Lauf-Recording Industry PDF
Lauf-Recording Industry PDF
Lauf-Recording Industry PDF
Recording Industry
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Career Launcher
Recording Industry
By Don Rauf
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Contents
Foreword / vii
Acknowledgments / xi
Introduction / xiii
1
Industry History / 1
2
State of the Industry / 24
3
On the Job / 52
4
Tips for Success / 81
5
Talk Like a Pro / 102
6
Resources / 120
Index / 135
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Foreword
Recently I listened to the morning radio on my commute to Masterdisk, and I was knocked off my seat to hear that sound recording
engineers were among the hot jobs. I was surprised to hear that
because the music industry has become so decentralized. Once,
there were only a couple of major recording studios in each city;
now there are dozens of home studios in every town, and many
of those home studios operate like a commercial studio, recording
albums for artists.
Masterdisk began in 1973 as the recording, editing, and mastering
arm of Mercury Records, and I began as an intern at Masterdisk in
1983. I was hired in 1984 as an assistant. I later became Masterdisks
chief engineer. I remained there until 1999, when I founded Scott
Hull Mastering. Ten years later, I returned as the new owner of Masterdisk, combining my independent music mastering business with a
series of song writing/production suites and a recording/mix room.
Masterdisk has engineered top-selling albums by Bruce Springsteen, Nirvana, Kid Rock, Steely Dan, Madonna, Whitney Houston,
John Mayer, Smashing Pumpkins, The Rolling Stones, Jay-Z, Pearl
Jam, The White Stripes, Santana, Phil Collins, Lenny Kravitz, the
Beastie Boys, Elvis Costello, Aerosmith, AC/DC, Public Enemy, Prince,
The Who, Talking Heads, and David Bowie, to name just a few!
The fact is the model for the music industry is changing. The major
record labels are not as big as they once were, mostly because CD
sales have dropped as digital music downloads have increased. Musicians who once sold 100,000 of every album now have to be happy
selling 8,0009,000 copies. The record industry has not quite figured
out how to make moneyor as much moneyselling songs downloaded from the Internet instead of selling albums in stores. The viral
networking capability of the Web has made it easy for people to copy
and share songs and not pay for them. You have to ask yourself: What
kind of business is there if no one is exchanging money for the product, and how much does the quality of the product suffer if people
are not getting paid? The quality of music is going to suffer if artists
are not paid for their songs, because there is no financial incentive to
make a good music product. I have heard that today some hot singles
sell well on the day they are released, but then sales quickly plummet
because of illegal fi le sharing on the Internet.
vii
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viii
Foreword
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Foreword
ix
and accessing large-scale digital storage. I hear over and over from
people who have lost creative product because they did not have the
backup or the backup they thought they had was not good. Plus, you
have to have all your audio tracks documented well or you just cannot fi nd them. It is time to wake up to the need for digital archivists
across the industry.
People in the industry are also looking for new revenue streams. I
was working on a Lou Reed project, and we made him MP3 fi les and
higher quality AAC fi les. Reed put both versions of the recordings
for sale on his Web site, and the real audiophiles paid a higher price
for the higher quality downloads. You can buy the resolution that
fits your lifestyle, and with a high-speed modem, you can download
the songs with the best audio quality in 15 or 20 minutes, as opposed
to typical MP3, which may only take a minute to download. While
many people want cheap or free digital downloads that are lower in
quality, there is defi nitely a market for quality. The recording industry just has to figure out how to make it available to the consumer.
There is a new opportunity for this type of service in todays recording industry. Those with the right technical know-how and business
smarts may be fi nding employment in this area.
The recording industry will have a lot of opportunities in the
future. Each year there are new music applications for cell phones,
and television shows feature unique soundtracks that spotlight new
artists. The Internet continues to get wider and faster, and personalized music delivery services like Pandora [Internet radio] will grow
and offer different services. Through it all, there will be new technologies that professionals will have to master.
What will it take to succeed? It still all comes down to knowing
what sounds good.
Scott Hull
OWNER AND CEO, M ASTERDISK, NEW YORK CITY
.
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Acknowledgments
Thank you to all the talented music business pros who provided
invaluable assistance in writing this volume, especially:
Scott Hull, president/owner, Masterdisk in New York City.
Chris Butler, songwriter and performer with The Waitresses,
and ace record producer.
Al Houghton, owner of Dubway Studios in New York City.
Matt Bien and Paul Goldberg, owners of Pure Audio, commercial
recording studio in Seattle, Washington.
And extra special thanks to: Monique Vescia, my wonderful
bee-raising, book-writing wife.
.
xi
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Introduction
The recording industry is defi nitely an industry in flux. The big
record labels have been singing the blues with music sales at almost
half of what they were in 2000, according to the Record Industry
Association of America. Soundscan reports that only 112 albums
released in 2008 sold more than 250,000 units that year and fewer
than 200 artists broke 10,000 units for the fi rst time. Whats going
on? What has changed the business so much? The answer is downloadable music and shareable digital music fi les. The computer age
has made it incredible easy for consumers to copy and share music
often without paying for it.
The industry is gradually adjusting to this and other technological changes. If you are a creative professional starting out in the
business and eager to learn new things, opportunities are growing. Consumer demand for music is high. Sales from digital music
downloads are rising. Many in the industryperformers as well as
executivessay that todays technological innovations have put the
music business back in the hands of the music fans. Compressed
digital audio fi les are quick to download and simple to share. They
are easy to store on personal players, so music lovers can enjoy the
music they like wherever they go. Apple has grown to become the
frontrunner in digital music sales with its iTunes and iPods. Tens
of millions of listeners are tuning into new media such as Internet
radio and satellite radio. Legions of music lovers are watching music
videos streamed into their computers via YouTube and other online
services. Selling cell phone ringtones of popular songs is a multibillion dollar business. Digital home recording studios are springing
up across the nation. American Idol is a smash television show. The
National Association of Music Merchants reports that sales of musical instruments have been on the rise over the past 10 years. All
these facts point to the demand for music and recordings.
Keep Up
Those who are looking for opportunities in the recording industry or
a related field need to keep up with the evolving business. There are
many ways to be involved in todays recording industry: For example,
you might fi nd a position marketing ringtones, or choosing cuttingxiii
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xiv
Introduction
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Introduction
xv
Networking
Like so many fields, networking is key in the recording industry.
Mobility on the career ladder often depends on who you know. For
recording engineers, building business often depends on bringing in
clients to record, and this requires a great deal of social skills and
networking. In this occupation, you are developing a reputation on
a gig-to-gig basis, and professionals in the field who make hiring
decisions will be evaluating you on the quality and performance
you put into each project. To this end, knowing how to speak the
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xvi
Introduction
History
This volume also reviews the history of the recording industry. Having a sense of what came before gives perspective on the entire occupation. Plus, lessons can be learned by looking back on history. For
example, developing technologies (especially affordable ones) tend
to replace older technologies. The record player replaced the wax
cylinder player in the early 1900s, and more recently, MP3 players
have replaced portable cassette players. Since the early days of the
music industry, young people have had a great influence in determining whats popularfrom The Beatles, to grunge, to rap music.
So those in the business try to stay attuned to what interests the
youth market. While the recording industry has always been fiercely
competitive, jockeying to sign artists who are the most popular or
becoming popular, it has also been a field that fosters creativity.
After all, creating good music and recordings is what this industry
is all about.
After reading this book, you should have sense of
y
y
y
y
y
y
y
y
y
y
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Introduction
xvii
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Chapter 1
Industry History
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Recording Industry
aural artifact now represents the very fi rst sound recording, predating Edisons achievements by 20 years.
In 1874, Alexander Graham Bell, best known as the inventor of
the telephone, built a version of Scott de Martinvilles phonautograph that used an actual human ear as a recording mechanism.
Bell removed a piece of a cadavers skull that included the inner ear
and attached a stylus to its moving parts. Devices like these were
only able to record small scraps of sound.
One of the first people to bring about the recording industry was
Thomas Alva Edison, who recorded the first human voice on December 6, 1877. Edison used a cylinder covered in tin foil to capture the
sound. The sound was etched into the tin and then could be played
back by cranking the cylinder while a needle ran along the recorded
track. The sound was amplified through a small megaphone speaker.
Until Scott de Martinvilles phonautogram was discovered, Edisons
recording of himself reciting Mary Had a Little Lamb on such a
cylinder was believed to be the first recorded sound.
On December 22, 1877, Edison walked into the offices of the journal Scientific American and demonstrated his talking machine to
the staff; they were astonished when the invention inquired about
their health, asked how they liked the phonograph, and bid them a
good night. Of course, those questions were all prerecorded by Edison and played back on his talking machine. Edison fi rst envisioned
the device as a business machine to be used for stenography. In an
1878 list of uses for his new invention, musical entertainment was
fourth on Edisons list, after stenography, phonographic books for
the blind, and the teaching of elocution. In 1878 Edison secured the
patent on his tinfoil phonograph.
Also in the 1880s, Charles Tainter invented the fi rst lateral-cut
record, which resembled modern-day vinyl records. While he had
been able to make the records, Tainter had no practical way of playing them back. Tainter later teamed up with Chichester Bell to invent
the graphophone, which recorded by making a cut in a thin layer of
bees wax that was wrapped around a cardboard tube. Bell, Tainter,
and Edison were soon competing in the commercial development of
cylinder recordings when a third inventor entered the scene. Emile
Berliner was perfecting the means to play music through flat circular discs, which were the forerunners of modern records. In 1887,
Berliner demonstrated his gramophone, which played a flat circular
record when hand-cranked. Originally made of glass, Berliners disc
was later fabricated of zinc and then hard rubber.
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Industry History
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Recording Industry
floating reproducer, and so required less power to run. Berliner corrected the problems of the gramophone, however, and the many
advantages of the discs caught on with the public, making the gramophone the industry leader. Unlike cylinders, discs could be easily stored on a shelf, plus they could have music on two sides. In
addition, discs were more durable than cylinders, whose wax compounds were easily broken and wore out. Discs were also easier to
manufacture than cylinders
(cylinders were etched, while
records were pressed), and
records were easier to store
since they were thin and flat.
