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Temporary Audio Archivist Jobs (NOW HIRING)

Jacob's Pillow Dance

Head Audio Engineer

MA · On-site

$23.58 - $26/hr

Archives and Preservation; The School at Jacob's Pillow; Marketing and Patron Services; Finance and ... and temporary tents. * Support audio activity during load-ins, load-outs, work calls, focuses ...

Hearst

Part-Time Editor

Needham, MA · On-site

$27.55 - $36.73/hr

This temporary role will focus primarily on editing and repurposing digitized archival content for ... Use a third-party AI audio platform to replace copyrighted music with library tracks * Ensure all ...

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How much do temporary audio archivist jobs pay per year?

As of Aug 3, 2026, the average yearly pay for temporary audio archivist in the United States is $72,781.00, according to ZipRecruiter salary data. Most workers in this role earn between $54,500.00 and $83,500.00 per year, depending on experience, location, and employer.

What are the typical challenges faced by a Temporary Audio Archivist and how can they be addressed?

Temporary Audio Archivists often face the challenge of quickly familiarizing themselves with an institution's cataloging systems and audio preservation standards due to the short-term nature of their contracts. They may also need to manage a high volume of audio material with tight deadlines while ensuring accuracy in metadata entry and digital file management. To address these challenges, it's important to communicate proactively with team members, utilize available documentation, and prioritize tasks based on project goals. Building a good rapport with permanent staff can also help streamline workflows and clarify expectations.

What is the difference between Temporary Audio Archivist vs Audio Technician?

AspectTemporary Audio ArchivistAudio Technician
CredentialsRelevant archival or library science certifications, audio preservation skillsAudio engineering or technical certifications, equipment operation skills
Work EnvironmentArchives, libraries, museums, media preservation facilitiesRecording studios, live events, broadcast stations
Industry UsageMedia preservation, historical audio collection managementSound recording, live sound, broadcast production

While both roles involve working with audio, a Temporary Audio Archivist focuses on preserving and cataloging historical audio recordings, often in archival settings. An Audio Technician primarily handles the technical setup, operation, and maintenance of audio equipment in production or live environments. The roles differ mainly in their focus—preservation versus technical operation—but share skills in audio handling and equipment use.

What are Temporary Audio Archivists?

Temporary Audio Archivists are professionals hired on a short-term basis to organize, catalog, and preserve audio recordings. Their responsibilities typically include digitizing analog audio, creating metadata, ensuring proper storage conditions, and sometimes assisting with the retrieval of audio materials. These roles are often project-based and may be found in libraries, museums, universities, or media organizations. Temporary positions are common when institutions undertake large-scale audio preservation projects or need extra help for specific initiatives.

What are the key skills and qualifications needed to thrive as a Temporary Audio Archivist, and why are they important?

To thrive as a Temporary Audio Archivist, you need expertise in audio preservation, cataloging, and metadata standards, often supported by a degree in library science, archival studies, or a related field. Familiarity with digital asset management systems, audio editing/restoration software (such as Audacity or Adobe Audition), and knowledge of archival best practices are typical requirements. Strong attention to detail, organizational skills, and effective communication are crucial soft skills for accurately processing and describing audio materials. These competencies ensure the integrity, accessibility, and long-term usability of audio collections within institutional archives.
What cities are hiring for Temporary Audio Archivist jobs? Cities with the most Temporary Audio Archivist job openings:
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Temporary Audio Archivist jobs near you
Infographic showing various Temporary Audio Archivist job openings in the United States as of July 2026, with employment types broken down into 13% Internship, 17% As Needed, 13% Full Time, 4% Part Time, 49% Temporary, and 4% Nights. Highlights an 3% Physical, and 97% Remote job distribution, with an average salary of $72,781 per year, or $35 per hour.

