1701A Sound Designer / Editor
Thank you very much to everyone who has applied for this position. Applications closed 24 February, and we received 274 submissions for the role. We’ve now finished reviewing everyone’s work, and we’ve been very impressed by some of the sound design pieces we’ve received, the standard this time really has been very high. We’ll soon start reaching out to let everyone know the outcome of their applications, so if you sent in a submission for this, stand by for further news. Thanks!!
Thank you very much to everyone who has sent in submissions so far! At quick look/listen, we have some really great sound design to dive into. To everyone who emailed over the weekend asking for a time extension – formal review of the applications begins 10am Wed 15 February, which is why we initially gave that as the closing date. However, it’s going to take at least a few days for us to work through all the applications, so we will continue accept new submissions while we’re still reviewing. New closing date will now be Friday 24 February
About the sound design examples we’re receiving – many of these are really great, and exactly what we wanted to see and hear. In some cases, however, sound design examples submitted are not in the style we asked for, and probably don’t really represent the full range of the person applying. Because all we have to go on at first are your two sound design examples, it’s super important to pick the right ones to grab our attention. We really want to see examples that are stylistically big, bold, cinematic, dramatic, multilayered, and hyper detailed, appropriate for our world of highly creative, heightened reality advertising, film trailers, & new media. Sending us scenes purely with everyday dialogue and foley and some layered atmospheres doesn’t tell us what we need to know about you as a designer.
Pick visual examples which let you sound design with hyper detailed movement, big dynamic range, hits, sub hits, glitches, whooshes, super creative sound design elements, really go to town on your creative. If you haven’t yet been involved in projects like that, create a couple of bespoke examples to send us. Pick an intricate animation, a film trailer, an online advert and redesign that – we do accept those as long as all the guidance we’ve given in the job ad and FAQs has been followed. If you’re short of sound source we can help with that, check out the FAQs for more info. Your examples don’t need to be long, 30-45 seconds is plenty for us to get the idea. Everything you need to know is set out below, so do take time to read and understand the job info and FAQs, so you know how to make an application that will really blow us away – we LOVE when that happens!!
We’re looking for a full time inhouse sound designer/editor to join our Bristol studio. Our project load is increasing and we need extra help for our existing team. This is a split role encompassing technical, creative, and practical skills. You’ll be working with the creative team on Pro Tools tracklay and creative sound design to picture projects – you need to be super strong at this as you’ll be working under some high pressure deadlines. In down time, you’ll also be working with with our sound recordist, to edit, maintain and output high quality and integrity sound recording sessions for internal library use which is beautifully edited, metatagged, mixed & mastered for use. Additionally, you’ll help out where needed with internal and field sound recording sessions, and managing studio kit inventory.
What You’ll Be Doing:
- Creative sound design to picture
- Pro Tools tracklay & mix
- Sound editing/cleanup
- Sound recording session assistance
- Studio inventory co-ordination & assistance
- SFX creation, mix & mastering
What You’ll Bring:
- Pro Tools ready & fast
- Creative flair for sound design & tracklay to picture
- Focused and disciplined, long concentration span
- Super organised with strong attention to detail
- Can be available in Bristol for reasonably prompt start
- Commencing asap, full time inhouse contract.
HOW TO APPLY
You’ll need to do the following in your email application
- Follow the “Preparing Your Submission” instructions below very closely
- Send us 2 sound design examples in the style we’ve asked for below
- Answer point by point the questions detailed below
- Attach your CV as a pdf
- Tell us a little about you.
Preparing Your Submission:
1. VERY IMPORTANT: Add the email address “email@example.com” to your address book/contacts list/white list, so you’ll be sure to receive the autoresponder telling you we got your message.
2. Create an email addressed to firstname.lastname@example.org.
3. In the subject line of your email, put “1701A Sound Designer/Editor”, your name, and cellphone number, formatted like this: “1701A Sound Designer/Editor Jo Bloggs 07665 125 978”
4. Attach to the email your current CV as a pdf. Be sure this CV includes at minimum the following information.
- Your current physical address
- DAW competencies and skill levels
- Audio qualifications/training, and the dates you achieved these
- Link to your website (if you have one,this is optional)
5. To begin your email, make a heading “SOUND DESIGN EXAMPLES“.
a) Paste in 2 clickable, streamable links to video examples of your sound design to picture. Choose examples that are stylistically big, bold, cinematic, dramatic, multilayered, and hyper detailed, to really get our attention. If you don’t have examples like this, take some time to create a couple of demos bespoke for this application, minimum length 30 seconds – doesn’t need to be much longer than that. For review, we tend to prefer Vimeo, Behance, Youtube for ease of streaming, however open to other
options so long as they work seamlessly. Passworded links are fine, use “radium” for the password.
