p.183

CHAPTER 13

Jobs. What Can I Do With These Skills?

As mentioned earlier, if you decide to become a recording engineer you are likely to be self-employed. Very few places now offer staff positions in music production. What this means for you is there is not a guaranteed paycheck every month. Your fee will typically be separate from the studio or your employer. The exceptions are with some churches, music venues, theaters, post-production jobs, and live sound production companies. Working from job to job is one of the many reasons you will often take on more than you can handle, because you won’t know when your next gig will happen. Most freelance arrangements do not include any type of contract. Typically, these arrangements are verbal agreements between the engineer and the management or owner of the venue or studio. With most studio arrangements, the engineer is paid by the band, whereas venues usually pay the engineer. Many engineers have other skills they can use when the projects aren’t rolling in. These skills may include building websites, booking or promoting bands, repairing equipment, carpentry, electrical work, and even teaching audio-related classes, like me.

In the late 80s, when I began my career, there were very few home studios. The only affordable options were to record on a cassette four-track, which was only good enough for demo quality, or go to a commercial recording studio. In the early 90s, the digital revolution brought an affordable and less cumbersome recording setup for the hobbyist and home studio. This setup involved the 16-bit ADAT that was often paired with a Mackie console. The ADAT format used a standard S-VHS tape as an affordable alternative to analog tape. Since then, the home studio has continued to grow and you can now more than ever produce professional-quality recordings without going to a large commercial studio.

p.184

Fast forward twenty-plus years and home studios have continued to replace the traditional, larger commercial studios with the digital audio workstation (DAW) taking over where the ADAT left off. Another reason home studios have steadily increased is because recording gear has continued to become more affordable and specifically designed for home use. It is common to track drums at a larger studio and finish the rest of the tracks back at a home studio. With lots of music all the recording and mixing are done in the home studio. Many engineers choose to have home studios rather than work out of commercial studios. A lot of engineers are flexible, owning and running a home studio in addition to engineering and recording projects at outside commercial studios. This flexibility provides a freelance engineer with more opportunities to work more places and meet more clients.

LIVE SOUND ENGINEER

Having toured around the country, I can safely say a lot of local live sound people aren’t known for their punctuality or great communication skills. I have also run across sound people with bad attitudes. They acted as if they were doing me a favor by miking my drums, instead of treating it like part of their job. This is not to say there aren’t great local sound engineers who behave professionally, because I have met plenty. If you can excel in these areas, where many do not, and also have a decent ear, you will likely have plenty of live sound work, at least in my town. Many of my friends and students entered music production by first running live sound.

Unlike a recording engineer, there are generally more opportunities in live sound. This is because more people perform music on a regular basis than need it recorded. I ran sound off and on for many years, often with the offer of more gigs than I could handle at one time. This may have been because I was always on time, easy to work with, and I even knew something about sound. You too will be highly sought after if you are well liked, dependable, and knowledgeable about live sound. If your ultimate goal is to record music, live sound is a great way to meet potential clients to record. As an independent engineer, it will be up to you to find people to record, and running live sound will provide you with an endless list of potential clients.

Places that have live sound include:

Benefits of running live sound:

What Should I Expect to Do if I Run Live Sound?

Depending on the size of the venue and whether you work for the venue changes what your duties may involve. If you are hired by the venue, you will be considered the house sound person or in-house engineer. You will be responsible for setting up and tearing down the sound equipment. At a smaller venue, you may even pull double duty as the sound engineer and the door person or bartender. Whether you are the in-house person or not, your main duty is to set up and run the sound for the band. This usually includes miking the musicians, setting proper mic levels, preparing monitor mixes, and making sure the show starts and ends on time. If you are the in-house engineer, you are typically part of the club staff and additional duties, not related to running sound, may be expected.

A freelance engineer is typically hired by the band to be their personal sound engineer. A freelance engineer typically shows up for their band’s sound check to preset levels and become familiar with the venue. Unlike the in-house engineer, they will only be responsible for mixing the band that hired them.

How Do I Get a Live Sound Gig?