And though it may seem like
Emile Berliner eventually
E
a minor point, the disc had a
ssold his licensing rights to
black area in the center where
his gramophone patent and
h
information about the record
the method of making records
th
could be printed so customto the Victor Talking Machine
ers could easily identify and
Company, which later became RCA.
Victor had a very popular trademark
organize their music. For cyllogo of Nipper, a white fox terrier dog
inders, on the other hand,
listening to a record player. The image
record companies usually
came from a painting by Francis Barhad a generic printed label
raud called His Masters Voice. Nipper
on the outside of the packis a long-lasting logo. Even in the late
age, with no indication of
1990s, RCA was using a version of the
the identity of the individual
logotwo Nippersa grown dog and a
recording inside. For a long
puppy to advertise a new line of televitime, the cylinders themselves
sion models and camcorders.
had no visual identification.
Eventually, information was
impressed on an edge of the cylinder, but it was not as easy to read as
a record label. The flat disc records played at around 78 revolutions
per minute (rpm), and most discs made between about 1898 and the
late 1950s played at that speed. By the early 1900s, records were the
most popular form of recorded music and cylinders were dying out.
Eventually, all music manufacturers, including Edison, produced
only discs and disc players. This story repeats itself with every new
technological revolution: throughout the history of recording, older
technologies are continually displaced by newer ones. MP3 players
took over the portable music business, replacing portable cassette
players, such as the Walkman.
Fast
Facts
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Industry History
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Industry History
Best
Practice
P
Owning the Music
O
Composers and musical artists in the early 1900s realized
C
th their music was being duplicated and sold, and they
that
wanted more protection and profit for the use of their music.
wan
In 1914 Victor Herbert found the American Society of Composers,
Authors, and Publishers (ASCAP) to protect the copyrighted musical compositions of its members, who at the time included Irving
Berlin, Jerome Kern, and John Philip Sousa. The organization helped
to ensure that artists were paid properly for their work whether it
was sold as sheet music, performed, or made into a recording. In
the 1920s, as radio stations were built, ASCAP made sure its artists
were paid for the broadcasting of their music. (If you are involved in
the business of making songs and having them performed or broadcast, make sure you are affiliated with one of the performing rights
organizations that collect royalties on your behalf.) Today, ASCAP
continues to collect fees for artists and publishers for the broadcast
and performance of songs and other musical pieces. Two other major
organizations also formed to help artists and publishers collect royalties: BMI (Broadcast Music, Inc.) and SESAC (Society of European
Songwriters, Artists and Composers).
stations also played records. At first, the new technology of radio led
to a decline in record sales because people could hear music free on
the radio, and they become less interested in actually buying music
for their homes. The sales of records declined by about one half in the
early 1920s, and some independent record companies that had come
along went bankrupt or merged with other companies. You can see a
parallel today as digital downloads have led to a decline in CD sales,
and the industry is adjusting to the new business model.
Still, even with a decline, consumer interest in buying, owning,
and playing music at home remained relatively strong. In 1923 Bessie
Smiths blues music on her fi rst record Down-Hearted Blues was a
hit, selling 750,000 copies on the Columbia label. Also in 1923, Fiddlin John Carsons Little Old Log Cabin in the Lane became the
fi rst hit country record.
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Recording Industry
Through the 1920s the technology of microphones and speakers improved, making sound recordings cleaner and of higher quality. Naturally, consumers valued better sound. Bing Crosby began
recording in 1926, and over his career the famous crooner became
a top recording artist, who recorded around 1,600 songs and sold
around 400 million records. He was considered the fi rst blockbuster
music star, and he retains the record for recording the biggest selling song in history, 1942s White Christmas, which has sold more
than 35 million copies since its release. Crosby was also the numberone motion picture star from 1944 to 1949 and the number one
radio star from 1931 to 1957. Crosbys success across many facets of
the recording industry paved the way for all the later major pop stars
like Elvis Presley, Michael Jackson, and Madonna.
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Industry History
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10
Recording Industry
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11
Fast
Facts
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12
Recording Industry
record music for personal listening, and making cassette compilations of songs almost became an art form with users.
By 1965 there were 2.5 million pre-recorded cassettes on the
market. Mercury Records is credited with producing the first music
cassettes and by 1968the year that the Beatles released their first
audiocassette, Sgt. Peppers Lonely Hearts Club Bandmost major labels
were releasing their most popular artists on cassette as well as LP.
Noise and hiss on tapes was a problem for listeners, but in 1969, Dolby
Noise Reduction was introduced for pre-recorded tapes and it helped
eliminate the annoying hiss. By amplifying the higher frequencies
of the recorded music and lowering the constant noise, cassette playback became smoother and similar to record-album quality.
The cassettes popularity soared with the introduction of the
Sony Walkman in 1979. This device allowed people to listen to their
favorite music wherever they went. Many in the press were critical of the Walkman because it only played cassettes. There was no
record function. The company marketed it to the young and stressed
its portability and high audio quality. In 1979 the Walkman had sold
15,000 units. In 10 years Sony sold 50 million Walkmen. Eventually, Walkman became synonymous with portable tape player.
Consumers had an endless craving for portability, and the boom
boxlarge and powerful but still portable sound systems which
fi rst came along in the mid-1970s, became a top seller in the 1980s.
Boom boxes became associated with rap, hip-hop music, and street
life, and were given the nickname ghetto blaster. Users carried
them on their shoulder and would set them on the sidewalk and have
impromptu break-dance sessions. Many were designed to pump up
the bass to maximum. Although at first they were used to play cassettes, they were later adapted as CDs became the medium of choice
for music lovers. More means to listen to music meant more music
sales. High fidelity, low-cost recordings, a variety of music players,
and American consumers with significant disposable income added
up to increased music sales. In 1960 album sales stood at about $600
million but doubled to $1.2 billion by 1970.
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Industry History
13
Fast
Facts
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14
Recording Industry
largely because of their popularity on MTV. More recently, mainstream television networks have been using new music on their programming on shows such as Gossip Girl and One Tree Hill. At the same
time childrens television programming has also made the careers of
many pop stars, such as Miley Cyrus and Jonas Brothers. One of the
most popular shows of the new century has been all about creating
music stars, and it harkens back to the old day of the 1950s television
talent shows. Simon Cowell has created a hit show fi nding new pop
stars with the program American Idol (debut 2002).
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Industry History
15
than on huge reel-to-reel tape consoles. Artists can access and use
digital sounds easily: drum machines, synthesizers, and keyboard
sounds can be brought in through computers so an artist does not
even need a band. The digital information is easy to edit, and one
can copy the digital recordings over and over again without degradation in quality. Digital fi les kept in a computer do not wear out,
whereas tapes stretch, break, or jam, and records scratch.
By the end of the 1990s, the technology was in place for consumers to record on blank CDs, putting an end to the popularity
of cassette tapes. Digital songs could be put on personal computers
in a format called MP3, a compressed fi le that reduced the amount
of megabytes needed to store a song. The MPMan F10 is considered the first MP3 portable player, manufactured by Koreas Saehan
Information Systems in 1988. It resembled a small bathroom scale.
The Rio PMP300 from Diamond Multimedia was introduced a few
months later. Because MP3s were stored on computers it gradually became easy for people to trade music via computers, and sites
like Napster (founded in 1999) made it possible for music lovers to
access each others music almost instantly via the World Wide Web.
This is called peer-to-peer (P2P) sharing. The record industry eventually saw a huge loss of CD sales and began to combat this type of
fi le sharing, which is illegal. Still, album sales remained relatively
high through 2000. The Recording Industry Association of America
(RIAA) reported CD sales at 722.9 million in 1995, rising to 942.5
million in 2000, and dipping to 705.4 million in 2005. The RIAA
campaigned against and successfully closed Napster in 2001, and
brought suit against individuals who were illegally sharing music.
Napster later returned as a site where listeners could pay to legally
download music. But online fi le-sharing services continued to spring
up and public backlash arose against the record industry, which was
seen as using excessive measures against those who were sharing
the music they loved.
In 2001 Apple introduced the iPod. This portable, personal music
player changed the recording industry. The device made it easy to
take audio fi le formats and listen to them anywhere. The device was
born from the ingenuity of an inventor, Tony Fadell, who figured
out a means to store many gigabytes of data on a tiny hard drive.
His inventiona small, portable digital music playerwas turned
down by RealNetworks Walkman. The device succeeded because it
is easy to use. Apple made the interface with the computer simple,
and that was key for consumers to buy music online and download it
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16
Recording Industry
INTERVIEW
How the Past Shaped the Present
Chris
Chr
is Bu
Butler
utler
Songwriter
producer
write
er and
d produ
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Industry History
17
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18
Recording Industry
INTERVIEW
How the Past Shaped the Present (continued)
In the world of rap music, Joe and Sylvia Robinson formed Sugar
Hill Records in 1974. The label released Rappers Delight by the Sugar Hill Gang in 1979. Rick Rubin started the Def Jam label from his
dorm at New York University in the early 80s, and went on to release
hit albums by Public Enemy, LL Cool J, and The Beastie Boys.
In the 1990s in the Northwest, the independent label Sub Pop [was]
discovering and marketing a new independent rock labeled grunge.
The label signed Pearl Jam and Nirvana. Sub Pop continues to thrive
discovering and signing new and talented bands like the Shins.
I keep hearing that theres a real do-it-yourself (DIY)
movement now. That seems to be the case, but has the do-ityourself approach always been a part of this industry?
Yes. The music industry has always thrived on this independent, DIY
(do-it-yourself) spirit, and the success of these independents has depended on knowing the music that young people are listening to and
staying in touch with the music that is coming up from the streets.
While the youth market has always shaped the recording
industry, how has technology shaped the industry?
Looking back through the history of recorded music, technology leads
the industry. The quest throughout is to make recordings that the
consumer can own and keep with them. As the players and recorded
products become more affordable, consumers can make music more a
part of their everyday lives.
