Career Overlap Transition record Edition 1 · ESCO v1.2.1
Table 1Transition record

lyricisttosound editor

A lyricist already meets 27% of what the sound editor role asks for. The move turns on 12 required skills not yet in the profile.

From lyricist
27%
Overlap1
To sound editor
8 Skills carried over
12 Required, not held
73.2 Difficulty2
Career overlap Distant match

27%

Learning distance Substantial retraining

73.2/ 100

1 Share of the sound editor role’s weighted skill requirement already met by the lyricist profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.

Why

Why this move works

A sound editor role treats 5 of its required skills as things a lyricist already does. These are the ones it depends on most.

  • attend music recording sessions
  • copyright legislation
  • film music techniques
  • musical genres
  • musical theory

What stands in the way is 12 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.

Table 2

Table 2 · What you already bring

Of the 8 skills that carry over, these are the ones fewest other occupations ask for. A sound editor role needs them, and most people applying for one will not have them already. This is the part of a lyricist background worth leading with.

Skill the target role also needs Area
  • already held attend music recording sessions communication, collaboration and creativity
  • already held film music techniques arts and humanities
  • already held transcribe ideas into musical notation communication, collaboration and creativity
  • already held work with composers communication, collaboration and creativity
  • already held musical notation arts and humanities
  • already held musical theory arts and humanities

All 8 carried skills, including the 5 the sound editor role treats as required.

Table 3

Table 3 · What you would need to learn

The 25 missing skills fall into 7 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.

Skill to acquire Tier
01 communication, collaboration and creativity 6 required, 6 supplementary
  • required, not held structure soundtrack required
  • required, not held analyse a script required
  • required, not held consult with production director required
  • required, not held coordinate music with scenes required
  • required, not held familiarise with personal directing styles required
  • required, not held follow directions of the artistic director required
  • optional, not held draft music cue breakdown optional
  • optional, not held purchase music optional
  • optional, not held collaborate with music librarians optional
  • optional, not held organise compositions optional
  • optional, not held rewrite musical scores optional
  • optional, not held transpose music optional
02 working with computers 3 required
  • required, not held edit recorded sound required
  • required, not held synchronise sound with images required
  • required, not held search databases required
03 management skills 2 required, 1 supplementary
  • required, not held finish project within budget required
  • required, not held follow work schedule required
  • optional, not held engage composers optional
04 information and communication technologies (icts) 1 required
  • required, not held audio editing software required
05 arts and humanities 3 supplementary
  • optional, not held file-based workflow optional
  • optional, not held film production process optional
  • optional, not held musical instruments optional
06 information skills 2 supplementary
  • optional, not held archive documentation related to work optional
  • optional, not held draw up artistic production optional

1 further area in the appendix

Table 4

Table 4 · Where to start

The 3 entries a sound editor role is least likely to hire without. The ordering is computed from the skill data, not from what pays.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 8 skills that carry over
Skill Type
  • already held attend music recording sessions skill
  • already held copyright legislation knowledge
  • already held film music techniques knowledge
  • already held musical genres knowledge
  • already held musical theory knowledge
  • already held musical notation knowledge
  • already held transcribe ideas into musical notation skill
  • already held work with composers skill
The 1 learning area not shown above
Skill to acquire Tier
07 working with machinery and specialised equipment 1 supplementary
  • optional, not held synchronise with mouth movements optional
13 supplementary skills, helpful but not required
Skill to acquire Tier
  • optional, not held draft music cue breakdown optional
  • optional, not held purchase music optional
  • optional, not held archive documentation related to work optional
  • optional, not held collaborate with music librarians optional
  • optional, not held draw up artistic production optional
  • optional, not held engage composers optional
  • optional, not held file-based workflow optional
  • optional, not held film production process optional
  • optional, not held musical instruments optional
  • optional, not held organise compositions optional
  • optional, not held rewrite musical scores optional
  • optional, not held synchronise with mouth movements optional
  • optional, not held transpose music optional
17 held skills the sound editor role does not ask for
Skill Type
  • not needed by the target role adapt to artists' creative demands skill
  • not needed by the target role advise on music pedagogy skill
  • not needed by the target role compose music skill
  • not needed by the target role consult with sound editor skill
  • not needed by the target role create a rhyme scheme structure skill
  • not needed by the target role create musical forms skill
  • not needed by the target role match lyrics to mood of melody skill
  • not needed by the target role music literature knowledge
  • not needed by the target role practise singing skill
  • not needed by the target role record music skill
  • not needed by the target role sing skill
  • not needed by the target role study music skill
  • not needed by the target role study musical scores skill
  • not needed by the target role transcribe musical compositions skill
  • not needed by the target role write musical scores skill
  • not needed by the target role write songs skill
  • not needed by the target role write to a deadline skill
4 gaps that are knowledge rather than practice

Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.

Skill to acquire Tier
  • required, not held audio editing software required
  • optional, not held file-based workflow optional
  • optional, not held film production process optional
  • optional, not held musical instruments optional
Index

Other moves recorded from lyricist

Full index of moves from lyricist

Note

How this record was compiled

Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.