Such gate-keeping, whether intentional or not, may be illegal if used to discriminate against potential candidates.
#Michael pro tools software
Second of all, I think Pro Tools can be used as a gate-keeping technique, which says to people that if you don’t know this specific software that costs a lot of money and is extremely complicated, then you can’t be a part of our industry.” It’s Not Ideal, But Is It Illegal?
#Michael pro tools professional
It’s already an adaptive technology, in that using something that’s mainly for professional musicians. “First of all, Pro Tools is software that is not made for in the first place: it has all kinds of bells and whistles on it that podcast producers don’t necessarily need. “I think our industry has needed to do better for a long time, whether that’s public radio, podcasting, or anywhere in between,” said Julia Furlan, host of Vox’s podcast Go For Broke and an adjunct professor at The New School. Everyone is ‘green’ until they’ve been given an opportunity to prove themselves.” “Investing in POC reporters/producers by providing them with an environment where they receive training is vital to diversifying newsrooms. “In my experience, producers of color historically haven’t been given the same opportunities (like working in larger shops that have access to more resources like Pro Tools), and their resumes reflect that,” Lin continued.
“I also think employers should be willing to train people, especially if they have experience with other audio editing software, like Audition. “I recognize that Pro Tools is the industry standard and I think it’s reasonable to expect senior-level producers to have Pro Tools experience,” Lin said. I asked Shannon Lin, a podcast producer at the Los Angeles Times, to expand on her tweet. Yet, if you were to peruse entry-level and/or associate producer job postings, you would find that a majority require at least Pro Tools proficiency, if not “wizardry” (sly is the New York Times, which has adopted the astonishingly vague “ fluency”). That learning, of course, involves an investment of time and of money (tuition for Berklee Online’s Pro Tools certificate, for example, amounts to nearly $6,000). How exactly Pro Tools came to be the production standard in podcasting is a question unto itself, and while a few shops work in the aforementioned Audition, Logic, or Reaper, just about everyone who works in podcasting has at some point had the horrifying realization that Pro Tools is inescapable and they must learn it. It is nightmarish in its complexity, has an (arguably) awful user interface, comes with oft-bemoaned customer support, and is prohibitively expensive, even when compared to similar programs like Adobe Audition. Pro Tools offers layer upon layer of features that, for most podcasts, are entirely unnecessary. Using Pro Tools, it is possible to do almost anything in audio, even though “almost anything” is seldom necessary for all but the most immersive, sound design-forward podcasts. Pro Tools, made by Avid, is a monstrous digital audio workstation (DAW) software.
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