Music has always become more portable and more personal: qualities that consumers want in their product. Also, as recording media
developed, the industry adjusted and had to deal with copyright and
ownership questions. When cassette tape and the personal Walkman
caught on, labels were concerned as consumers recorded records and
listened to them on their personal devices. [In the 80s, the British
Phonographic Institute started an anti-copyright campaign with the
slogan: Home taping is killing music.]
From the recording industry reaction to cassette tape recording, you
could almost predict that they would take drastic measures to try to stop
MP3 file sharing later on. The history of music shows that those who
have made the musicthe manufacturers and the artistshave always
sought ways to prevent the consumer from getting music for nothing.
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Industry History
19
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20
Recording Industry
into their portable device. The iTunes store also made it easy to shop
for music and the price was affordable. In 2007, Apple launched the
iPhone, which combines iPod and phone functions, but also allow
for multimedia play and Internet access.
The record industry had been trying to control the sharing of
music through Digital Rights Management (DRM). Songs on iTunes
were originally sold starting in 2001 with DRM restrictions so the
tunes could only be played on iPods, and users could play their
DRM-protected music on up to five computers. The DRM protection
was designed to prevent piracyillegal distribution and copying of
music. However, Apple stopped selling music restricted by DRM in
2009. A January 2009 Macworld.com article states that even without DRM protection, passing songs around is music piracy. However, the lack of DRM allows you as the consumer to be the judge of
whats right and whats wrong... Putting a song up on a file-sharing
service and letting 20 of your friends download it? Thats now possible but not exactly ethical. Apple embeds a consumers iTunes ID
into every iTunes music fi le that is purchased, so it is simple to track
who originally bought the fi le.
Today, Apple sells single songs for about 99 cents each. Some
songs sell at 69 cents and some sell for $1.29. Currently, the industry has no clearcut plan on how to stop file-sharing, although its
policy of suing music fans for illegal downloads may be garnering
more ill will. In June of 2009, a jury ruled that Jammie ThomasRasset willfully violated copyright laws for illegally sharing 24 songs
by Gloria Estefan, Green Day, and Sheryl Crow, and awarded the
recording companies $80,000 per song or a total of $1.92 million.
Thomas-Rassert, a mother of four from Minnesota, does not have
the means to pay the award, and the Recording Industry Association of America has said that it is willing to negotiate the amount.
Throughout recording history, the industry has fought against illegal sharing or use or selling of music. Critics have said that cases like
the one against Thomas-Rassert have led to a public backlash against
the music industry.
Many music fans take the practice of getting music for free as
granted. In an interview in Billboard magazine, from June 1, 2009,
Hilary Rosen, the judge who presided over the case that shut down
Napster, looked back at that period and stated that if RIAA had handled its reaction to shared music differently, things would be different. In the article, she states that RIAA made itself the bad guy, the
target for the music-buying publics anger. Rosen then states that
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Industry History
21
A Brief Chronology
1857: douard-Lon Scott de Martinville invents the phonautograph, a machine to study the pattern of sound waves made on a
sheet of paper blackened by the smoke of an oil lamp.
1877: Thomas Alva Edison introduces his audio recording device
called the talking machine. The device records sounds onto
cylinders.
1887: Emile Berliner develops a device called the gramophone to
record onto flat discs and by 1888, he has a method for reproducing the discs in large numbers.
1889: Coin-in-the-slot facilities open for the public to hear entertainment recordings.
1890: The two competitors in the cylinder player market are Edisons phonograph and graphophone, invented by Chichester Bell
and Charles Tainter.
1892: Nikola Tesla demonstrates the fi rst complete radio transmitter
and receiver system.
1894: Guglielmo Marconi invents a spark transmitter with an
antenna in Bologna, Italy.
1898: Valdemar Poulsen patents the telegraphone, the fi rst successful magnetic recording device.
Early 1900s: Cylinders compete against Berliners discs, played on
the gramophone.
1906: The Victor Talking Machine Company, with rights from
Berliner, introduces the Victrola model of gramophone, which
becomes so predominant it becomes the generic term of the day
for record player.
1909: First official album is released: Tchaikovskys Nutcracker Suite.
1914: The American Society of Composers, Authors, and Publishers
(ASCAP) is founded.
1917: Over There by George M. Cohan becomes World War I hit
recording.
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Recording Industry
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Industry History
23
mid-1970s The boom box arrives on the scene and becomes associated with playing music outdoors and on the street, especially
hip-hop and rap.
1978: The fi rst entirely digitally recorded popular music album is Ry
Cooders Bop Till You Drop.
1979: Introduction of the Sony Walkman.
1980: The fi rst commercial recording on CD is released, Richard
Strausss Eine Alpensinfonie.
1981: Abba releases The Visitors, claiming to be the fi rst commercial
CD rock album.
1982: One of the fi rst albums release on CD is Billy Joels 52nd Street;
it comes out almost at the same time that Sony introduces its
CDP-101 CD player.
1983: Bruce Springsteens Born in the U.S.A. (appropriately enough)
gets the honors for first CD manufactured in the United States.
1984: Introduction of CD Walkman.
1988: The MPMan F10 is considered the first MP3 portable player,
manufactured by Koreas Saehan Information Systems.
1994: WXYC in Chapel Hill, North Carolina begins broadcasting on
the Internet.
1999: The music fi le-sharing service Napster debuts. The Recording
Industry Association of America sues Napster the same year for
facilitating piracy.
2001: Apple introduces iTunes for Macintosh computers, and the
iPod, a portable digital audio player. The fi rst iPod can hold 1,000
songs. Tony Fadell is the inventor who perfects the technology.
His invention had been turned down by RealNetworks and Phillips before he approached Apple. XM Satelllite Radio launches,
providing radio via satellite to subscribers.
2002: American Idol debuts.
2004: Apple launches the iPod mini.
2005: Pandora Media launches Pandora.com, a site offering free
personalized Internet radio.
2007: Apple launches the iPhone.
2009: Apple announces about 225 million iPods have been sold.
(source: http://www.afterdawn.com/news/archive/19294.cfm)
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Chapter 2
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25
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Recording Industry
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Recording Industry
28
Fast
Facts
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29
dozens more behind the scenes. Some engineers will go on location with portable gear to record in-store performances or college
lectures. Such engineers often work nights, when live performances
often take place.
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30
Recording Industry
computer to their iPod, so they can take the tunes with them wherever they go. Apple went on to create iPods capable of displaying
both photos and video. In a short eight years, the iPod products have
expanded to include the iPhone and iPod Touch. The iPod Touch
gives the user access to the Web though a wireless connection. This
latest sophisticated technology lets the user instantly download
music, as well as games, applications, movies, and TV shows, all for
a price and all providing revenue streams for Apple and the labels
that distribute and produce the music.
Another popular format for downloadable music is the MP3. In
1999, the independent record company SubPop (which discovered
the band Nirvana) became the first to distribute music using this
technology, which compresses the sound of digital audio fi les by cutting details out of the audio information without disrupting how
the music sounds to the average listener. Like iTunes, MP3.com also
sells digital music over the Internet. According to the New York Times,
though, Apple commands an estimated 75 percent of digital music
sales and 80 percent of digital audio player sales. Apple popularized
the iPod players, and the popularity of those players drove the sales
up for iTunes. Anyone in the industry today has to be aware of how
iTunes has created this model for success. Many seek jobs supporting this technology or positions in fi rms that are developing similar digital technology. Those with technical savvy may be fi nding
opportunities with related music sites such at NexTune, eMusic, and
Samsung Media Studios.
Critics of the recording industry say that major labels made
a big mistake by fighting against digital technology as it was fi rst
introduced. Instead of embracing the new technological wave and
figuring out how best to take advantage of it, music labels found
themselves playing catch up as a company like Apple gained a huge
hold on the digital download business, and alienating music fans in
the process. Those working at record labels have to be savvy enough
to know that deals made with iTunes are increasing the revenue
stream to the label. Recent history shows that the career wave of the
future will be focused on selling digital downloads and using them
to promote music rather than on CD sales.
The industry was and still is concerned with those who are illegally downloading or sharing music, a process that is much easier
with songs that are in the electronic format of MP3s. Big labels
blame illegal fi le-sharing services for billions of dollars in losses.
Peer-to-peer (or P2P) networks like Gnutella, Morpheus, Kazaa, and
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31
Limewire have allowed music fans to upload and share music with
one another for free. According to 2009 data from Big Champagne, a
company that tracks music downloading, more than one billion fi les
are shared each month over P2P networks.
The Recording Industry Association of America (RIAA), which
represents Vivendi SAs Universal Music Group, Sony Corps Sony
BMG Music Entertainment, EMI Group, Ltd., and Warner Music
Group, has taken the position that every recording of a song should
create revenue for those who make the music. For five years, the
RIAA employed a group called MediaSentry to fi nd those who were
uploading vast amounts of music. However, at the beginning of 2009,
the RIAA dumped the service because of the public backlash. Many
critics believe that the RIAA has become the enemy in the eyes of
the music consumer by actively seeking to prosecute individuals
sharing music fi les. For professionals in the recording industry, the
question is how to best use downloadable music. Can labels generate
a profit selling downloadable music fi les at a low price point? Also,
those in the recording industry are learning from recent history that
suing the small music consumer may not be the best approach to
addressing illegal fi le sharing. Those in the field today have to think
of creative solutions to this problem.
For professionals in the recording industry, fi le sharing at this
time has meant a reduction in opportunities as it has led to decreased
revenues for record labels, and artists. With more fi les shared, fewer
CDs and other recorded matter have been bought. The job gains
come from those who are seeing how to best use the new technology. A technology expert who knows how to make music-related
applications for the iPhone and cell phones may be in great demand
because he or she is pioneering the use of emerging technology on a
product that is hugely popular. As Al Houghton at Dubway studios
points out, his recording studio found opportunities by recording the
live concerts presented by Apple and iTunes in their store. Dubway
saw where the opportunities were arising because of the emerging
technology and took advantage of that. The advent of digital recording, editing, and broadcasting has greatly changed the work of sound
engineers, broadcast technicians, and radio operators. Software on
desktop computers has replaced specialized electronic equipment
in many recording and editing functions. This transition has forced
technicians to learn computer networking and software skills.