Head Audio Engineer

JACOBS PILLOW DANCE FESTIVAL INC

Becket, MA • On-site

$23.58 - $26/hr

Other

Re-posted 25 days ago

Job description

TITLE: Head Audio Engineer

STATUS: Seasonal

LOCATION: Becket, MA

REPORTS TO: Production Manager of assigned venue

DEPARTMENT: Production

SUPERVISES: -

WORKS WITH: Artistic Programming; Archives and Preservation; The School at Jacob’s Pillow; Marketing and Patron Services; Finance and Operations; Video Documentation Team; Facilities, Safety and Security; Visiting Companies Staff and Artists

ARRIVAL: May 11, 2026

START: May 12, 2026

END/DEPARTURE: End and departure days will vary depending on venue

Ted Shawn Theatre: August 30/August 31

Doris Duke Theatre: August 28/August 29

Henry J. Leir Stage: August 28/August 29

COMPENSATION: $23.58-26.00/hr; Time and a half after 48 hours

SCHEDULE: May: 5 day work week 

June–September: 6 day work week

BENEFITS (ON-SITE ONLY):  Three meals a day, free access to classes, performances, talks, and studio usage. 

During the Festival there are three Head Audio Engineer positions, one for each of the Pillow’s primary venues: the Ted Shawn Theatre (TST), the Doris Duke Theatre (DDT), and the Henry J. Leir Stage (HJL). Candidates will be interviewed for all three and will be assigned to a venue when hired. 

Built in 1942 as the first theater in America designed specifically for dance, the TST is a proscenium venue with motorized linesets that seats 620 patrons. The TST is programmed for 11 weeks of the season with an opening gala performance followed by productions by 1 company a week. The DDT is a modular wood box with flexible retractable seating, extensive catwalks, and robust technical infrastructure. The DDT is programmed for 7 weeks of the season with productions by 1 company a week. The typical TST and DDT performance schedule is 6 shows from Wednesday through Sunday. The HJL is an outdoor uncovered amphitheater style space that is programmed for 9 weeks of the season with most companies’ engagement being one performance. The typical HJL performance schedule is 3 shows Thursday through Saturday. 

Head Audio Engineers are a member of the TST, DDT, or HJL production team and report to that theater’s Production Manager. Their primary responsibility is supporting the installation, maintenance, and operation of audio elements of Festival programming in their assigned venue. During the Festival they work closely and collaboratively with the Production Managers and staff of visiting companies as a member of the run crew for load-in, rehearsals, and performances. They are the primary Audio point of contact for visiting companies once they are on campus. With the assistance of the Audio Supervisor or Assistant Audio Supervisor run audio work calls. The Head Audio Engineer mixes and operates productions that do not travel with a company audio staff. Using information provided by the Audio Supervisor and Production Managers they coordinate show specific requirements that require adjustments or additions to repertory audio systems. They also assist the Production Managers and the Audio Supervisor with the organization and maintenance of their venue’s audio infrastructure, storage areas, and equipment. While the Head Audio Engineer’s primary focus will be supporting the Audio elements of productions in their assigned theater they will assist other production departments and other venues as needed and assigned by the Production Manager.

RESPONSIBILITIES 

  • Participate in the creation of an accessible and collaborative work environment that enables artists and technicians to create together positively and safely.  
  • Join advancing and show specific production meetings as needed. 
  • Assist in the installation of audio systems into all performance spaces, studios, exhibition spaces and temporary tents. 
  • Support audio activity during load-ins, load-outs, work calls, focuses, notes sessions, staging and technical rehearsals, performances, and changeovers.
  • Program and operate the audio console during work calls, technical rehearsals, and performances in the absence of company lighting staff.
  • Assist visiting companies’ audio staff in the programming and operation of the audio console. 
  • Assist the Assistant Production Managers in planning and facilitating any backstage audio needs.
  • Ensure that audio systems are prepared and safe for all activity by leading daily and show-specific checks, maintenance, and set-up.
  • Lead company load-ins, audio checks, and changeovers with the assistance of the Lighting Supervisor or Assistant Lighting Supervisor. 
  • Act as the primary audio point of contact for visiting companies during their time on campus.
  • Remain in communication with Production Managers and the Audio Supervisor and alert them to any unexpected show-specific requirements as well as any equipment or system safety concerns.
  • Maintain clean and orderly audio workspaces, backstage equipment, and storage areas.
  • Assist the Festival Audio Engineer in the installation of audio systems and equipment for non theater based programming.
  • With the support of the Audio Supervisor or Assistant Audio Supervisor create show specific paperwork and changeover plans.
  • Provide support to the Video Documentation Team in recording programming.
  • Support the installation of work and equipment into exhibition spaces.
  • Support the activation of weather plans for HJL and other outdoor programming.
  • Attend all organizational, departmental and production meetings including a weekly All-Staff Meeting.
  • Under the general direction of the DoTP, assist with coordination of emergency response for staff and patrons in the event of an emergency or extreme weather.
  • Complete Adult/Child CPR, First Aid, and Cultural Competence Training (provided to all seasonal staff during the pre-season)
  • Assist and support other departments, including non-production departments, as needed and assigned.