It is common in music production to shadow or assist an experienced engineer. Assisting an experienced audio engineer is a good way to learn more and get your foot in the door. If you don’t know a sound person that you can hit up to assist or cover for, find a venue you like. Scout it out. Make friends with the sound person. Find out if he or she ever needs someone to cover their shift or if they know of any other sound gigs that are looking for help. Offer to help them set up and tear down for free. This will give you an opportunity to become familiar with the venue and build a relationship with the staff. Many live sound engineers are also musicians and may need their shift covered when they are playing or touring.

p.186

What Should I Expect to Get Paid?

Pay varies, depending on the type of venue where the gig is taking place. There is a wide range in the pay scale for audio engineering. As we’ve covered, you may work for free at first, to gain experience. Most live sound gigs start around $10 to $15 an hour, with a shift ranging from one to sixteen hours long. A typical weekend night gig in a small Austin club would pay about $75. If the venue is a restaurant, food may be included with your pay. Weekends generally offer better pay because the shows are likely better attended and there is more money to go around. Most gigs start around 7 p.m. and end around 3 a.m. or within an hour or so after the club or venue closes.

As you become more experienced, you will probably move onto working for bigger and better venues, which are likely to pay more, have better gear, and be more professional. At this level you will probably be paid between $160 and $250 per gig. If you do get a job at a larger venue, you are likely to start off on monitors and not be in charge of front of house (FOH) sound. The monitor engineer (A2) is often the unsung hero of live sound. They are in charge of every musician’s stage mixes, plus keeping the stage clean and organized. If you love music you will hear and see plenty of it, which is a perk.

Churches generally pay a little better, and you hopefully won’t leave work smelling like beer and cigarettes. A church gig may start as early as 6 a.m. and go to about 1 p.m. It can be an hourly paid job or per shift, with the pay varying from $10 an hour up to $75 an hour. The pay depends on the size of the church, the church’s budget, and the importance of sound with the church service. The downside for some is the gig usually starts early, so if you aren’t a morning person a church gig may not be for you.

Local music festivals and other musical events not taking place in an established venue are staffed through a local sound company. However, they will hire reputable freelancers when needed. Local sound companies tend to provide a portion, if not all, of the sound for festivals and other community events. You won’t have to worry about hustling for work if a sound company employs you. They pay either an hourly wage or per project. A huge benefit of working for a sound company is that you won’t have to worry about finding clients or where your next paycheck will come from.

Going on tour with a band or an artist usually pays the best money, as far as live sound gigs are concerned. There is a trade-off: it will be a twenty-four-hour-a-day job and you may not get much time off. The smaller the band, the more likely you will do more than just run sound. You may also help with selling merchandise, driving, some tour managing, running monitors, collecting money at the door, or whatever else they may need. With larger touring acts, the FOH engineer (A1) will only engineer and will not have to do the other miscellaneous jobs that come with touring with a smaller act. As in other venues, you will start on the monitors and work your way up to mixing the front of house.

p.187

If an artist adores you, you may be put on a retainer. The retainer fee guarantees you will be available to this particular artist (or artists) first. The retainer fee also guarantees you some cash when the band or artist isn’t touring. The fee is usually a portion of your typical touring pay.

  TIP

To succeed at live sound:

Handy gear for live sound: flashlight, headlamp, clipboard, ear protection, basic tools (screwdriver, pliers, wire cutters, soldering iron), laptop, interface, measurement mic, iPad, portable printer, and router.

Software requirements: Many venues now use digital consoles. Unlike analog consoles, digital consoles have their own operating system (O/S). This means you will need to be familiar with the O/S of the console(s) you will be working on. Avid consoles are one of the most common digital consoles you will run into. They use Venue O/S. You might also come across Yamaha, Midas, or DigiCo mixers that work on their own propriety O/S. Download software and watch demos for each of these consoles so when you show up for the gig you are prepared. In addition, many manufacturers offer seminars and classes to learn their equipment.

p.188

RECORDING STUDIO ENGINEER

Unless you have mixed more than a few bands, a job at a recording studio usually starts as an internship. As discussed in the previous chapter, don’t attempt an internship until you have knowledge of audio basics and feel you could, with a little more time, run a professional recording session.

Customarily the recording engineer was in charge of the technical aspects of the session such as setting levels, signal flow, and miking. The producer, on the other hand, was responsible for the creative aspects of the session such as songwriting, song selection, and determining a good take. When I started working in a studio it was commonplace for a recording session to have a recording engineer, a producer, and, in many cases, an assistant engineer. In recent years recording budgets have decreased and home studios are replacing larger recording facilities. Nowadays, a recording engineer is often expected to do it all . . . engineer, produce, and act as his/her own assistant.