To control piracy or the illegal reproduction and selling of music,
some record labels have used digital rights management (DRM)
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Recording Industry
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33
On the Cutting
Edge
E
Rebirth of Vinyl
R
The RIAA reported that in 2007 sales of new extended
T
p (EP) and long play (LP) vinyl records were up 36.6
play
percent from the year before. Audio lovers claim that the
per
sound quality of vinyl is far superior to that of CDs and MP3s.
Audio on vinyl cannot be compressed to the extremes that it can
be on CDs and MP3s. Some industry professionals say that music
enthusiasts want MP3s for when they are out and vinyl for when
they are listening at home. With the vinyl record, music lovers can
still enjoy the big cover art. In 2008, Elvis Costello first released his
album Momofuku only on vinyl and as a digital download. CNET
speculated in March 2008 that by releasing on vinyl, Elvis was
attempting to fight piracy to a degree. It is much harder to make
MP3s from vinyl. Josh Madell, the co-owner of the independent
New York City record store Other Music, has said that vinyl and
downloads might replace the CD because hes noticed an increase
in those who are buying vinyl over CDs. This is a small but growing
trend worth keeping your eye on, and may influence professionals
who work at both independent and major labels as they make manufacturing and marketing decisions on new music.
4
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0
record labels, coordinating the production of MP4 files and negotiating their sale through iTunes. The MP4 has also given new life to
the video director who now can reach a wider audience through this
downloadable technology.
Influential producer and co-head of Columbia Records, Rick
Rubin, said in a September 2, 2007 article in the New York Times that
the future of the music industry is in a subscription model whereby
listeners pay for their music in a similar way that they pay for cable
television. He envisions a world where the music fan pays about
$20 to have full access to a virtual, digital library of music. The listener could access the library through his or her iPod, cell phone,
computer, television, or even a special car radio. This is the type
of forward thinking those in the industry have to consider: career
opportunities follow the emerging technologies, and those who
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36
Fast
Facts
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Recording
studios are built from top to bottom to produce great sound. The best studios are built by acoustid
ccians who understand the properties of sound and how to
construct rooms that provide optimal sound. The profesco
sional studios record acts using the best microphones, positioned in ways to effectively capture sounds. Most studios provide
high-quality amplifiers. Mixing consoles or sound boards allow
producers and engineers to mix and change audio signals that are
recorded through different inputs. The engineers can control variables such as loudness and EQ , which is a measurement of the high,
lows, and mid-range frequencies. The expertise of a professional
studio ensures that background noise is limited, levels are never
too loud, and desired effects such as reverb or distortion are easily
added in. From the mixing console sounds are fed into a multitrack
recorder, probably with 24-track capability at todays pro-studio.
Although it does not take more tracks to produce great sounds.
The Beatles producer George Martin recorded and mixed their hit
records using an eight-track device.
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from Justin Timberlake to Bob Dylan are willing to check equipment and microphone levels with the sound people because they
know how much is at stake for getting it right. And they will respect
the direction of a sound person who is knowledgeable about getting
good sound.
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37
their own recordings. Some artists are fi nding that they do not need
access to an expensive, the state-of-the-art studio, but can achieve
some brilliant results in just a basement or bedroom home studio.
Once the artist has made the investment in the equipment, a home
studio can be cost effective, since studio time costs a lot and is often
deducted by the label from the artists contracted payment. Even
major acts, like the rock band the Eels and Moby, have home-produced music that sells.
While home computers can now produce sounds that are fuller,
richer, and more complex than was possible years ago, musical tastes
are shifting as well. Music that sounds home-generated is an aesthetic that many listeners now enjoy, and it does not always require
sophisticated gear. The rapper Aesop Rock produced his first few
albums using a turntable, a microphone, a sampling keyboard, and
a couple instruments. He recorded it all into his computer using a
Pro Tools setup. Pro Tools combines software and related hardware
to record, edit, mix, and master through a Mac or PC computer.
There are many software packages on the market today that can
convert a home computer into a mini recording studio. In addition
to Pro Tools, there are the programs Garageband, Ecasound, and
Audacity. Programs from Audacity are free to download.
The deejay Moby has said that by recording at home he does
not have to worry about others showing up, and he can be a total
egomaniacal, crazy dictator of his own sound, the New York Times
reported in 2005.
Creatively, however, the home producer may miss out on feedback from an engineer or even other musicians. The work can be
insular and lonely. Many musicians do not want to work as their
own technician, producer, and engineer. They would rather have
others do the work so they can focus entirely on the creative aspects
of their art. When the artist pays a studio to record, he or she can feel
more compelled to perform and have the sound and performance
just right. Other people can be a good sounding board to help refi ne
ideas. Creative friction can be a good thing.
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38
Recording Industry
by Busman Audio and Cascade Microphones are much more affordable than they once were. Also, digital live consoles have improved,
boosting the sound quality at live performances.
Although digital recording is a modern method that allows people to easily record and mix on computers, analog recording is a
service that most studios still offer. Audiophiles say that with analog recording, the sound wave form most resembles the sound wave
of the original source. Phonograph records or vinyl and magnetic
tapes are the means to store the continuous audio waves captured in
analog recording. Digital recording breaks down the signal into bits
of information. Studios can now easily store recorded information
on computer hard drives, while in the old days studio shelves were
crammed with spools of magnetic tape.
Traditional studios are not dead, but in todays climate they
have had to get creative and often expand the types of services they
offer. Some successful studios that originally focused on recording
pop, rock, and rap groups have developed business related to television, fi lm, and advertising. Producer Butch Vig, in an interview in
Prosound News, says that many TV shows are interested in cuttingedge music and sound design, which has opened up new opportunities for recording studios that can adapt. Vig says that sometimes
studios cannot afford to be so picky and should take work from clientele that may not be so prestigious. Even recording a local high
school choir can bring a studio some needed income.
Even as more bands turn to home studios and record labels cut
back because of losses, there seems to be no end to the number of
people who want to make music. Just surf around MySpace and
you will fi nd thousands of people vying to be recognized, appreciated musical artistsfrom rappers to rockers to country crooners.
To reach their goal, many want the best sound possible, and a studio
with a track record of producing great sounding albums can still
do brisk business. For example, The Clubhouse in Rhinebeck, New
York, was booked with artists throughout 2008, and it helped to
have artists like Natalie Merchant and Rusted Root as customers, as
reported in industry publication prosoundnews.com.
Producers who build a track record in popular music will always
be in demand. Some of todays top producers are Timbaland (he has
produced Nelly Furtado, Justin Timberlake, and the Pussycat Dolls),
Rick Rubin (producer of Red Hot Chili Peppers and the last Johnny
Cash albums), and Butch Vig (producer of Nirvana and Smashing
Pumpkins). But even a studio with a strong musician client base
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39
may have to look beyond its core business. The Clubhouse is looking
into working more on fi lm soundtracks.
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Recording Industry
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42
Recording Industry
INTERVIEW
Innovation, Flexibility,
y and Risk-Taking Are
s to
o Survival
Su
urviv
Keys
Al Hough
H
Houghton
hton
Owner, Dubway
way
ay Studios,
Studio New York City
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43
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44
Recording Industry
INTERVIEW
Innovation, Flexibility, and Risk-Taking Are
urv
vivall (continued)
(co
Keys to Survival
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45
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Recording Industry
Finally, while radio still offers portability in car radios and carryalong electronics, the Internet is gaining in that regard as more portable devices allow Wi-Fi access. Many people now own cell phones
that provide access to a high-speed Internet connection. Listeners
can also take radio shows along with them in the form of podcasts.
These are programs designed to be downloaded into an MP3 format
and listened to on in iPod or similar device. A tech poll from the
radio research fi rm Jacobs Media reported that the audience for podcasts is up about 87 percent each year among rock radio listeners. Of
those polled, about 60 percent own an iPod or other type of portable
media player. A podcast is nothing more than a digital audio fi le, just
like any other song or MP3 fi le on your computer.
On the Cutting
Edge
E
4
7
6
5
9
8
#
0
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47
Nagra tape recorder. The analog Nagra was the recording tool of
choice for most fi lms but stopped being used as digital recording took
over. They are still especially good for recording extreme dynamic
range, such as sounds like gunshots and explosions. The fi lm and
television industry relies on specialists who know how to hold the
boom microphones and those who record the dialogue and ambient sounds. Sound experts pay close attention to synchronization,
a method of timekeeping that ensures images and sound perfectly
mesh. Cable and network TV, movies, and even highly produced
Web shows are driving the demand for trained recording and sound
professionals.
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48
Recording Industry
sounds from around the world. To get the squishing and crunching sounds used in some fight scenes, Kato recorded himself stabbing, smashing, breaking, and hitting various fruits, vegetables, and
meats. To get a great monstrous growl for a character, he recorded
his tiny toy fox terrier and pitched down her growl until it became
a deep threatening rumble. The art of sound design has become so
precise, requiring distinct programs and technology, that colleges
offer specific courses on how to master it.
The popular console games Guitar Hero and Rock Band for PlayStation 2 have also opened up opportunity for the recording industry as another outlet to license music and promote bands. Some
popular bands, such as Aerosmith and Metallica, have stand-alone
versions of the game. Kai Huang, the president of RedOctane.com,
the official Guitar Hero store and publisher, said in USA Today that
Aerosmith made more from sales of Guitar Hero: Aerosmith than from
sales of its last two albums combined. Being on a Guitar Hero game is
great publicity and those bands see their CD sales climb after being
featured.
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49
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Recording Industry
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Chapter 3
On the Job
The music and recording industry defi nitely has built a reputation
as being a very difficult, competitive place. While it takes drive and
determination to succeed, not everyone is a hustler. Most people are
in the business because it is a creative and technical field. Ultimately,
most people are in recording to make music and produce a quality
product. The Grammy-award winning producer/engineer Ed Cherney perhaps described the recording industry best: Where business, commerce, and art all meet at the same intersection. In other
words, the music industry depends on a whole lot of creativity, and
there are many ways to earn money from that creative energy.