Please double check your links before sending to be sure they are directly clickable from your email,
streaming without error, and don’t require us to copy/paste into browser to access.
b) Underneath each of your 2 links, write us a paragraph about the tools you used to create the sound design. If you used SFX libraries, tells us which ones. If you created some of the SFX yourself, tell us very briefly how you did it, and tools you used.
6. Below your ‘SOUND DESIGN EXAMPLES” section with your streamable links and notes, make a new heading, “TECHNICAL” and in brief bulletpoint-ey fashion, answer the following questions.
What Pro Tools version are you currently using? Rate yourself as “intermediate”, “advanced” or “superhero”. (This role isn’t for Pro Tools beginners)
Do you use Logic? If not, that’s fine, just say so. If you do, what version? Rate yourself as “beginner”, “intermediate” or “advanced”.
Audio File Editing
List up to 5 tools you use for audio cleanup, repair and editing? Rate yourself on each as “beginner”, “intermediate” or “advanced”.
Creative Sound Design
List up to 5 of your favourite plugins that you use for creative sound design and rate yourself on each as either “beginner”, “intermediate”, or “advanced”? Give 1-2 sentence summary of your favourite way to use each of these. If you don’t use any plugins that’s fine, just say so.
a. List up to 5 compressors, EQs or physical outboard machines you’ve used before, and rate yourself on each as either “beginner”, “intermediate” or “advanced”. Give a 1-2 sentence summary of what you liked about each of them. If you’ve not used hardware and only ever worked in the box, that’s ok, just say so.
b. Have you worked on a physical console desk before? (SSL, Neve, similar?) If not, that’s ok, just say so. If so, specify which model/s, and rate yourself “beginner”, “intermediate”, or “advanced”.
7. Below your “TECHNICAL” section, make a new heading “ABOUT ME“. Tell us:
- Where you saw the ad or how you found out about this position
- What you’re doing right now
- How your experience/skills would bring value to the team, making specific reference to the information we’ve given about what the job requires
- Approx Salary expectation
- Approx availability date to start
We strongly recommend reading through the FAQ at the bottom of this page, you’ll find some useful insights about what we look for in applications.
8. STOP! Go back and double check: have you carefully followed Steps 1 – 7? If not, please now revise your application in line with the formatting and info we’ve asked for.
9. Got Steps 1 – 7 covered? Great, hit “send”, and throw your hat in the ring!
CLOSING DATE FOR APPLICATIONS
- Fri 24 February.
WHAT HAPPENS NEXT?
- There’ll be an ongoing first stage review of all applications received.
- Selected applicants will be invited by email to complete a timed downloaded demo project
- Successful demos will be invited to proceed further to initial phone interview stage
Most of your queries will be answered in the FAQ below so please do read through these before reaching out to us direct, thanks. Anything not covered in the FAQ, contact us on email@example.com and we’ll do our best to help.
FREQUENTLY ASKED QUESTIONS
It’s really well worth taking a few minutes to read through the FAQ below. You’ll find some great insights about what we’re looking for, common pitfalls to avoid, and how best to grab our attention with your application. The FAQ is split into 4 sections.
- Who Should Apply: Q1-10
- Sound Design Examples: Q11-17
- Application Format: Q18-25
- After You Apply: Q26-34
WHO SHOULD APPLY?
Q1. Do I need to have paid, professional sound design experience with live project showreel
material to apply for this role?
A. Not necessarily – we’re looking for ability and right fit for the team. A more experienced and proven person will likely find it easier to hit the ground running. A less experienced person with clear talent, prepared to work in their own time with highly dedicated focus to get up to speed very quickly, can also work out really well. We’ve had success both ways in the past, so we’re openminded about this. However, you will absolutely need to demonstrate your sound design chops in a way that resonates with us to get past first stage review for this role, so you’ll need to be sure to send us the right kind of examples in your application. See below Questions 11 – 16 for more info on that.
