Recording engineers have an interest in maintaining their roles as skilled professionals as compared to external competitors, which increasingly include unpaid amateurs and automated software tools. They do this through a variety of material-semiotic demarcation practices. Formal modes of demarcation, such as unionization and professional attire, have largely eroded in recent decades, making informal practices increasingly important. These informal demarcation practices, which I term ‘shibboleths’, allow engineers to locally observe and perform differences between ‘real’ engineers and non-engineers (amateur and automated) while also controlling the visibility of these performances for various audiences. I situate the shibboleth concept within the existing literature on boundary objects and boundary-work, suggesting that it is useful for analyzing situations where collaboration and consensus temporarily break down. I consider two examples: electrical audio cable wrapping techniques and hearing the artifacts of digital vocal tuning software.
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