When you think of jobs in the industry, you may think of only
the traditional careers, and many of those still hold true: You can
work as engineer in a studio; you can work in public relations for a
major label; you can work in a live music venue running the sound
board and maybe recording live music; you can work as a radio disc
jockey. But the industry is in flux and opportunities are arising off
the traditional path.
For example, Starbucks now heavily promotes music. This means
that there are careers with that company establishing exclusive deals
with artists and handling promotion. Most airlines have extensive
music-listening options through the headsets in passenger seats. Professionals behind the scenes program that music. Others fi nd unique
opportunities as entrepreneurs, taking advantage of the Internet
and its ability to offer streaming music and fast downloads. In early
52
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On the Job
53
2000, Pandora Media started Pandora.com as a way to provide listeners with a personalized stream of music based on their tastes.
Customers pay a small fee for the wireless plan and Pandora generates revenue with advertisements from companies such as Microsoft, Verizon, and Starbucks.
While it is true that recorded music may be the foundation of this
industry, there are many other related recorded projects. Commercial studios may strictly focus on recording voices and other sound
elements for commercials and other types of TV and radio production. Books on tape, language programs, and education DVDs and
CDs all need to be expertly recorded. Think of interactive kiosks that
respond with voice information or even prerecord phone messages.
To one level or another, a recording professional assisted in getting
the audio right for the project.
Also, keep in mind that the recording industry employs people
who are not directly involved in the recording or music aspects of
the business. Accountants, graphic designers, lawyers, and other
professionals with an interest in the industry but a separate and distinct skill set may fi nd employment. So while you may be working
in one aspect of the industry already, you may fi nd another career
more suitable to your talents that is still within the recording industry. Also, know that many in the industry work on a freelance basis,
as staff positions can be difficult to come by, especially in a down
economy. One more point: Often professionals today do not hold just
one titlea producer may also be an engineer and promoter. Those
with diverse skill sets fi nd they have more employment opportunities, so you may fi nd overlap among the career descriptions as well.
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54
Recording Industry
Mastering Engineer
In the recording industry, masterers are the ones who put the fi nal
touches and fi nal polishing on a recording. By applying subtle equalization effects, they make sure that the fi nal mix of all songs/tracks
that comprise a recording are consistent in terms of volume and
tone. They also ensure that a recording is up to industry standards,
so it has the right overall sound for radio play and other broadcast.
Recording studios may employ a mastering engineer, but many who
specialize in mastering work in a facility dedicated to the process.
Multimedia Developer
These specialists bring together diverse media elements to create a
coherent whole work. For example, they will combine audio, video,
animation, still images, and text to create an interactive educational
CD or DVD. These experts create Web sites, CD-ROM games, business presentations, elaborate PowerPoint sales pitches, and informational kiosks. Their end product is usually interactive, meaning
they want to make sure their product is user-friendly. They often
collaborate with other media specialists to bring the different forms
of media together. In the business setting, they may work closely
with managers to get flow charts, graphs, and statistics and develop
a graphically compelling look. They decide the storyline for the
productwhere does the viewer start, where does the viewer wind
up, and does the viewer learn all the necessary information in a
logical flow?
Developers are like project managers, juggling budgets and work
schedules, and serving as a team leader to make sure all elements
come together to create the fi nal product. Knowledge of computers
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On the Job
55
Everyone
Knows
K
B
Basic
Education for Recording
E
Engineer, Technician, and Related Jobs
Those interested in a career making actual, physical
T
reco
recordings
should have a basic interest in electronics and
sound. Knowledge of physics and math and how they relate to sound
and sound measurements is invaluable. Because sophisticated equipment is involved that must be maintained, repaired, and operated,
potential job applicants are wise to have specific training at a twoyear technical or community college, or through a four-year public
or private college. Courses need to emphasize recording and broadcast technology, principles of electronics, and computers. Those who
are audiophiles with a love of stereo equipment and other related
electronic gear may have a leg up getting started in this field.
Hobbyists who build their own electronic devices and kits
or operate a ham, or amateur, radio are building skills that are
essential to most of these careers. The experience working with
wires, transistors, speakers, and other components and the necessary tools (pliers, wire cutters, soldering guns, etc.) translates to
many engineering and tech positions. But nothing provides experience better than real life. So interning at a studio, broadcast station,
commercial advertising agency, etc., can give the hands-on lessons
needed to enter a full-time career. Also note that many engineers
and technicians can advance and keep up with the latest technology
through certification programs. For example, the Society of Broadcast Engineers offers certification to those demonstrating competence and experience.
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Recording Industry
annual salary of $50,360, according to the Bureau of Labor Statistics. This is a rapidly growing field with a high demand for skilled
workers.
Producer
The overall role of the producer is to take a musicians or a bands
sound and help make it original yet commercial. Producers have
an overall vision for how the recorded music should sound, and
they oversee a recording project to make sure the right sound, gets
recorded. The producer may be the actual recording engineer as
well, or he or she may direct the engineer to achieve the desired
results. Producers have to listen closely to the artists concept to
make sure they are making a recording that matches that vision.
Sometimes, they play psychologistencouraging the artist to try
different sounds or to soldier on into a late session. Sometimes they
help band members get along to make it through a recording. During
the recording, the producer has to listen closely to the performance
of each player to make sure they are performing their parts correctly
and with the right feeling. Producers can be almost like an unseen
member in a band. The role entails close collaboration. It can be a
matter of personal chemistry to fi nd the ideal match of producer and
artist. A label or band may hire a producer and pay him or her for
the project, or a producer may work for a percentage of final sales.
These professionals typically oversee a budget as wellthey keep a
project running on deadline so costs do not creep up.
The top music producers like Dr. Dre and Timbaland can earn
over a $1 million a year because they have a track record of producing hit albums, but there are a wide range of producers. On the
lower end of the pay scale, producers can earn about $20,000 a year,
according to PayScale.com.
Recording Engineer
A recording engineer is the technical master who knows exactly how
to capture the sounds and music an artist makes, and then he or she
mixes the sounds to create the perfect overall recording. The engineer works in a studio specifically designed with the right acoustics
so sound can be best recorded. Engineers spend most of their time
behind a mixing board. Most mixing boards in modern studios have
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Sound Designer
A sound designer is really the sound director on a projectwhether
it is a TV show, radio program, or fi lm. More recently, sound designers have found employment working on computer and console
games. Play Halo, Dead Space, World of Warcraft, or Grand Theft Auto,
and you will know that the production of the sound, music, and
effects is equal or, in some cases, even better than in major motion
pictures. Sound design in games has become such an art that the
Game Audio Network Guild (http://www.audiogang.org) dedicates
itself to championing the work of music and sound effects teams in
the game industry. While a sound designer does not usually compose music, he or she may decide on what music is best and how
and where it best fits into a fi lm, game, or show. Sound designers work very closely with directors of projects to make sure they
are fulfi lling the directorial vision. All the sounds put together are
sometimes referred to as the soundscape.
When working on a fi lm or show, sound designers study the
script carefully so they understand the moods to be created and
all the sound effects needed. They may collaborate with a sound
effects editor, who gets the actual aural effects needed. They may
consult with a composer as well to make sure the music is meshing
with each scene. As they develop the fi nal soundscape, they will
gauge the work on some very basic criteria, including pitch (the
wavelength of frequency of sound), volume (the loudness), quality (no distortion), and duration. In a theatrical production, the
sound designer develops a cue sheet that goes along with the script
so recorded sounds and music can be played at the right moments
in the play.
These designers shape and direct the overall sounds, dialogue,
and music for a fi lm, TV show, play, or video game. It is really a
technical and creative field in which the designer uses all audio
components and tools to support the fi nal artwork. The title was
fi rst conferred on Walter Murch by Francis Ford Coppola for his
audio work in the movie Apocalypse Now. According to Indeed.com,
the average salary for a sound designer is $72,000.
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Studio Manager
These professionals are similar to house managers in theaters; they
make sure the operations of a studio are running smoothly on a
daily basis. Managers may handle the booking of studio time, payroll, and employee and intern schedules. Depending on the size of
a recording studio, they may answer phones, check inventory of
equipment, and make sure the kitchen is stocked with snacks, coffee, tea, and beverages.
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Assistant Engineer
Assistants basically work at the engineers side, so they can aid in the
recording process and learn the ropes. As might be expected, they
do more of the dirty work. Assistants set up microphones, and
patch and route cables and cords to the appropriate inputs and outputs. They may have to go on a coffee run for the talent, get snacks,
take inventory of equipment, and clean up messes. This is a position
for learning and paying dues before moving up the ladder. Usually
the lower-level engineers are called runners who are running the
lower-level tasks. Some larger studios will advance an assistant to
a position as second engineer as they master more advanced audio
engineering skills and gain experience dealing with equipment and
artists.
Mix Engineer
This is a specialty often handled by the recording engineer, and as
the name implies this professional focuses solely on the mix of the
music. This engineer puts together all the recorded elements to create the fi nal piece. He or she edits and adds such qualities as equalization, effects, and volume balance consistency. The mix engineer
keeps up with popular music to bring that aesthetic to the fi nal
product, and follows musical direction from the producer and artist. Once the mix is completed, the mix engineer will get a copy to
the producer and recording artist to get feedback, and if changes are
required, the mix engineer can go back and remix the recording.
Production Assistant
This is the producers immediate assistant who handles all the essential details for a producer. Although there can be overlap with the
studio managers responsibilities, the assistant schedules sessions,
contacts the talent with information, answers e-mails about a project,
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and makes sure everything is set up and ready to go before a recording session starts. The production assistant gets an up-close look at
how producing and engineering works. It is a good position for learning the nuts and bolts of the industry, and from which to advance to
producing and assisting with the recording process itself.
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Accountant
Most businesses employ accountants and the recording industry is
no different. The Web site for Todays CPA (certified public accountants) profi les an accountant whose clients are mostly music store
retailers, musicians, independent record labels, and recording studios. He took his love of music and accounting skills and combined
them to work with clients and matters that he is passionate about.
