Recording - August 2011 - 18

our industry, we have seen many recording studios close, budgets drop, and the once-common mentoring system slow to a trickle. A top-notch audio education facility has staff who are professionals in their own right, who keep an eye on industry trends, best practices, changing techniques and software updates, and can pass this along to their students. The proliferation of schools across the country has risen to fill the void that the dwindling studio system left behind. To be competitive and find work in audio, it is important for students to be on a level playing field with their competition in the workplace. Education affords that opportunity to up-and-coming engineers, through established programs, certifications, internships, and continuing education, allowing professionals to keep pace with the rapidly changing audio landscape.” Mark Hornsby (markhornsby.com): “1. Educate yourself: Be it books, school, interning—whatever works for your learning style and budget. 2. Get some projects under your belt: Be it working for free for friends that are artists, doing some live recordings, renting gear, working with or hiring other engineers who have more experience than you and learning while you co-produce, interning—whatever, just build résumé material! 3. Over time, get your own system together: Be it laptop or console or what have you. Then go out in the world, network and find your own work.”

this person must also be an exceptional DAW operator who is able to manage large and complex sessions, record efficiently, and edit musically, accurately, and quickly. Being able to move between assignments comfortably is an incredible asset. This is no longer a matter of on-the-job training, it’s a prerequisite. It’s also essential to have a demo reel to show a potential employer or client that you have demonstrated your skills successfully. It’s especially helpful if you can distinguish yourself as possessing outstanding (or exceptional) skills, such as vocal tuning or drum editing.” Peter Chaikin (harman.com): “As we are talking about a Music Production Career—my take? Not easy then and not easy now. But if you’ve got the passion and persistence, you can make it happen—at least to the point that you find out if you’ve got the talent to have a career. In the THEN department… I used to pester great engineers on the phone. Phil Ramone at A&R studios would answer my calls, and was a mentor to so many successful engineers. I hitch-hiked from New York to the West Coast to get into the business. I was equipped with the Billboard Directory of Recording Studios. And yes, I knocked on the doors (actually I called) of every high-track-count studio in every town I visited on my trip cross country. Ultimately I landed at the Record Plant in Los Angeles, working as a carpenter’s assistant. Got drafted into the control room (Bob Margouleff noticed I wouldn’t take up too much room in the small control room where he was producing Stevie Wonder and said “You’ll do.”) Eventually I picked up clients and went out on my own. In the TODAY department… • It is no longer possible to hitch-hike • Billboard no longer publishes a directory of studios • The number of commercial rooms are few. But there is opportunity. As has been pointed out, gear is so affordable, you can learn to record on your own rig. Jump right into producing and have something to play. Be resourceful, and tug on the sleeves of those who are where you want to be. I am so impressed visiting some of the audio schools today. They offer a great experience, hands-on with the gear, and training from talented staff members and in some cases star quality guest teachers. We didn’t have that back THEN. Dramatic changes in the technological and business infrastructures have removed so many of the restrictions. What matters most? If this is a job description, it might read something like this: • The ideal candidate is a musician—with strong chops on an instrument. • Has a love of audio applications and the technology. • Can drive a workstation. • Has the empathy and need to collaborate. Is flexible and adaptable. Has the ability to put his/her own ego aside in service of the client, the artist and the music. • Has a vision of success, and is willing to make some sacrifices to make it happen. • Has learned how to listen…”

Scott Dorsey (kludgeaudio.com): “When I started out, getting a studio internship was not a big deal. Today, with fewer studios, and more people wanting to get into the business, the competition is very fierce. Know how to read a score and know how to solder; both are very basic and important skills.”
John Machado (ftc.edu): “The exodus of large studios and record companies has led to opportunities for engineers getting started in the audio production business. People who are serious about audio recording will practice and train to perfect their craft. One thing I try to instill in my students is to take any job offered. Do it the best you can. Whoever it’s for, they will be happy with the product and tell someone about you when showing that product to someone else. Word of mouth can go a long way. You should be able to work anywhere there is audio. You need to be aggressive and want it. If you want it bad enough you will get it. In my experience, local employers, and even those offering internships, do seem to be prioritizing people who are in or have had formal education combined with some extra-curricular experience. So a student should take any opportunity (outside of the classroom) related to the field that they can – paid, unpaid, directly related, vaguely related, it doesn’t matter, don’t say “no”. And be versatile – get some video and lighting experience - then you stand more of a chance of being in the right place and the right time, climbing up the ladder, and meeting more people, one of whom will hopefully need an audio person someday.” Brian Smithers (fullsail.com): “We believe strongly in the value of audio education, and the success of our graduates consistently supports that belief. You are certainly correct however, that the marketplace for aspiring audio professionals has evolved over time. What has changed is the demand for quality people. Someone who knows when to share ideas and when to respond to direction, understands the value of a well-wrapped cable and well-organized audio files, and is a diligent and skilled listener will find more and better opportunities than his or her peers. In the current work place,
18
RECORDING AUGUST 2011

Socrates: “I cannot teach anybody anything, I can only make them think.”

http://www.harman.com http://www.markhornsby.com http://www.kludgeaudio.com http://www.ftc.edu http://www.fullsail.com

Recording - August 2011

Table of Contents for the Digital Edition of Recording - August 2011