Q2. I’m great at selecting sounds, managing libraries, creative sound editing and tracklay to
picture, but I’ve not actually made my own SFX before. Can I still apply?
A. Yes you can. It would be great if you could learn to contribute to our internal sound libraries, but if you’re super strong in the other areas we need this isn’t a dealbreaker up front.
Q3.What types of skillsets do you really want?
A. We’ve found everyone brings an individual combination of experience and skills to the team. Our sound creatives tend to be one or a mix of the following:
- Creative Sound Designer (creator/manipulator of micro detailed sound, synths, modulars, field & live recordings)
- Creative Pro Tools Editor (Pro Tools tracklay/sound design/editing/remix/extension)
- Sound Design Programmer (DSP, Kyma, Kontakt, Max MSP, Reaktor, PD)
- Sound Recordist (Field and In Studio)
- Sound Editor/Librarian (cleanup, metadata, server organisation)
- Studio Maintenance ( inventory management, studio maintenance & handiwork, studio cabling, acoustics)
- Producer/Engineer (Pro Tools/Analogue Console)
- Creative Technologist (electronics, instrument build)
Q4. I want to apply, but I’m still on a course of study/otherwise occupied for some while yet?
Will you hold a position open for me until I’m finished what I’m doing?
A. When we advertise a specific role, it’s because we want to find someone to join the team as soon as possible. For full time roles, if you’re not available to get started within a month or so (maximum, pref sooner), then it’s best to wait and apply at a later time when you don’t have existing commitments. For part time or freelance work, get in touch using our Open Submissions procedure here.
Q5. I just want to enquire about an internship or a work placement, or shadowing you for a few
days. Should I apply?
Use our Open Submissions procedure to get in touch about that here.
Q6. I don’t live in Bristol and don’t want to move there, but I’m still interested in the role. Can I apply?
This is definitely an inhouse role. We do work with a small handful of freelancers remotely – use our Open Submissions procedure to get in touch about that here.
Q7. I live in or near Bristol, but I’m not interested to be on your inhouse team. I’d like to work with you freelance. Can I apply?
Again, this is definitely an inhouse role. We do work with a small handful of freelancers remotely – use our Open Submissions procedure to get in touch about that here.
Q8. I’m a sound designer and I already applied via your Open Submissions route. Do I need to
make a separate application for this?
A. Yes, please treat this as a completely separate application. When we’re hiring for a specific position, those submissions always take priority over reviewing the Open Submissions emails we receive.
Q9. Do I have to be a UK resident to apply?
A. Yes. You’ll need to live within commutable distance of Bristol studio for this position. Please only apply for an inhouse position if you have the ongoing unlimited right to live and work in the UK, you are already living or prepared to very swiftly relocate within daily travel distance of our studio, and taking employment with us will not breach any conditions of your UK visa.
Q10. I’ve applied for a role with you before, but was unsuccessful Can I reapply for this role
A. Yes absolutely. We have people on the team who applied with us a few times unsuccessfully before landing a spot on the team. Be sure to always treat each application you make as a separate case, and don’t require us to refer to anything you may have sent us previously. Go ahead and get in touch!
SOUND DESIGN EXAMPLES
Q11. I have a really great CV with fantastic experience and some really big name projects. It’s
all very self explanatory. Shall I just send you that?
A. It’s super important to send examples of your creative work which fit with what we’ve specifically requested. Previously when we’ve received CVs without examples, we’ve reached out to request these, however that’s now become quite time consuming for us to manage. Going forward, we won’t be reviewing applications which only provide CVs, and no links to creative work. We also reserve the right to skip reviewing applications which don’t include examples/demos in the style we asked for.
Q12. I have a quite a few sound design to picture examples. How do I pick just 2 to best
A. Finely detailed, multilayered, slickly mixed, complex sound design to picture and sound effects with dramatic flair, punch, dynamic range and a strong sense of heightened reality – appropriate for our world of film trailers and advertising – get us excited. Beautifully eq’d SFX, comprising a mix of foley, found sound, digital & processed sound layering, which you’ve created and manipulated yourself, are always super interesting for us. Maybe you’re less of a pure SFX creative, but you’re a Pro Tools genius who can sound design, tracklay, and can pull disparate music and sound elements together into amazing augmented creative mixes and edits to picture – that’s ok too. It’s all relevant to this role.