REQUIRED QUALIFICATIONS

  • 3+ years of professional theatrical audio engineering experience.
  • Knowledge of and experience with theatrical audio systems, equipment and standard operating procedures.
  • Knowledge and experience with Google App suite as well as industry-standard applications such as Isadora, Qlab, Watchout, Adobe Premiere, Final Cut Pro, or DaVinci Resolve.
  • Experience troubleshooting and repairing audio systems and equipment.
  • Willingness to learn.
  • Ability to work proactively, creatively, flexibly, kindly, safely, and collaboratively.

PREFERRED QUALIFICATIONS

  • Experience working in a performing arts educational environment.
  • Knowledge and experience in dance production.
  • Experience working outdoors or in non-traditional venues.
  • Understanding of and experience with spatial sound systems and equipment.
  • Experience supervising and managing staff and/or equipment.
  • Knowledge of the Vectorworks suite of software.
  • Experience working on productions that incorporate robotics, motion capture technologies and extended reality technologies such as augmented reality or virtual reality.
  • Experience driving cargo vans and box trucks.
  • Valid driver's license.

SKILLS & QUALITIES

  • Active commitment to Inclusion, Diversity, Equity, and Accessibility.
  • Excellent communication, critical thinking, problem-solving and organizational skills.
  • Ability to read and interpret audio plots and paperwork, stage plans, and related technical documents.
  • Demonstrated ability to conceive, strategize, manage, and prioritize between multiple projects with accuracy and attention to detail.

WORKING CONDITIONS & PHYSICAL DEMANDS

  • Working in wooded areas with exposure to native wildlife including, but not limited to, rodents, ticks, and mosquitos.
  • Working outdoors in all weather conditions including inclement weather.
  • Working 6-day work weeks including early mornings, late evenings, and weekends during Festival weeks and non-Festival programming.
  • Moving equipment up to 50 lbs alone or with assistance.
  • Moving through and between multiple locations throughout the entire campus.
  • Remaining in a stationary position for extended periods of time.
  • Working at heights above 6 feet and up to 30 feet.
  • Ascending and descending straight and step ladders.
  • Operating push around or drivable person lifts including at heights.
  • Working in show conditions with theatrical and atmospheric elements including but not limited to: fog, haze, strobes, dim lights, and loud sounds.

APPLICATION PROCESS

*We believe that no one meets 100% of the listed qualifications. We are less concerned about whether you've done everything on a laundry list of specific things and more interested in cultivating a pool of candidates who want to join a connected, mission-driven, hard-working team driven by creativity, curiosity, inclusion, integrity, flexibility, and partnership.

HIRING PROCESS

  1. Apply: Interested individuals are encouraged to send a cover letter, resume, and references by submitting an application using the "Apply" buttons below. Video and/or audio applications are welcome (though not required) in addition to written expressions of interest.
  2. Interview: Pre-Screen on Zoom, 1-2 interviews with Hiring Manager and other JP staff on Zoom.
  3. Supplemental Materials: A writing sample, spreadsheet example, or other relevant materials may be requested from candidates should they be a top candidate.

If you need accommodations to make this application process happen, please connect with us at hr@jacobspillow.org.. We will work to support you through the application process via email, phone call, and/or video chat.

Apply