Almost all studio engineers are self-employed, as very few studios actually have staff engineers on their payrolls anymore. Engineers are typically paid separately from the recording studio. For bands recording in a studio, the studio will generally provide rates with and without an engineer. Let’s say a studio’s rate is $500 a day with an engineer or $250 a day without an engineer. The band hires you as an independent engineer. You and the band agree to book the studio for three days ($750 studio time). You would charge the band whatever fee you feel comfortable charging on top of that $750. If you were to charge $150 a day you would end up pocketing $450. In this case, the band would pay $750 to the studio and then pay you $450 for engineering for a total recording cost of $1200. The band saved $300 by hiring you as an outside engineer versus using the engineer provided by the studio. Typically, bands will settle up with the engineer after they settle up with the studio. This all depends on your agreement with the studio, but you always want to make sure the band covers the studio. Eventually, the more time you book with the studio, the more likely they are to make you better deals in the future. You will be able to increase your fee as you gain more experience and develop a working relationship with the studio.

  TIP

Studios generally have a little wiggle room with their quoted rates especially when money is put on the table!

p.189

I have found that the more I like a band and want to record them, the more likely I am to work below my typical rate. If a band is good and isn’t signed or represented by a huge management company, they are possibly short on funds and can’t afford to spend much on studio time. You might want to consider working with a band like this for experience and to add to your résumé and to get your foot in the door with a potentially successful band. I have made good deals with bands with a verbal understanding that when they do get a real budget they will contact me to work with them. Working on a demo or an EP for less money will pay off, when you get the call for the bigger-budget gig in the future.

You will likely be self-employed, so I suggest you ask the band or artist the following questions I previously mentioned in Chapter 8 before you take on a project.

Four things to know before you record a band:

Even though you will probably take almost any session you can get when you are starting out, asking these four questions can give you a better idea of the project and alert you to any potential red flags.

The budget will give you an idea of where the band can afford to record and how much time to spend on each stage of the recording. It will also help you determine if the band has realistic expectations (number four on the list).

Instrumentation helps you also determine if the budget matches the band’s aspirations. A session recording a singer/songwriter with an acoustic guitar and a vocalist is much different than a session recording a full band. Also, knowing the instrumentation will allow you to mentally prepare for the recording session.

What is the purpose of the recording? A demo to get shows? A self-released CD? A commercial recording on an indie label? What is the length of the recording? Two songs? Ten songs? Answers to these questions can help you determine if the band’s budget aligns with their expectations. Make sure to get the approximate time of each song. I took a session once with a band that wanted to record five songs. I had no idea their songs were twelve to eighteen minutes each! Obviously this band’s jazz jams were very different from the twenty-one songs I recorded for a punk band whose complete album was less than thirty minutes in length!

p.190

Are the band’s expectations realistic? Can you accomplish the recording that the artist wants for the money and talent of the artist? If not, you will want to either resolve this or turn down the project. Be honest with the artist or band if you don’t believe their expectations are achievable, and intelligently lay out an argument why. Don’t get defensive; and stick to the facts.

One of the coolest things about being an independent audio engineer is that you can work at almost any studio you desire. You only need a band or artist with a budget.

ASSISTANT ENGINEER

An assistant engineer assists the engineer or producer with the session. An assistant engineer is more commonly found in larger-budget sessions and in larger commercial studios. Often, the assistant engineer is the main engineer or an advanced intern at the studio that picks up the gig for some extra money. Generally, the assistant engineer is very familiar with the studio, its gear, and the recording spaces. This is helpful to the outside producer or engineer who typically requests an assistant because they are likely unfamiliar with the studio. The assistant engineer, also known as the second engineer, will help with patching, moving mics, computer operation, or any other duties to help the session run smoothly. Assistant engineers usually get paid a flat fee for their services. Personally, I have been paid anywhere from $50 to $200 a day to assist on a session.

MASTERING ENGINEER

As described in Chapter 8, mastering is the final stage of most recordings for an engineer. Mastering engineers either get paid per project or per hour by the band or the record label. The pay scale varies depending on your experience and reputation. If you are very detail-oriented and would be considered an “audiophile” by your friends, being a mastering engineer may suit your personality type. My mastering engineer friends like the fact that they generally spend a day or two, not a month or two, per project. This is because mastering doesn’t require all the production details of the performance, recording, and mixing of the album.