Q13. I have examples of my sound design to picture, but they don’t really fit the description
you’ve given in Question 11 above, as being exciting for you. Shall I just send them in anyway?
A. If you’re lacking the right kind of examples, you’ll improve your chance of success by creating bespoke pieces which are in line with what we’re looking for. These don’t have to be lengthy, a 30- 45 second duration per video is enough to give us a good feel for where you’re at. Sending examples which don’t fit what we’ve specifically asked for makes it unlikely your submissions would be earmarked for potential shortlist. Additionally, we do reserve the right to skip reviewing applications which don’t include examples/demos in the specific style we asked for.
Q14. I really want to apply with you, but I don’t have a showreel yet because I’m just getting
started. How am I supposed to give you examples of my work?
A. It’s totally ok if you don’t have paid professional showreel projects to share. However, in our experience, creatives who do best in our environment tend to work independently in their own time to develop their craft, and they’ve likely been regularly doing this in addition to any University assignments. If they haven’t had paid projects, then they’ve been privately rescoring and redesigning film trailers, adverts, and other video assets for their own development, albeit not sharing these publicly for copyright reasons. So passworded links to redesigned/resoundtracked videos are fine to submit.
Q15. Can I just submit my University portfolio?
A. When reviewing recent graduates, we look for indications that they’ve been working independently to develop themselves, and not simply done the minimum assignments they needed to do to pass their course. Additionally, the style and tone of Uni Assignments may not fit with the demo style we’ve asked for. If you’re a recent graduate or you don’t have paid professional portfolio work which fits with the style we’ve asked for, we recommend creating demos specifically for this application.
Q16. Can I submit collaborations with others in my streamable links?
A. We prefer that you don’t, because it’s you as an individual we’re potentially hiring.
Q17. I can’t afford to spend money on new sound libraries right now, and I don’t have the know-how/equipment/means to record, create and design extra assets in time to submit for the deadline. What can I do?
A. Email us on firstname.lastname@example.org with email subject header “1701A Sound Source Request (Your Name, Your Mobile No)”. Within 24 hours we’ll send you download links for the Fairy Garden and Mech Warrior sound source collections from our previous Project OpenLab, licensed for use in this job application. You’re free to use the source as is, twist, manipulate, pitch down, pitch up, compress, distress, augment, add in with other sounds, be as creative as you like! We don’t suggest you could create your demos entirely from this source, however, it will definitely add a decent boost and some fresh sounds to what you already have. There’s no advantage or disadvantage to your application for using this source, it’s simply a resource that’s here to help you if you feel you want/need it. If you do use our sounds, just mention briefly when you’re writing your paragraph underneath each of your sound design examples. If you don’t use them, that’s totally fine too!
Q18. Why do I need to add your email address to my contacts/whitelist?
A. To be sure you’ll get our autoresponder confirming we’ve received your email. That way, you don’t have to wonder if we got your message, or phone us or email again to find out.
Q19. I’d rather not follow the application format you’ve set out above. I have my own way of
doing things, and I’d like to impress you with the creativity of my own application format. Is
A. We work often with complex written briefs, so we’re interested to see how you get on with independently interpreting and following a set of written instructions. A good way to start showing us right away you can do this, is by following the guidance we’ve set out. Focus your creativity on your sound design to really impress us.
Q20. Why do the links have to be clickable and streamable? Can’t I just send you a WeTransfer
or attach files to the email, or something like that?
A. We used to accept downloadable material, however we’ve recently decided to change our approach. We receive a very high volume of enquiries and submissions, and it’s become too unwieldy for us to manage our server space to accommodate the corresponding data storage load for downloadable submissions. So for initial enquiries, submissions and applications, clickable, streamable links only please, we no longer accept downloads.
Q21. What type of streamable links will you accept?
- Vimeo, YouTube, Behance, other publicly available video services are fine
- Passworded access is ok if you supply us the password, please use “radium”
- Dropbox is ok if necessary, but the streaming experience often stops/starts while in progress which isn’t awesome
- We find Google Drive links to be very buggy and often don’t work properly, so prefer to avoid these
- Please ensure each of your links leads to a specific video or track. If it leads to multiple videos or tracks, we’ll only review the first 2 on the page
- Avoid sending links which can only be viewed by being logged into a specific email account – as applications are reviewed on a team wide basis
- We also ask that you refrain from publicly naming/ identifying/ associating your videos online with Radium Audio to avoid any confusion about who has actually created the work
Q22. Can’t I just give you a link to my website/bandcamp/soundcloud/vimeo/youtube/other
account for you to explore? Why does each link have to lead to a single specific video?