Accountants generally help ensure that the fi nances of a business
are in order so the fi rm can operate smoothly. They make sure taxes
are paid accordingly and on time. According to the Bureau of Labor
Statistics, accountants offer budget analysis, fi nancial and investment planning, information technology consulting, and limited
legal services. Most accountants have at least a four-year degree in
accounting.
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Studio Designer/Architect
Designers and architects have expertise on how to construct studios that have great acoustics and are well suited to capture sounds.
They understand the principles of acoustic design and soundproofing. They unite comfort and appropriate lighting with the recording
equipment needed. The career combines knowledge of both audio
equipment and architecture. Todays architects use computer-aided
design to plan recording studio structures. Although not essential,
many studio designers have degrees in architecture. There are 114
schools of architecture that offer degree programs accredited by the
National Architectural Accrediting Board, according to the Bureau
of Labor Statistics. The most common professional degree in architecture is the five-year bachelors degree program. Those with an
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Music Composer
Music compositions fuel the recording industry. The works can
be purely instrumental or combined with lyrics. Composers are
thought of separately from songwriters as they often compose larger
pieces of music than just single songs. Composers make music for
specific theater works, Broadway musicals, fi lms, and television
shows. Composers can work with many genres of music from pop to
classical to jazz. They have strong backgrounds in music theory and
composition, and they have to know how to play music and how
parts played on various instruments will combine to make a fluid
piece of music. Typically, composers are educated at music schools
or conservatories. Some composers strive to get their works played
live by an orchestra to gain recognition. Composing music for an
independent fi lm or other low-budget project can often be a proving
ground and a way to display talent. To get more information on this
field, check the Web site for the National Association of Composers
(http://www.music-usa.org/nacusa). Careers related to that of composer are arranger or adapter and copyist. The arranger will take a
musical composition and construct it (or reconstruct it) for a specific
project, or tailor it for a specific band, orchestra, artist, or ensemble. The original music is intact but the arranger may determine
how it can be presented with different voices and instruments. The
arranger may also alter the tempo, rhythm, and harmonic structure
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Musician
Musician is one of the widest ranging career categories. The term
encompasses the accordionist in a polka band to the classical guitarist who plays Sunday brunches to the violinist in a symphony
orchestra to the drummer in Metallica. Some musicians accompany
dance troupes, while others work in piano bars. Career paths are
very divergent for musicians but they all require a passion for music.
While any type of musician may be involved in a recording, certain session players specialize in being available for recording sessions. Only the pros thrive and succeed, so session musicians have
to be totally skilled at their instrument and be able to read music.
The description of plays well with others is essential to this career
because session musicians have to adapt to all different styles of
music to get employment. Many develop their musical chops by
studying in college and then playing as much as possible.
While some musicians may hold salaried positions with an
orchestra or receive a regular check while working in the pit at a
Broadway show, many have unsteady work. They take gigs as they
come (weddings, bar mitzvahs, nighttime shows), but they have to
supplement the performance by working jobs with more regular paychecks. Many teach in addition to performing. Like singers, musicians have to maintain good physical health to play their instrument
at their best. This can be especially difficult when touring for several
weeks or even months. Many musicians belong to the American
Federation of Musicians (http://www.afm.org), which helps ensure
they receive fair compensation as well as benefits such as health care
and pensions. While musicians can be self-taught, many refi ne their
craft by studying music in a college.
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Music Supervisor
When you hear popular songs in a fi lm or television show, they may
have been selected by a music supervisor (also called a music coordinator or music director). The music supervisor for the television show
The OC, for example, has been responsible for getting cutting-edge
music from Belle & Sebastian, Band of Horses, Lady Sovereign, and
other musical acts. A music supervisor may decide what songs best
enhance a project, and then he or she will negotiate usage licenses
and handle legal contract negotiations, typically dealing with budget concerns and process all necessary paperwork. Those wanting
to enter the field may work on independent fi lms to secure rights to
songs. Demonstrating appropriate musical taste for a project and the
ability to obtain song rights on a budget can be the springboard into
a fulltime career as a supervisor. Music supervisors may come from
a performing musician background, but there is not a set advanced
educational requirement for entering this field.
Singer
While most songwriters are also singers, not all singers are songwriters. While many singers strive to be stars, they often take advantage of the many opportunities that are not in the spotlight: jobs as
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Songwriter
Irving Berlin. John Lennon and Paul McCartney. Carole King. JayZ. They are each famous songwriters who have made millions of
dollars by writing popular songs. Naturally, most songwriters do not
earn these sums but the potential is there, especially if the writer
can come up with an enduring hit. Those who enter this career have
a deep musical creative streak and almost a compulsion to write
songs, combining words and music. The career requires much perseverance and almost luck to create a song that captures the publics
imagination and becomes the hot song of the moment.
Songwriters have to be incredibly talented. Most start out as
singers, either performing as a solo act or with a band. To advance
their careers, songwriters may try to get an agent and get signed to
a record label. Successful songwriters make deals with publishers
who try to place their songs in movies, television shows, and other
media that will generate royalties and profits for both the writer and
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Voice Talent
Some recording studios specialize in recording audio for radio and
television commercials, and they rely on actors who have especially
strong and compelling voices to deliver commercial messages. For
many actors, voiceover work is attractive because they do not have
to put on makeup and rehearse lines. They can arrive to a recording
studio in sweatpants and read their lines as long as they deliver the
words effectively. Many voice actors do other acting jobs, and they
may belong to the Screen Actors Guild of SAG (http://www.sag.org)
or the American Federation of Television and Radio Artists (http://
www.aftra.org). There are many voice acting coaches in the United
States and they help budding talent to make demo tapes, which can
be crucial to securing a job in this field. For more information on
this career, check out the Voice Over International Creative Experience (http://voice-international.com).
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A&R Administrator
Major labels have what are called artist and repertoire departments,
and the administrators who work there take care of most clerical
duties, many related to tracking cash flow. They estimate artist budgets and track artist expenses. When a recording session is planned,
they monitor the costs of studio time, session musicians, producer
fees, meals, and other expenses.
A&R Coordinator
These coordinators are talent scouts, always on the lookout for new
hot talent that labels can sign. A&R scouts listen to demos, with an ear
for what will be the next big thing. When the scout finds a sound he or
she likes, the scout alerts the A&R manager who often has the authority to sign an act to a record label. Without A&R coordinators, some
acts would have never gotten discovered. A&R people with a proven
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Recording Industry
track record can move up the career ladder. A&R man Gary Gersh
brough Nirvana to Geffen Records, a move that established his career
and led to his eventually becoming the head of Capitol Records.
Business Manager
In The Musicians Handbook, Bobby Borg emphasizes that a business
manager is not a personal manager. He states that an artist should
consider their personal manager as the chief executive officer of an
artists enterprise while a business manager is more like the CFO
(chief fi nancial officer) who manages the income from deals once
they are in place. They can establish investment strategies and handle bookkeeping, such as invoices, monthly bills, collecting money
owed, and depositing money. A recording studio may have a business
manager other than the studio manager but often thats one and the
same job. Business managers may also be accountants because those
skills of handling fi nancial paperwork are essential to the job. Those
who manage the careers of musicians earn an average of $46,000
per year, according to Simplyhired.com.
Concert Promoter
When U2, Aerosmith, Dave Matthews, or the Foo Fighters put on
a large concert, they rely on someone to be in charge of organizing
the event. The same type of person is needed to stage huge outdoor music festival such as Milwaukees Summerfest, Coachella in
California, and Bonnaroo in Nashville, Tennessee. Promoters enjoy
high-energy, high-stress days as they get together music acts, coordinate advertising, raise money to stage the event, and handle the
budgeting and fi nances. The promoter often takes on the fi nancial
risk of putting on a concert, but he or she can also reap a large fi nancial reward if the concert is successful.
Entertainment Lawyer
These attorneys specialize in matters related to entertainment. They
review and draft contracts for musicians and other entertainers,
whether they be about manager relations or terms with a record
label. A recording studio may use an entertainment lawyer to write
a contract if it is producing a product and getting paid in a percentage of the profits. Some entertainment lawyers have strong industry
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Music Publisher
Ed Pierson, vice president of business and legal affairs at Warner/
Chapell Music calls music publishing the business of songs. Publishers acquire the copyrights to songs and publish them. Music publishers help place an artists song in fi lms, TV shows, commercials,
Web sites, and computer games, to name a few media outlets. The
publishing fi rm provides the license for a fi rm to use the material.
That company will then pay for the license, and if the material is
broadcast, there may be royalties paid to artists and the music publisher. Artists have to understand that when a song earns money
from royalties, some of the money goes to the artist who wrote the
song, and some goes to the publisher (which can be the artist or a
publishing company or a combination).
There are many rights that can be sold in music publishing. Those
interested in the field should do further research on mechanical royalties, performance royalties, synchronization fees, print royalties, electronic transmissions, and foreign subpublishing incomes. Mechanical
royalties, however, are perhaps the hugest source of income for music
publishers. These are licensing fees paid for the use of a song by a
record company, film production company, or other outlet. Publishers
take some ownership of a song and a percentage of future earnings. In
return, the publisher plugs the material to get it placed on TV shows,
films, or games. When the song is broadcast, there are royalties
Music publishers help get music performed by popular artists or
used in movies, TV shows, and computer games. They earn money
by obtaining ownership of some or all of an artists copyrights or
publishing rights, and then they collect the royalties. They focus
on getting an artist broadcast as much as possible because the more
exposure they get for an artist, the more money they make. Music
publishers earn an average annual salary of $42,000, according to
Simplyhired.com.
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Recording Industry
acts still have videos to promote their music. Many spread the word
by being shown on YouTube and other online sites. Music videos are
mini movies that correspond to a song. These directors are just like
any regular fi lm directors who have to know all the basics about
fi lming, editing, sound, lighting, costumes, working with actors,
and all the other elements that go into making a fi lm. They may
hold auditions, create storyboards, and spend hours rehearsing their
actors to get each scene just right.