Most mastering engineers have a neutral-sounding room and many sets of high-end speakers to accurately monitor sound. Most mastering engineers also have a favorite analog compressor and/or EQ to help them perform their duties at the highest level. As a mastering engineer, you could work on and complete hundreds of recordings a year. This isn’t really a position where most engineers start but a position experienced engineers move into. Here is one suggested reading on mastering: Mastering Audio: The Art and the Science, 3rd Edition, by Bob Katz (Focal Press, 2015).

p.191

POST-PRODUCTION

Although this book mainly deals with music production, post-production often includes music and engineering skills. Post-production work deals with audio as related to film and video. Post work could include recording voice-overs, dialogue, and mixing audio for picture. Post work could also include Foley work, like recording footsteps, moves, and other specific sounds such as bones being crushed or the sound of gunshots. More recently, post-production work includes audio for phone apps and video games. These are two emerging areas in audio production. If you want more information, there are plenty of books and other resources that specifically deal with post work. Here are some of those resources:

AUDIO FOR GAMES

With over a billion people worldwide now playing video games it is no wonder this area is influencing audio production. As many of you gamers know, audio makes the game more realistic. Sound plays a role in driving the game. Although the audio is typically heard through stereo headphones, the listener will have a 3-D experience. This increased use of 3-D sound in VR has contributed to the advancement of new audio technologies. There are new wearable technologies such as SubPacs and Basslets that allow you to feel low-end vibrations. Also, the 3-D experience has been enhanced by developments in the area of Ambisonic sound. If you are skilled and lucky enough to get a job at a gaming company it will likely be a salaried position. If you freelance you will get paid for each sound FX made, an hourly rate, or per project. If you are interested in exploring this area here are some software and middleware options you will want to consider:

p.192

Additional resources and links:

RADIO PRODUCTION ENGINEER

Radio production jobs can be in public, commercial, Internet, or cable radio. You may be expected to do some of the following:

The pay scale in radio production varies. The good news is radio production jobs are one of the few production areas that you aren’t likely to be self-employed, but instead have a salaried position. The hours will be more traditional and you may even get some type of benefits.

PRODUCER

Not all recording sessions involve a producer, although one may be needed. As an engineer, this means you may get stuck producing by default. Most producers, if they weren’t audio engineers first, have some technical background or knowledge. Producers are usually paid per song or per project by the band or record label. The pay scale can vary from a “spec deal” to tens of thousands of dollars per song or project. Some producers may offer the artist(s) a spec deal. In this case, the producer is footing the bill for the project with a verbal or written understanding that if the song or album does well the producer will get a certain percentage in return. There is no standard deal or rate.

Here are the main duties of a producer:

If a recording session doesn’t have a producer, someone will end up performing these duties. Whether it is the audio engineer, the artist(s), or both who ends up picking up the producing duties will depend on the project.

PRODUCER: HIP-HOP/EDM

In the world of hip-hop and EDM, the term producer is used to describe a broad range of roles. A producer may be credited on an album for a number of things such as songwriting, performing, engineering, financing, branding, and most commonly, making beats. In hip-hop, the producer/beat-maker creates the tracks for rappers/vocalists. In EDM, the producer creates dance tracks. Hip-hop and EDM producers are responsible for creating the beats and the hooks for songs along with the instrumentation. The producer in these genres may also perform other roles of a traditional producer as described in the previous section. There are many tools available to producers of hip-hop and EDM. The Hip-Hop Production class taught at Austin Community College utilizes Cubase along with Native Instruments Maschine and Komplete Kontrol. Ableton Live, Reason, and Fruity Loops (it’s free) are some of the other DAWs used for this job. Consider taking music and songwriting classes if you want to really stand out in this field. Besides selling beats or tracks to your friends and locals, you can sell your tracks online at top sites like: www.soundclick.com, www.beatstars.com, and https://airbit.com/.