A. We receive a very high volume of submissions ongoing, and we have limited time to allocate to reviewing each one. Sending us 2 direct links to videos gives you the opportunity to frame your strongest work so we focus on it right away and use that to form our first impression.
Q23. Does my CV attachment format matter? You’ve asked for a pdf. I’d rather send it as a
word/pages/text/something else file?
A. Pdfs only, thanks!
Q24. Is it ok if I put the links, answers to questions and other information you’ve asked for in a completely separate document and attach that to my email along with my CV attachment?
A. Preferably not – that complicates our review process. Your application should only have 1 attachment, being your pdf CV. Please put the links and other information we’ve asked for straight into the body of your email, thanks!
Q25. So I’m going to really exaggerate my experience and skillsets in my CV PDF because that’s
what everyone does, right?
A. You’re right, people often do this and you can frequently get away with it at initial application stage. However, if we progress to demo and phone interview stages with you, the exaggeration becomes quickly apparent, then things get awkward, and everyone’s time has been wasted. So be honest. For example, don’t tell us you have “vast experience” with Ozone when actually you’ve only used it a couple of times and you’re still feeling your way with it. We don’t expect you to be an expert in everything. But it’s important to be as accurate as possible in your self assessment.
AFTER YOU APPLY
Q26. How will I know if you got my email?
A. You’ll receive our autoresponder confirming this. If you don’t receive it, check your spam, or your bin. Some ISPs will filter this out before it even gets to you. However, that shouldn’t happen if you ensure you’ve added email@example.com to your contacts and/or whitelist.
Q27. The stats on my videos say you haven’t watched them yet? Are you definitely reviewing my
A. Sometimes people tell us that according to the tracking stats their submission hasn’t been reviewed by us, or even played at all. However when we go back and check, we find we’ve definitely accessed their links, played their submission, and made a record of this in our notes. We don’t have an explanation for why the tracking stats would say otherwise, sorry.
Q28. How will I know if/when you’ve reviewed my submission? Should I follow up my initial
email with another email or phonecall?
A. So long as you’ve followed our requested application format above, we will definitely review your submission just as soon as we can. We prefer that you don’t mail or call to follow up, as these further enquiries do become very timeconsuming for us to deal with on an individual basis. We will definitely reach out to you, if we want to take things further.
Q29. Can I get some further information about the “timed, downloaded demo project” you refer
to in the job ad above?
A. If we invite you to continue to this stage, we’ll then give you further information about this, and you can decide beforehand whether you’d like to proceed.
Q30. Can I get some idea of how recruitment for the role is progressing?
A. Keep an eye on this job page, and Facebook. General updates will be shared with everyone as/when appropriate.
Q31. Will I hear back from you at all after the initial auto responder, if I’m not successful?
A. Yes, absolutely. We always get back to everyone who applies with us even if they’ve been unsuccessful. This may take some time though, so please be patient.
Q32. If I don’t hear back from you quickly, should I just assume I’ve been unsuccessful?
A. No, not necessarily. If you haven’t had an email from us confirming you’ve been unsuccessful, then you’re still potentially under consideration. We have several cross check review sessions amongst the team as part of our assessment process. Applicants not initially flagged for progression, are often added to shortlist later in the process if selected out at cross check review, and the team agrees on it. Things can change quite a lot from initial submissions, through phone interviews, demo stages, and finally, in person interviews at the end. The candidates who look super strong in the very beginning, are not necessarily the ones who are offered a spot on the team in the end. We don’t rule anything out until the process has reached its full conclusion. So neither should you!
Q33. Can I get some feedback about my work?
A. We receive frequent requests for this. In an ideal world we’d love to be able to feed back on all submissions. However, due to volume received and time constraints that isn’t possible. So to be fair to everyone, we will only undertake that we will enter into individual discussion about creative work with applicants who proceed to initial phone interview.
Q34. How long should I keep my streamable links live after you’ve filled the role?
A. It’s not inconceivable that we might come back to your application at a later date, even if you are unsuccessful this time. That becomes much easier if your links are still accessible. However we understand if you prefer to take these offline.