All the necessary skills and possible opportunities in the field of Sound and Audio Engineering.

The job of an Audio Engineer can crop up in a variety of industries, from dubbing for foreign films, to music for TV shows, to working in recording studios with singers and musicians. The job titles may differ slightly (Audio Engineer, Sound Technician, Audio Technician, Recording Engineer), but often there are key elements at the core of each role. They will use their skill and knowledge to help create, record, and manipulate sound, using an array of analog and digital tools and equipment to get the cleanest sound possible.

Responsibilities

An Audio Engineer will often be responsible for the setup and maintenance of equipment, be this in a studio, live event setting, or for off-site recording purposes. This may include microphones, speakers, mixing desks, connecting wires, and computer hardware and software. Once the client and/or any instruments arrive, the engineer may set up microphones, assign channels and establish levels to monitor the recording. From there, the amount of creative input the engineer has will depend on the individual relationship with the client. They may give feedback and tips after each take, experiment with different microphones and effects, or simply sit back and press record. Once the audio has been recorded, it is the engineer’s job to edit and mix where necessary, so that the recording has a full and clean sound throughout.

Skills

Prospective employers will be looking for an engineer who is adept at moving between different setups and able to create the right surroundings for each session and client. They should be comfortable with a wide selection of sound equipment. Since the digital revolution, it has also become important to be skilled with several types of software, and know and exploit the strengths of each tool in your arsenal. Having to create a clean recording from any starting point means that an engineer also needs to have an exceptionally good ear for balance and attention to detail. An Audio Engineer needs to have a very strong work ethic; sessions rarely run to time, deadlines fly towards you at lightning pace, and you regularly continue as long as the client wants. They should also be able to work around problems fast to avoid any delays and frustrations from the rest of the team on the project.

Experience

Audio Engineers often start out as musicians themselves, and realize that their passion if being in the studio and pushing the buttons at the desk. At some point, formal training is the main route into a job, and most will have attended a vocational program at a music technology-based school, while some may have degrees in audio engineering, such as a BSc in Audio Production or a Bachelor of Music degree in Music Engineering Technology. Most engineers gain a lot of their knowledge and perfect their expertise ‘on-the-job’, and a well-traveled path is working up from an intern or assistant engineer, starting with more mundane admin work and preparation/maintenance of equipment.

Associations

The Audio Engineering Society was established in the United States in 1948, and promotes advances in audio among engineers, creative artists, scientists, and students worldwide. aes.org

by Lee Jarvis.

Music industry data analysts Next Big Sound offer up their trends and highlights of last year’s digital music world.

Next Big Sound are a platform that allow artists, managers, marketing professionals, and all kinds of music business-people to monitor a variety of online activity, from video plays to fan comments and more. They strive to provide this data with timely and concise reports and visual representations in order to help artists achieve their goals. In their words, “we believe in the power of data to transform the music industry.”

With all these analytics running 24/7, they were able to publish a report for the entire industry on all activity for 2011, and one which is both succinct and informative. The ‘State of Online Music 2011‘ displays the top artists on various social media platforms, and a daily breakdown of each site’s use. They also compiled a top 50 list across all platforms.

The methodology used to create the charts and lists, consists of four parts, which I will touch on here, but are given more in depth descriptions in the full report. Percent Growth is a direct amount increase in the number of plays or fans over the whole year for all artists recorded. Breakdown by Day shows the average ratio of activity on each given day, across all artists. The Social 50 is a regular list created by Next Big Sound, and created by producing a “composite artist score based on a combination of the metrics in the days leading up to the chart”. VEVO versus YouTube is an important factor in their tallying, and deciding that VEVO is credited with a play when their video is within the YouTube website avoids double counting.

You can view and/or download the full report from here.

by Lee Jarvis.

Video Lecture from the house music luminary

The Red Bull Music Academy takes place once a year, but the amount of content produced and knowledge shared is pretty epic, and they do a good job of documenting and recording as much of the two-week long event as possible, and regularly posting online the produce of the recording sessions, lectures, and late night jams.

At the most recent gathering in Madrid last fall, ‘godfather of house’ Frankie Knuckles was asked to give one of the main lectures. Born in the New York in 1955, Frankie was at the perfect age to be inspired by, and become a pivotal part of, the disco scene alongside Larry Levan. In 1977 when The Warehouse opened in Chicago, Frankie became a regular DJ, and his style of evolving disco rhythms with new electronic technologies, became known as house music. In the 1980s, Frankie helped popularize the house music sound, and by the 1990s, he had chart hits as a producer, high profile remixes for the likes of Michael Jackson and Diana Ross, and a Grammy to his name.