LIVE DJ

A live DJ is in charge of playing music at a variety of events. This person may also be expected to make announcements and/or be responsible for putting the “life” into the party. Although some DJs still spin vinyl, most DJs prefer the convenience of a laptop with specialized software to play their music. Some top DJ software options include Serato DJ, Traktor, Deckadance, MixVibes, Virtual DJ, and DJ Mixer Pro. If you choose this career, you will likely work events such as high school dances, corporate parties, weddings, or various dance clubs. Having a large music collection of old and new popular music will be important for this type of gig.

p.194

In larger cities, DJ companies are common and typically have a roster of DJs. The main advantage of working for one of these companies is that someone else will be finding the clients and booking the jobs on your behalf. However, you can often make more money freelancing and running your own DJ business. If you do operate your own business you will need a full PA with a couple of wireless mics, a vehicle to move equipment, a laptop with a large music selection, and a lighting setup. Your pay is dependent on and determined by your skill level, fan base, and connections to the music scene. If you become a live DJ expect to be paid hourly or per gig.

Software and other resource links:

MUSIC AND EQUIPMENT SALES

Music and equipment sales are great jobs if you like working with people, have excellent communication skills, and are passionate about audio gear. Music retail is a way to meet local musicians and music professionals. It may be one of these customers who turns you on to other music-related positions or your next studio/live sound gig. Look for a job at your mom and pop music store or a big chain retailer near you. There are also pro audio companies that sell everything from sheet music to concert PAs who are often looking for knowledgeable sales representatives. These positions are generally paid by the hour plus you receive some type of paid commission for sales you make.

EQUIPMENT MAINTENANCE AND REPAIR

One person who is in constant demand is the person who can repair amps, consoles, tape machines, and any other studio gear or musical equipment. If you are good at or interested in electronics, this may be the career path for you. Fewer and fewer people are trained in basic electronics and circuitry, leaving more demand for people who can fix studio gear and musical equipment. Equipment maintenance is a job you can do out of your house or garage on your own terms. Of course, you would have to travel to recording studios and other businesses to do the troubleshooting and repairs. You could also look for work at music stores or specialty shops.

p.195

In most towns, if you can fix a vintage amp, musical equipment, and studio gear, you are sure to have more work than you can handle. If you are dependable and highly skilled, you will be able to set your own rate and hours. Also, if you possess this skillset you may have an easier time acquiring an internship at a recording studio. To acquire these skills, you can take basic electronic classes or start tinkering around on your own. Some colleges offer degrees in Electronics. Learn about circuits, resistors, and capacitors. Purchase a soldering iron and practice repairing cables and other audio-related equipment. Here are a few places to purchase and check out DIY electronic kits:

DIY kits and websites:

DIY ELECTRONICS

  VIDEO 13.1 DIY RECORDING EQUIPMENT

  https://youtu.be/sVE_hHaNG4o

THE HOME STUDIO

With digital audio technology becoming more affordable, home studios have become a common place for music production. You can have a complete recording studio in your laptop, tablet, or phone. This was unimaginable not too long ago! Technology has made it possible to make recording at home better than ever. A home studio can make recording more affordable for the artist by eliminating the middleman – the recording studio.

For an audio engineer, there are many benefits of the home recording studio. You no longer have to pay a fee for studio time. This makes it easier to charge a little more for your services and still save the band a few bucks overall. I have a home recording studio that can handle most of the projects I am interested in working on. This allows me the ability to record or mix at an outside studio only when necessary, or when a change of pace is needed. I may mix at my friend’s commercial studio to benefit from the automated Trident console and racks of classic gear, or track drums at another studio for a larger, different room sound.

p.196

Another benefit of the home studio is not having to pay rent for an additional space and thus decreasing your overhead. It is hard enough to make money when you are first starting out, and paying to rent a space on top of your normal living expenses only makes it tougher. This is a great way to kill two birds with one stone, or in this case, two rents or mortgages with one place.

Since recording gear has become affordable and easier to operate, many people believe that purchasing the latest software will allow them to produce quality recordings. Without a basic understanding of sound and recording, it is unlikely someone will record a quality, professional product. Professional recording engineers are often underappreciated for their ability to understand sound. That is, until a person with little or no experience attempts to make their first hit record on their own. Clients like this end up at a studio, seeking professional help, frustrated because they spent their recording budget on recording gear without considering you also have to know how to operate it and make it sound good. I’m not saying people can’t get lucky, but good music production takes years of experience and knowledge to create.

