Inaam Haq graduated in 1997 and was immediately hired by renowned production studio Cherry Beach Sound, where he’s worked ever since. Now the head engineer there, Inaam is one of our many award-winning graduates who’ve stamped their name on some true masterpieces. With a Grammy Award for his work on Uptown Funk, Inaam is a living testament to the lifelong commitment and patience needed to become part of the highest echelon of the music industry.
Working in a recording studio is often the first thing that comes to mind when someone considers a career in music production. And while demand for recording, mixing, and mastering engineers has been growing steadily for decades, it’s not easy to land a job at a studio working on world-class projects. It’s far more common for young engineers to build their own clientele as they develop their pedigree and build experience over time.
RAC Montreal grad Paul Col is sound designer with Oscar-winning credits. His portfolio as a sound designer and editor, specializing in vocal editing, includes Dallas Buyers Club, Demolition, Louis Cyr, and 1987. He has also done sound editing for a number of TV series including Big Little Lies and The Morning Show, where he supervises sound editing.
Hartwall Arena. O2. The Bell Centre. Shanghai Stadium. Scotiabank Arena. Osaka Dome. And hundreds more. Patrice has built a career designing the logistics for shows and festivals in the best venues, with the best artists. Since graduating from RAC Montreal two decades ago, he’s been working as a live sound engineer for Solotech, the industry’s leading live sound company. Now an experienced project manager there, Patrice has been responsible for Prince, Celine Dion, and Momford and Sons tours, as well as live experiences at Osheaga, iHeart Festival, Victoria’s Secret Fashion Show, the JUNO Awards, and ÎLESONIQ, previewed below.
Innovative experiential design has caused the live sound industry to explode. World tours by artists like Ariana Grande, U2, and Chance the Rapper, to say nothing of festivals like Coachella and Burning Man, have transformed live music into a multi-sensory phenomenon. But while a headliner might steal the show, it takes an army to put one together. The audio-visual design and implementation that breathes life into live music takes dozens of sound engineers and audio technicians working behind the scenes.
Halo. Assassin’s Creed. Zombieland. Deadpool. Mad Max. Roller Coaster Tycoon. After graduating from RAC, Sam Girardin created GameOn Audio and has successfully grown his company into one of the world’s premier production organizations. GameOn offers services in motion capture, audio production, and localization, with hundreds of credits on some of the most popular game and film projects in the world.
Companies like GameOn put the reality into animated, virtual, and augmented reality. Creating, recording, and processing realistic sound and motion is the key to creating scenes that mimic real life—tricking our senses, giving us a deeper appreciation for the entertainment we consume.
Since graduating from RAC Montreal in 2015, valedictorian Patrick Bourget has been extremely busy. He was hired by Indica Records as a recording engineer and founded Chit-Chat Distro, a music distribution service based in Montreal. He serves as a juror for FACTOR, issuing grants to musicians for a variety of production projects across Canada. In 2017 he was hired by the pioneering AI-mastering company LANDR, and in just two short years has become an operations manager there. He still maintains his roles with both Chit-Chat and FACTOR.
Creative entrepreneurship is a bourgeoning career path. With versatile production skills and an business-savvy mind, you can create an endless supply of opportunities for yourself in the vast world of sound and music. As you can see with Patrick’s resume, being an entrepreneur doesn’t mean you can’t work for other companies; rather, it means viewing your unique skill set as a service you offer, with the aim of always improving that service.
John Szebegyinszki is a freelance creative producer who until recently managed creative projects at Tendril Studio. As a senior producer there, he oversaw creative ad projects for Edge of Tomorrow, Nike, Microsoft, Facebook, and Intel, to name a few. John has also been part of developing several films as VFX (visual effects) coordinator and producer. The field of production is vast – John has found his niche in branding, where he uses his production expertise to develop and reinforce brands through visual and sound design. Here’s a sample of one of John’s projects:
Sound design! It’s what brings a visual project to life and transforms the viewer’s experience. Designing sound for film is a form of art. First, the scene’s message needs to be understood: what’s happening? What emotions are being communicated? When a sound designer is given a scene to work on, they often need to build the entire soundscape from scratch, and they may only have a few seconds of footage to effectively communicate their message. Second, the sonic approach needs to be established. Sometimes, the scene calls for sound that is highly consistent with the visuals. Other times, a more discretionary approach of design is called for. In both cases, the key word is creativity. Finally, it takes a deep understanding of signal processing and the physics of sound to actually deliver an effective final product. When it all goes right, you end up with the kind of results John has built his career on.
Paul Awad landed an internship at The Beat in 2012 after graduating from RAC, and he’s been there ever since. For several years he produced The Morning Show, Montreal’s most-listened to morning radio show. He now serves as the program director for the entire station. Here’s an interview we did with Paul in 2015, when he was still a show producer.
Radio broadcasting is all about the ratings! Keeping your listener base tuned in for just a few extra seconds can be worth hundreds of thousands of dollars in ad revenue, which is needed to pay artist royalties. As the producer of a radio show or an entire station, your job is to use listener data—when people tune in and out—to create engaging media by combining existing content like songs and ads with live content like commentary and audience engagement segments.
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