In this video, he takes us through his 40-year career, and shares his views on the music industry, and advice for those looking to push their music career forward.

Food for thought: “If you have an audience these days, then you’re lucky!”

by Lee Jarvis.

To backtrack a little bit – I officially started off in the music industry with Grad School and I worked tirelessly for two years to receive my Masters of Arts Management with a focus in Music Business. After paying my dues, taking out lots of loans, and interning, etc. I finally graduated! From there I made the trek out to Los Angeles to fulfill my music industry dreams and start my career. It’s never like it is in the movies though… However, I was lucky to land my first gig within just about six weeks of moving to LA. I actually found the job and applied for it through an online job site, which had been recommended by a professor. Another site that had been pointed out to me by this same professor was Music Jobs (oddly enough). After registering and adding in all my details, I kept my information on both sites updated. For my first gig – I was hired as the Marketing Manager for a Music Retailer. I was very excited and my new suit looked great, especially now that I’d be able pay the credit card bill for it!

Image by Dean Meyers

I found my way around quickly and did well at the company, but soon realized that this really wasn’t the place for me. My career dreams had me pointed down another path, so I kept working in the Marketing Department, learning all I could, while firing up my job hunt in the evenings (and it really is a hunt – filled with rejection and often no response whatsoever). Job hunting can be one of the most exhausting experiences.

However, I kept the faith and eventually landed a interview at an agency that represented Film and TV music composers. The agency snatched me up, and after a year at my first job I said “adieu.” I began as an Executive Assistant with the agency and moved up to Operations Manager during my time there. I gained a wealth of knowledge within the world of contracts, royalties, licensing, how to get us paid quicker, and the enormous task of making sure things were done on time and properly. In the world of deadlines no one waits for you and things move very fast.

In the background I still had my my Music Jobs profile up to date, and still received job alerts. One day, 2 years and 1 month after I had started at the agency I got a specific job alert from Music Jobs. It was for a Business Development Administrator position actually at Music Jobs. As I read through the job description, after nearly every requirement they were looking for I excitedly said “That’s me” or “I’ve done that” or “This would be perfect.” I took stock of my current job, and came to the conclusion that I felt I had mastered everything that I could learn there and that at least taking a chance on this opportunity would be well worth my while. The chance to be more creative with this position was extremely appealing.

I applied for the position at Music Jobs, got a call for an interview, dusted off my suit and made the nerve wracking drive to their offices. I met with Stu (Director of Operations for our LA office) and Matt (Creative Director for our UK offices) – a couple of super smart Brits with great music taste and a fabulous opportunity available. I got called in for a second round of interviews, which I had to create a presentation for. I knew there must be some stiff competition, but at the end of the week they called me back and offered me the position.

I was thrilled needless to say, but then I had to come to grips with leaving my current job and entering the unknown that comes with a new job at a different company… That was tough, but I got through it and looked ahead to my new adventure that awaited me.

And it has definitely been an adventure – over the past two years (nearly), I’ve found my way into a new role for me with this company. I took a chance on my dream job, scored it, and it’s a little bit like happily ever after at times (ok so maybe every now and then it happens kind of like in the movies). My takeaway to all of you still hunting for your dream job, your next gig, or your first foot in the door – don’t give up. It takes a lot of hard work, repetitive actions, and paying your dues in more ways than one. Your own path will inevitably be an ever changing path, similar to tree branches. Each new career decision might lead you down another branch or limb, opening a new path to various opportunities. And yes even back-tracking may occur. It’s all about the journey, so try to enjoy the good bits along the way.

Our table at the MI Industry Fair

We not only got to share the story of our site and tell them about the resources we have to offer, but we also got to tell our stories of how we got to where we are in our personal careers. We were thrilled to be included as a resource to students as they begin looking for their internships, as they graduate and take their first step in their careers, and to alumni who are a bit further along in their careers but are honing in on their dream jobs.

What were some of the best tips you received/discovered as you entered the job market right out of school?

We look forward to the next Fair, and hope to see you there!

April 15th is fast approaching, which for singers, bands, performers, and musicians across the country, is a fearful date: something about all that legal jargon and red tape just doesn’t energize a creative mind in the same way. Following Lil Wayne’s recent income tax bill for a whopping $5.6 million, we thought we should share a few last minute helpful tips, ideas, and reminders on deductibles, seeing as the independent artist can often take deductions that are normally not available to most people. Oh, and there’s additional good news this year: April 15th coincides with a District of Columbia holiday, and so all 2010 tax payments are instead due on Monday, April 18.