If you start a home recording studio, make sure you have more skills than your average hobbyist. Just because you can work a software program or you have great computer skills doesn’t mean you know how to record and mix a record. If having a home studio interests you, learn the basics, get some experience, and figure out how to make records before you consider yourself a professional. Purchasing the tools of the trade doesn’t make someone automatically qualified to make quality recordings.

Pros and cons of a home studio:

p.197

  TIP

Tips on starting a home studio:

Feel out your neighbors and make sure there aren’t city or neighborhood restrictions. You would hate to do a bunch of work only to get shut down or constantly harassed. Check with your city ordinances to find out if your area has specific restrictions.

Register your studio name or production company. This can be done at the city courthouse or online by registering your business as a do business as (DBA), sole proprietorship, or a limited liability corporation (LLC).

Open a bank account under your studio name.

Keep receipts of all your purchases. This will give you proof for potential tax write-offs.

Start accumulating gear: mics, compressors, FX units, and whatever gear you will need, so you can spend less later and put the money you make toward your current living expenses.

Start collecting toys now: tambourines, shakers, specialty amps, a theremin or two, toy pianos, a real piano, and other unique, creative instruments. This can differentiate your studio for an artist who is debating whether to record elsewhere.

TAKE A BUSINESS OR ACCOUNTING CLASS

Part of the Music Business, Performance, and Technology (MBPT) degree plan at Austin Community College requires students to take a Small Business and Accounting class. This makes sense, considering you will likely be self-employed and you will need these valuable skills to succeed.

Every semester my Audio 4 class visits local studios. One particular owner/engineer always advises my students to take classes in marketing and accounting. He is the first to admit that the business side of running his studio isn’t his best asset, because he did not educate himself on how to do these things successfully. If you decide to run your own studio, you will want to be as prepared as possible for all aspects of running a business – not just the musical aspect. If handling and budgeting money isn’t one of your strengths, you will want to address this issue. Consider what it takes to succeed as a small business: advertising, marketing, people management, money management – the list goes on. It is one thing to be a good audio engineer; it is quite another to be a successful small business owner. Also as part of the MBPT degree plan, students are required to take a writing and a public speaking course. These two courses can help you improve communication skills, create confidence when talking to a group of people, and make you better at presenting ideas. Colleges and universities offer classes in all these areas. Take advantage of them.

p.198

TIPS FOR SUCCESS

Most successful audio engineers have a passion for music or sound. It is going to be important to differentiate yourself from others to get a job. Be prepared to work hard and say yes to opportunities you may not have previously considered. The following are some valuable tips to help you move forward with your audio engineering career:

Social media sites geared toward employment:

SHOW ME THE MONEY

It will be up to you to negotiate a fee for your services up front, as a freelance engineer. Don’t wait until the project gets started to discuss your fee. You shouldn’t talk money issues while recording and mixing.

If you are unsure how to set your own rate, ask other audio professionals in your area what they charge for their services. Adjust your fee appropriately: charge less than a person with more experience and charge more than a person with less experience. Every project is different, so expect a budget to also vary. You will have to be flexible with your fee if you want to work a lot. Don’t sell yourself short, but you have to be realistic about what others in your area and with your amount of experience are getting paid.

Whether you get paid per hour, per song, per project, or per day, make sure you and the client are clear on your fee. Money and art don’t mix, so never talk about money during the project. It is customary that most engineers and producers require 50% up front and the other 50% when the project is completed.

  TIP

If you are charging per project, be conscious that a client could drag a session on and on. Make sure the client is aware that your project fee doesn’t mean they will have an unlimited amount of time. Clarify the project length and don’t leave the time frame open.

No matter what area of audio engineering you pursue, the amount of experience you have will be one of the determining factors of what you get paid. Although a formal education is helpful, it isn’t necessary. Most employers would rather hire someone with years of experience over someone with only an audio-related degree and no experience. If you decide to be an audio professional, don’t do it simply for the money. Do it because you love music. If you stick with it, you will get paid what you deserve. Over time, if you show up on time, are motivated, positive, creative, and willing to do whatever is needed for the session or gig to go smoothly, you will be successful. As previously mentioned, this is a word-of-mouth business. If word is you are easy to work with, talented, and dependable, you will be on your way to a successful career in music production.

Additional links and resources:

Job/career sites:

Trade magazines: