed loudness and dynamic range compliance for a Nintendo Switch port, meeting Nintendo’s -12 LUFS short-term loudness ceiling and passing technical requirements on the first review cycle.
• Diagnosed and repaired a clicking artifact traced to a misaligned sample-rate conversion on 340 audio assets, correcting the batch in iZotope RX before gold master submission.

Audio Assistant, Polygon Sound Group, Salt Lake City, UT | June 2017 – July 2018

• Supported lead engineers on sound design and integration tasks across three simultaneous mobile projects, tagging and organizing roughly 1,100 raw assets into a structured file system used by the whole team.
• Prepared microphone rigs and signal chains before field recording sessions, including gain staging from source through interface to Pro Tools I/O to eliminate noise floor issues before capture.
• Learned Wwise bus architecture by shadowing the audio director and independently implementing two feature-complete ambient soundscapes on a prototype that later shipped as part of a full release.
• Ran quality-assurance passes on SFX and music event triggers in-engine, logging 93 bugs in Jira across a single sprint review cycle and verifying fixes before the next build.
• Assisted with the procurement and cataloging of a $14,800 outboard gear order, cross-referencing invoices in Microsoft Excel and confirming delivery against the approved purchase list.

• Game audio middleware: Wwise and FMOD Studio integration
• Spatial and binaural audio design (Dolby Atmos, Sony 360 Reality Audio)
• Field recording and Foley capture for original sound asset libraries
• Pro Tools and Reaper session architecture for game audio post
• Dialogue systems design: branching VO trees and adaptive music states
• Signal processing and spectral repair (iZotope RX 10 Advanced)
• Git-based audio asset version management in collaborative team pipelines
• Speaker communication and real-time direction with voice actors and composers
• Cross-platform audio budget management (CPU, memory, voice counts)

• Wwise-101: Wwise Fundamentals | Audiokinetic | November 2018
• Wwise-201: Wwise Interactive Music | Audiokinetic | April 2020
• Dolby Atmos Certified Mixing Engineer | Dolby Laboratories | September 2022

Bachelor of Science in Sound Recording Technology
University of Colorado Denver, Denver, CO | August 2013 – May 2017

Justin Phillips
(555) 814-2293
[email protected]
Pittsburgh, PA

Specializes in indie film and commercial audio post, where tight picture-lock deadlines and last-minute director notes demand both technical fluency and creative flexibility. Skilled in Pro Tools HDX session architecture, Izotope RX noise restoration, and multi-stem delivery formatting for streaming and theatrical distribution. Brings a background in live sound reinforcement that shapes how mix decisions translate outside a controlled room. Built a reputation at two regional production houses for delivering broadcast-ready mixes that clear QC review on first submission.

Audio Post Engineer, Irongate Picture & Sound, Pittsburgh, PA | March 2021 – Present

• Lead audio post on four to seven short-form documentary and branded content projects per quarter, delivering final mixes to Netflix, Hulu, and HBO Max loudness specs without a single QC rejection across FY2022 through FY2024.
• Designed a session template library in Pro Tools HDX covering six project types (dialogue, music, hybrid, ADR, M&E, podcast), cutting new-project setup time by roughly 45 minutes per session.
• Restored location-recorded dialogue for a 22-minute documentary shot in an industrial warehouse, using iZotope RX 10 spectral repair and noise reduction to salvage 14 scenes that production flagged as unusable.
• Collaborated directly with three independent directors during picture-lock mix reviews, adjusting panning, reverb tail lengths, and music bed levels in real time to match narrative intent.
• Formatted and delivered 63 total deliverables across 11 projects in 2023, including stereo, 5.1, and M&E stems, all meeting client-specified codec and sample-rate requirements on first export.
• Tracked and mixed original score for a regional tourism campaign alongside a composer working remotely in Nashville, coordinating session file exchange via Dropbox and resolving two plugin-version conflicts that had caused sample-rate mismatches.
• Mentored one junior assistant engineer over a six-month period, covering console routing, gain-staging discipline, and deliverable naming conventions used by the studio’s broadcast clients.

Live Sound Engineer, Trestle Sound & Productions, Pittsburgh, PA | August 2018 – February 2021

• Operated FOH for 80-plus live events per year across venues ranging from 300-capacity clubs to 4,500-seat amphitheaters, mixing on Yamaha CL5 and DiGiCo SD9 consoles.
• Built and maintained show files for 12 returning touring acts, storing snapshot-based console states that let crew load a working mix baseline before doors opened each night.
• Diagnosed and resolved a recurring low-frequency feedback loop at a 1,200-seat theater caused by monitor wedge placement interfering with the room’s front-fill array, eliminating a complaint that had persisted across three prior engagements.
• Coordinated wireless frequency coordination for events with up to 24 simultaneous RF channels, using Shure Wireless Workbench to identify clean spectrum in Pittsburgh’s RF environment and avoid drop-outs during live broadcast events.
• Prepared detailed stage plots and I/O lists for 18 corporate and festival clients per year, distributing finalized documentation to production managers and backline crews no later than 72 hours before load-in.
• Trained two new hires in monitor mixing fundamentals and RF hygiene over a four-week onboarding period, resulting in both engineers independently running monitor world within their first month.

Studio Assistant Engineer, Drummond Recording Works, Pittsburgh, PA | May 2016 – July 2018

• Supported lead engineers across recording and mixing sessions for local rock, hip-hop, and folk artists, logging 400-plus studio hours across two years.
• Prepared microphone configurations for drum tracking, including multi-mic setups using large-diaphragm condensers, dynamic close mics, and room pairs, referencing engineer notes and adjusting placement based on feedback during record checks.
• Managed the studio’s physical patch bay and cable inventory, cataloging 230 individual cables by type and condition and flagging 17 damaged lines for replacement before they caused session interruptions.
• Ran punch-in recording and comping sessions in Pro Tools for vocal and instrument overdubs, keeping performers in the creative zone by minimizing technical interruptions between takes.
• Edited and compiled drum performances for four EP projects by aligning transients to a reference grid, removing two to three ticks of latency introduced during the analog-to-digital conversion chain.
• Absorbed gain-staging and headphone mix principles by assisting on sessions across genres, developing an ear for how pre-amp drive and monitor levels shape a performer’s delivery.

• Pro Tools HDX session management and routing
• Noise restoration and dialogue cleanup (iZotope RX 10)
• Live sound reinforcement and FOH console operation (Yamaha CL5, DiGiCo SD9)
• Stem and deliverable formatting for streaming and theatrical specs
• Microphone selection and placement for studio and location recording
• Signal chain diagnostics and outboard gear troubleshooting
• Producer and director collaboration during live-to-picture mixing
• Spoken-word and music mix translation across near-field and consumer playback
• Adobe Audition for rapid podcast and commercial turnaround

• Avid Certified User: Pro Tools | Avid Technology | September 2022
• Dante Certification Level 2 | Audinate | April 2021

Bachelor of Science in Audio Recording Technology
Duquesne University, Pittsburgh, PA | August 2012 – May 2016