Common tax deductibles for musicians and performers in the music industry

- Instrument purchases, rental, repair and maintenance.
- Subscriptions and purchases of Billboard / Rolling Stone Magazine and other trade publications.
- Being a service that you use to find employment, your subscription to Music Jobs is tax deductible.
- Stage clothes/makeup (but you can’t use the clothes for everyday use.)
- Remember how We Are the World 25 for Haiti and MTV’s Hope for Haiti encouraged you to donate to charity? Deduct your contributions.
- Rehearsal hall, studio, office or storage rental.
- Music Lessons.
- Memberships in professional associations and the unions.
- Website and email database setup and maintenance costs.
- Production of physical promotional materials; CDs, photos, newsletters, USB giveaways.
- Lucky/smart enough to have some professional earplugs made up? Deduct away!
- Whilst away from home, you can deduct 100% of travel and accommodation…
- And 50% of business meal expenses – while on tour, all of your meals are business meals.
- Report payments to other musicians. Legal fees are also deductible. (Note: You must send a 1099 to any independent contractor, such as the extra guitarist you hire for the tour, to whom you pay $600 or more.)

Finally, a little soundtrack to give you the motivational kick you may need Happy filing!

The Music Jobs Team.

This will be my first year attending the South By South West Music and Media Conference (SXSW). I’ll be heading down to Austin to represent Music Jobs and network with a heap of other musicians, small businesses and music industry visionaries. 2010 saw over 13,000 conference participants from 49 different countries, and nearly 20,000 attending the trade show. Then you have the thousands of workshops, film screenings, and unofficial parties. It all became rather daunting, and so I turned to Martin Atkins, a SXSW regular and author of Tour:smart for some advice, tips, and general positive vibes.

How many times have you attended SXSW, and how many times have you spoken / held events?

I’ve been for the last 4 years straight and presented each time for SXSW – embroidering around the event with other stuff like DJing at the Red Bull party or doing something with the Austin Music Foundation.

What kind of people attend SXSW?

Everyone goes – from new aspiring bands to agents managers labels and lots and lots of companies that want to sell stuff to you….it’s the full spectrum of plant life – it’s a great place to see all of the layers of the multicolored shit cake that is the music business.

What are your plans for this year?

The night before it all starts i’m doing Party:Smart with Austin Music Foundation and Memphis Music Foundation – some advice and some great bands – Asleep have a 15′ robot, One Eyed Doll are tremendously inspiring from all angles, and I’m going to be all over the place this time; offering free advice, hanging out, seeing some bands, seeing who is doing interesting stuff. My event (Welcome to the Music Business – You’re Fucked) is early on the Wednesday morning – 11am at the convention center. Then there is a book signing and a panel with an attorney and me (Getting Band Business Done Smart) – kind of duelling opinions about the viability of the legal position vs the street level down and dirty version (thats me!) on Friday at noon and 3:30pm respectively.

What is your favorite SXSW story / memory?

Meeting Kimberly from One Eyed Doll – she had bought Tour:Smart right when it came out and implemeted a bunch of strategies from it – making her own shirts one at a time with spray bleach! inspiring stuff for any business – it was terrific and unforgettable.

What is the biggest mistake that first-timers make?

Thinking that it is going to make a huge difference – it IS, but not immediately, and its a cumulative effect – the second time will be better than the first, the third better than the second, etc. It’s a baptism of fire and you see very very quickly just what and how much you are really up against. It’s easy on the road to think that there are three other bands at the venue you are playing at, and maybe a few other shows in town that night that you are competing with, but at SXSW there are 5,000 or 6,000 bands performing many shows – it either pushes you faster and further OR back into bed to hibernate.

Which bands / musicians are you going to try and see perform this year?

I have NO idea who is going to be there, I haven’t managed to plan ANYTHING other than a stop in Memphis on the way down. I was in a nasty car accident a couple of weeks ago and its kind of f*cked me up a little.

What are your top 3 SXSW tips?

1 – This might run absolutely contrary to anything that you really WANT to do…but, drink in extreme moderation. Things happen from 10 am- including open bars – and, unless you are English, you won’t be able to pace yourself. Or, if you can, you will totally FAIL at day 2,3,4,or 5……. it’s too important to miss half of it puking in a toilet or some lovely girl’s hair.

3 – Pay attention to the streets and everyone else’s stuff. I think it’s a much better way of making an impression, or a contact, or a friend, than trying to impress someone with your really great songs – even if they are really great you aren’t getting a soundcheck and the bass player will swallow a wasp or something ……so, yeah and dont be an asshole.

If any of our members are attending this year, or thinking of going, then let us know! We are happy to meet / mingle / share advice / talk music in general.

by Lee Jarvis.

New York’s Charles Bradley is releasing his debut album at the sprightly age of 62 years young. His ‘No Time For Dreaming’ LP hits the stores on today (January 25th), released on Daptone/Dunham Records.

The remarkable Bradley has spent the last 48 years working number of jobs while pursuing his dream, from being a cook in Maine to working in a retiremnent home in California. The whole time, he never gave up on his dream of singing and performing. As he says, “soul music gives me my roots” therefore it is something that would never diminish within him.

His first exposure to soul music came from seeing James Brown at the age of 14. Inspired, he went on to create his own James Brown tribute act. Maintaining a tribute band and playing out regularly was interrupted by the Vietnam war, but his move to the West Coast and a change of scenery had his act touring the soul venues there in no time. Moving back to New York in the 1990s and performing the tribute act at various Brooklyn nightclubs led to his meeting the head of Daptone, as well as Tom Brenneck, whose instrumental band Bradley would write and record his album with.

Bradley is living proof that age really is only a number, and that you can make progress in the music industry no matter what birthday you’re approaching. In his case, his tough years and troubles are a key part of his rasping voice. His unique sound is really coming from the heart, making for some of the most amazing soul music of recent years.

Check out the promotional video for Bradley’s debut album, and use the widget below to get a free sample of his music.

‘No Time For Dreaming’ hits the stores Today ( January 25th), on Daptone / Dunham Records. Charles Bradley is also on an extensive US and EU tour over the coming months. Check out the dates here.

by Lee Jarvis.

Tammy Romaniuk of Media Match and Tara Duffy of US Music Jobs were invited to be guests for episode 92 of AudioNowcast, first broadcast on 27th September 2010. AudioNowcast is a regular podcast of audio professionals talking about the industry.

Topics included: the rundown on their respective websites; if Craigslist is any good for finding jobs (spoiler: Rob doesn’t think so); why independent movies are great for people looking to go in different directions; how to interview; why its important to have good hygiene (seriously); and so much more! Listen below.

The AudioNowcast panel also discussed what room correction devices are and what the panel think of them, they answer some questions on the good old NS-10′s, Rob talks about how awesomely bad his Auratones are, and monitors, monitors everywhere! You can hear the rest of the talk here.

If you have any further questions as to what we do, or how you can improve your chances of success with employers, please ask away in the comments below.

by Lee Jarvis.

(Click to enlarge)

The site is unlike anything I’ve seen before, it’s quite a unique concept. The gist of the site is that it allows you to post a project that you need to raise money for. For example, look at this band using this site: http://www.indiegogo.com/shapesstarsmake. The band wants to go on tour, but in order for them to be able to do so they need a van and some additional funds in order to make their dream happen. Indie GoGo aids their efforts by giving them a unique platform to promote their cause to everyone they know and millions of people they don’t know. They customize their tiers of giving, as well as providing rewards and incentives for those who give to their cause. It’s a great way to get the help you need, raise awareness about your band, and ultimately get one step closer to actualizing your dream.

The site makes the whole back end of the giving run smoothly so everyone who contributes can do so with ease. There is a time-line on the giving, a date to reach the goal by, similar to an eBay auction, so to speak.

• IndieGoGo gives you, the host, a 5% bonus for every dollar you raise if you meet your goal.
• They cover over 100 countries – all of which can post or fund any project.
• You keep all of the money you raise whether you meet your goal or not.
• People funding your project can do so with many payment options, making it even more funder friendly.
• They even provide analytics on your funders so you can see which of your fans are the most influential.

How much does fundraising cost?
IndieGoGo is free to signup and a majority of the core actions and tools are free to use (i.e. post, contribute, share, campaign analytics, discover, and comments). IndieGoGo charges a 9% marketplace fee on funds raised. Projects are also responsible for 3rd-party payment processing and international wire fees. If you reach your goal, IndieGoGo pays you a 5% cash bonus on every dollar raised, therefor your net cost is just 4%.

If you have a cause, project, or just about anything worthy of having fans – this site can help you grow that base by giving you exposure that you may not have gotten on your own, keeps your fans excited about you, and helps you raise those funds to take your music to the next stage.

For all those aspiring artists and promising bands – here’s a real resource that can take you to the next level.

Check the site out and let me know what you think.

T. Lynn