Many of todays famous fi lm directors started out as music video
directors, such as Spike Jonze and Michel Gondry. Some music
directors have developed long careers specializing in music videos,
such as Sophie Muller who has directed music videos for Bjrk, Hole,
Weezer, No Doubt, Beyonc, and Kings of Leon.
Product Developer
Some record labels, both independents and majors, have a department of product development that focuses on ways to generate sales
for new recording. Product developers often serve as marketers
and promoters, figuring out a plan to gain attention for a product.
But they are also professionals who may make decisions about the
recording, packaging, and manufacturing of music. Those in product development may also be involved in artist development as well,
developing and maintaining an acts image. Those in artist development may also secure affi liation with performance rights association
such as ASCAP, BMI, and SESAC.
Publicist
In general, publicists work for record labels and are in charge of publicity and public relations for an act. An act may hire its own publicist as well. Sometimes called a press agent, the publicist makes sure
press releases are sent out to all the mediamagazines, newspapers,
TV, radio, Internet sites, etc., all with the goal of getting exposure for
the client. The trick is convincing the media that the client is news.
The publicist may write the press releases as well. They arrange
interviews and handle all the scheduling details. They may conceive
of special press events and arrange press parties. They have to be
schmoozers who know how to talk to people.
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INTERVIEW
Life Inside a State-of-the-Art Studio
Matt Bien
n an
and
nd Paul
Pa
aul Goldberg
Gol
Owners, Pure Audio, a pro
professional
commercial recording
ofessio
onal co
studio in Seattle,
attle, Washington
Washi
Wa
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but the actor was vacationing in Cape Cod. He could, however, take
off a couple hours to go to a Cape Cod studio and have Pure Audio in
Seattle record his voice via an ISDN line. The equipment allows for
near-perfect recording of a voice, and listeners are none the wiser that
the voice talent may be on opposite coasts from the actual recording
studio. And if the client wants to do an in-person recording, the studio
has portable gear and can bring a mini-studio to the client.
Pure Audio, like many other mid-sized commercial studios, offers quality phone-in recording equipment for those who cannot get
to an ISDN-equipped studio. This type of set-up can be used when an
executive at a major corporation wants to record a message and have
it delivered to large number of people on his or her staff. The studio
records the message via phone and then coordinates that the audio fi le
arrives in each designated employees e-mail box.
Weve talked to many different recording engineers in writing
this book and one thing that keeps coming up is the backing
up of data. It sounds like studios really have to have a good
system for tracking and storing data to succeed in the industry.
How do you deal with all the data?
Bien: To be a successful audio engineer today, you have to be excellent
at data management. Most multitracked projects create tons of data,
such as bass tracks, vocal tracks, guitar tracks, etc. The engineer has
to carefully label all these bits of data and be able to retrieve them.
While keeping track of this data is an essential part of running a recording studio, engineers also cannot store everything on studio hard
drives. They often have to clear the hard drives for new projects. They
will commonly provide the artists tracks to a project on a portable
FireWire drive. Plus, the artist should also take an additional back up
of the data just in case something happens to his or her one and only
copy. That is why studios will offer a backup of material often onto
digital tapes called AIT tapes.
To succeed in the industry today, or at any time in the past or
future, pleasing the client seems to be essential. What are some
more of the services you offer that makes you or any studio
successful in the industry today?
Goldberg: Sometimes, the ad agency or fi rm hiring the studio does not
already have the talent lined up to do the project, so they turn to the
studio to audition voice talent and make a final selection. The studio
may also add in music from its library or hire musicians to come in and
play specific music for an advertisement. If the client suddenly wants
three trombones on the project, well fi nd them three trombones.
(continues on next page)
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INTERVIEW
Life Inside a State-of-the-Art Studio (continued)
Trafficking is another essential part of being a successful commercial studio. Pure Audio may record a T-Mobile spot to be broadcast at
400 radio stations. Each spot might be a little different, but the correct
audio fi le must be delivered on time to the appropriate person at each
station with all the correct information attached. Being able to handle
this type of distribution on a large-scale basis is essential for making it
in the commercial recording industry.
Are there other business basics that anyone working in a
recording studio should know about?
Bien: Proper handling of all the business aspects is essential for a
studio to survive and to thrive. The studio needs an efficient, fair,
and accurate billing system to assure income is coming in and that
clients are receiving timely invoices. Clients respect the attention to
detail and professionalism and keep coming back, and word spreads
about the quality of an operation. A studio like Pure Audio must also
promote itself to ad agencies, corporations, and other entities to make
sure people know about its services. A commercial recording studio
like us distributes brochures detailing the types of equipment it uses,
and the numbers of studios it offers, as well as listing former clients
and types of projects. A studio also has to maintain its own Web page,
and many keep a presence on MySpace.
Radio Promoter
All promoters are about generating buzz for their clients or events.
Radio promoters naturally try to get airplay for the acts they represent. The job requires strong people skills as promoters call up
music directors, program directors, and disc jockeys at radio stations
and sing the praises of their clients and encourage them to play the
music. Independent artists often hire independent radio promoters
to try and get their music more exposure. They send radio stations
artist CDs and background information and then spend time calling
the music programmers to convince them to play the music. A version of this career is college promoter. Some labels have promotions
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Recording Industry
Sales Representative
With CD sales dropping in recent years, it may seem a tough path to
pursue a career in retail sales. The market research fi rm the Almighty
Institute of Music Retail (http://www.almightyretail.com) reports
that more than 1,300 independent record stores have closed in the
United States since 2003. However, the Institute says that at least
1,000 independent stores exist around the country and many have
banded together to promote events like Record Store Day. Many independents thrive by catering to loyal independent music fans. With
major chains like the Virgin Megastores and Tower Records now
gone, a music fan can still get work in a CD shop and learn about all
the latest music, but the outlook for a long-term career is uncertain
in CD and record sales. On the label side, there are also salespeople
who service the retail stores and provide them with product.
Salespeople are still in demand to sell musical gear and instruments at stores such at Guitar Center and audio equipment at large
chains like Best Buy. Recording equipment manufacturers have
their own sales reps who are in contact with studios and handle the
sales of recording gear. They may also work at trade shows where
they explain and demonstrate the latest equipment.
Talent Manager
This professional is also called a music manger, artist manager, or
booking agent and handles many of the business aspects of an artists career so the talent can focus on being creative. While talent
agents can work independently many work for talent agencies and
represent more than one artist. Two of the biggest and most famous
talent agencies in the country are the William Morris Agency and
Creative Artists Agency. If you have seen the hit cable TV show
Entourage, the character Ari (portrayed by Jeremy Piven) is a talent
agent. Talent agents aggressively work to get their client work and
sometimes publicity (although that work can fall to the publicist).
They negotiate contracts for performances and take care of billing
and collecting payments. They may also possibly arrange recording
deals for the artist they represent. Depending on the manager, they
may handle many of the artists personal affairs as well, telling them
what events to show up at and planning social engagements. Sometimes roles will be divided up and an artist may have a personal
manager and a separate booking agent. According to Bobby Borg
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in The Musicians Handbook, managers usually work for a commission and the commission is usually substantial (between 15 and 30
percent of an artists earnings) because they invest time, reputation,
and money with no guarantee of payoff.
Artists sign contracts specifying the terms of their relationship with a manager, including details about exclusivity, manager
responsibilities, and payment. In general, artists and managers want
a personal connection so they can get along and further each others
careers. However, the music industry has many stories of managerartists relationships that have gone sour. Trent Reznor, the front
man of Nine Inch Nails, for example, charged his manager with
cheating him out of millions of dollars by doing things that Reznor
said went against their contract. The case went to court and the jury
awarded Reznor $2.95 million with interest, bringing the total to $4
million.
The Musicians Handbook makes a distinction between personal
manager and talent agent, although there can be overlap. The personal manager advises and counsels the artist, but the talent agent
actually gets the musician work. No matter what the role played by
an agent, pay is usually based on some type of commission.
Tour Coordinator
When a band gets ready to hit the road, they rely on a tour coordinator to take care of all the details. The coordinator figures out all the
travel plans, means of transportation, food, and lodging. They may
make sure that the band is running on schedule, making it to sound
checks on time, and keeping up with media appearances along the
way. They keep careful track of all expenses and try to keep their
acts on budget so they do not spend more than they are earning in
ticket sales.
Visual/Graphic Artist
Although not involved with the audio aspects of the recording
industry, graphic artists play an important role in the success of a
label or artist. Graphic artists come up with packing for CDs, posters,
stickers, T-shirts, and advertisements. They may dream up a bands
distinctive logothink of the type treatment for a band like Led
Zeppelin or when Prince had a distinctive symbol that represented
his name.
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Recording Industry
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Chapter 4
While the only real course for succeeding in the music and recording business is real-life experience, there are certain tips that can
help you thrive and further your professional goals as you fi nd your
direction in the industry.
81
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Recording Industry
and takes out the trash. The Web site Recordproduction.com claims
that many people who now operate major studios started out as the
cleaner at a studio. Receptionist is another position that you should
not write off. The person who answers the phones and meets and
greets clients is in a perfect spot for making valuable networking
connections. The lowest-level technician spot is the runner (also
known as the gofer), and it is well labeled since this job involves a
lot of runningto the post office, to the Chinese restaurant for food,
or to make deliveries across town.
From any low-rung position, you can learn who is who in the
company and a bit about what they do. You can get a sense of how a
business operates. By developing connections with other employees,
you can ask questions about different positions and what it takes to
succeed in those jobs. Often, if a studio is shorthanded for a particular
task they will turn to the new workers to lend a hand. This is a great
opportunity to learn. No one wants to get stuck in a grunt-work job.
This is a stepping-stone, and while you will be expected to do your
time carrying out menial tasks, keep moving toward a higher goal.
Once you get a sense of the type of activities you would like to be
involved with, you can ask to assist in your off hours on the projects
that most interest you.
Internships are especially good for learning job skills, and while
you may have already been working a few years, those who have
specific career goals in mind may still consider taking an internship even after having worked in the industry. Many internships
do not pay, or pay very little, but provide real-life experienc and the
opportunity to make professional connections for those trying to
change direction or expand into a new area. Again, interns wind
up doing the menial tasks at fi rst. But if they are around and show
a willingness to pitch in, superiors will turn to them and get them
involved in meaningful projects. To make the most of an internship,
you should set some personal and professional goals for yourself. By
doing this, you will be striving for exactly what you want in your
career. Try to schedule meetings with your supervisor to discuss
your goals, projects, and possible future opportunities. If your boss
does not give you one, you might even ask for a performance review
so you can evaluate your strengths and contributions, and where
you need room for improvement. Always try to keep a positive outlookpositive energy can go a long way, and negative energy will
block opportunities for you.
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Finding a Mentor
The word mentor goes back to Greek mythology, where Athena, the
goddess of wisdom, transformed into the form of Mentor to give
advice to Odysseus. If you have been in the recording industry a few
years, you may identify potential mentors in your place of employment. You may try to network with someone you admire professionally, perhaps inviting that person out to lunch to ask him or her
questions about their position.
The Web site for the National Association of Recording Industry Professionals (NARIP) says that professional organizations like
theirs may be a more effective route to fi nding a mentor. NARIP
has its own Mentor Program. Potential clients are asked to fill out
a questionnaire, which allows them to be matched with industry
volunteers, according to mutual goals and needs. Once you fi nd a
potential mentor match, keep these tips in mind:
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Recording Industry
Become a Networker
All activities where you can talk to or socialize with coworkers,
bosses, or colleagues in the industry can help you fi nd out about
opportunities that will advance your career. If a coworker invites
you out to socialize with other coworkers, jump at the chance. If
there is a company volleyball or softball team, sign up. You can
always take the initiative as well and invite a colleague to lunch and
informally inquire about what he or she does and ask about possible
opportunities that person may know about.
To meet more people in your field, you may want to call up professional recording industry associations and see if you can join. By
attending trade shows and seminars, sponsored by groups such as the
National Association of Recording Industry Professionals (NARIP),
you will not only have the chance to meet others in your field, you
will learn about the latest trends, technology, and job developments.
At industry events, you can find out who are the movers and shakers
in the business and make contacts with potential employers. Ask professional groups about volunteer opportunitiesnot only a great way
to network, but a great way to master more skills as well. You might
look into joining groups online as well where you can post questions
and meet others who are starting out in the business. The Just Plain
Folks music organization (http://www.jpfolks.com) offers forums
where you can post anything music related and possibly find a mentor. The site boasts having 18,000+ mentors in just about every type of
music profession, including gold and platinum songwriters, managers,
legal professionals, recording artists, publishers, and manufacturers.
It is best to defi ne your own goals before you begin seriously networking. Those who can help with your career will ask about your
interests and what you would like to achieve. So carefully think about
where you are heading and where you would like to be a few years
into your career. When you do make a golden contactsomeone
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who may have a job lead or a real position to offer, do the right
thing. Make sure you have that persons contact information. Soon
after meeting you should follow up with an e-mail expressing your
interest and highlighting your talents. You never know when opportunity will come knocking, so it is important to keep your rsum
up-to-date and ready to send.
An Informational Interview
When you meet someone in the business who can share valuable information about a career with you, you may want to set up whats called
an informational interview. These are casual meetings at lunch or over
the phone. They should be fun, interesting, and low pressure. On the
surface, it is just two people getting together for some ordinary conversation, but if you are hunting for opportunities, you really need to prepare. Think what questions you would like to ask on an informational
interview: How did you get started? What was your educational and
employment background? What do you enjoy most about your work?
What are your responsibilities? Whats a typical workweek like? What
skills do you need to get into this business? What advice overall would
you give a person like me who is looking to land a position?
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86
Everyone
Knows
K
Work Traits That Lead to Success
W
These tips apply to any job and you should follow them
T
if you want to get ahead. You may already know these
basics, but it is good to review them once in awhile to make
basi
sure you are on track with some of these business fundamentals.
Know you are being evaluated. When you start a job, employers
often consider the first few weeks a probationary period. They
will be keeping a close eye on you, your attitude, and performance.
You should know the exact terms of this evaluation period.
Keep a neat desk. A messy desk does not make a good impression. Do not go postering up your favorite rock bands, keeping
soda cans on your desktop, and storing stinky gym shorts and
shoes in your work area.
Get all your basic tools right away. Find out if you need an
office key or lock codes. You may need passwords for computers
and codes for a copy machine as well. Make sure you have the
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basic office supplies you need for your job: paper, stapler, folderswhatever you require. You may need special equipment as
well, depending on your position. Some companies will require
that you log your hours and keep careful track.
Know the rules and protocol. Every business has its distinct
rules of operation. Be sure you go over them with your boss or
someone who works in human resources.
Take the initiative. If you find yourself with nothing to do, ask
your superior how you can help. Do not use downtime to goof
offanswering personal e-mails, surfing the Web, etc.
studio may want to know that you have connections with musicians
and other industry professionals. This is a job where it really pays to
be outgoing.
Before Scott Hull became the owner of Masterdisk, he worked as
an employee there, observing how business was conducted. Some
engineers at Masterdisk would hang out with bands, go out at night,
and always be social butterfl ies. He saw these engineers as party
animals and did not think theyd last long in the business. But the
party animal engineers would continue to get clients and get work.
They may not have been the best engineers, says Hull, but they
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90
Keeping
in Touch
File Edit
Send
Watch who you are replying to. Sometimes you may not notice
who has been ccd on an e-mail. Make sure you know exactly
who is seeing your reply to an e-mail. Jobs have been lost when
those who were not cautious made comments that were not
intended to be seen by a third party.
audiotapes as you fi nish projects and have them ready for future job
prospects. Many audio engineers simply put their portfolios online
and post MP3s of their work showing the range of sounds. Many
engineers have a sampler CD that does the same thing. The artwork
is not that important, but as with a rsum, the CD should be clearly
labeled with vital information: name, address, phone number. Engineers tend to give notes on how songs were recorded, as well as the
techniques and equipment used so prospective employers can have
a full picture of the work entailed.
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is very easy for others to forward your e-mails as well and thats
why it pays to be prudent when writing work messages.
Make your subject line specific. People want a quick clear snapshot of the content of an e-mail and thats why subject lines are
so important. Plus, when you have a concise subject line it is
easier to search for information later on.
Copy the content from the e-mail you are responding to. In general, make sure when you respond to an e-mail that you include
the text from the message you are responding to. Often, you can
have a long discussion via e-mail but you will lose the thread if
previous text does not appear.
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help achieve that. It can be a real challenge when it comes to communication and direction. Sometimes I want to know what a producers
goals are and they dont know themselves.
Hull emphasizes that you have to be honest in the recording business as well. When something sounds bad, you have to fi nd a way to
be tactful and communicate that. Hulls clients appreciate his honesty when he tells them he hears something he does not like. Sensitivity and a sense of discretion are needed to gauge just how critical
one should be with a client. Many clients have put months of time
and effort into a recording, so an engineer cannot be overly critical
and point out every flaw. Too much negativity can ruin a career.
If you want to be respected in the industry, you have to be able to
speak up and explain why something does not sound good and offer
suggestions on how the sound can be improved. Through very specific comments, an engineer like Hull can steer clients to thinking
in a more productive way about their mix. Although clients may get
hurt feelings from criticism of a mix, Hull fi nds that honesty pays
off in the end, and those clients eventually learn to trust Hulls judgment and bring him more work.
Education Advice
There is no set educational background that you need for a job in
the recording industry, but there are some overall expectations from
employers. At a minimum, many employers want you to have at
least a bachelors degree from a college or university, although many
who have specific training from a community college or technical
school fi nd employment. If you did not study recording engineering,
music, or a topic specifically related to an opening, highlight the college courses that do apply to the position.
As mentioned above, communication is one of the most valued
skills in the entertainment business, so if you took English, journalism, writing, public relations, or marketing courses, you may want to
point that out. Also, if you worked at a campus radio station, newspaper, or TV station that can be a plus. If you are seeking a specific
engineering job, it is helpful to have taken engineering or electrical engineering courses. Internship experience shows that you have
worked in a real-life setting and can handle day-to-day tasks.
If you are interested in pursing a higher education focusing on
the recording industry, a few schools with programs in this area are
San Francisco State University, Arizona Sound Engineering College,
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Recording Industry
Everyone
Knows
K
A in most careers, it is the final results of your labors
As
tthat count. In the recording industry, this means creating an audio piece you can be proud of. But what makes
in
a ggreat recording? If you are trying to create a hit in terms
of pop
popular music, you will want your recorded work to have
hooks and a memorable chorus. These two music features are the
things that stay in peoples minds and have them coming back to
the music over and over again. You will want your end product
to be well produced. Even the hit records made in home studios
typically have a professionally produced sound. You will also want
your potential hit to be relatively short. The typical radio hit is only
between three- and four-and-a-half minutes.
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may be able to find a position that better matches your talents and
goals. Plus, certain local economies may be more robust than others.
Check the Help Wanted ads. Although career guru Richard Bolles,
author of What Color Is Your Parachute? and The Job-Hunters Survival
Guide, claims that responding to ads is usually not a very effective
method for fi nding work, it still can pay off. Some are still in the
newspaper or on a newspapers Web site. Many ads are listed on
specific job sites or in trade and professional journals.
Another good tip for your search is to join a job club. Job clubs are
sometimes called networking clubs or job-fi nding clubs, and they
operate as support groups for job hunters. Those who join give each
other support and encouragement. Sometimes searching for work
on your own can be a lonely endeavor and seekers can lose motivation. Clubs are designed to spur you on. Members exchange job
leads, information, and ideas. Bolles claims that job-search support
groups have a high success rate of 84 percent. You can try to fi nd
one in your area by searching the Internet, the phone book, the
Chamber of Commerce, local colleges and universities, and adult
education centers, or you can start up your own group with people
you know.
Also called career expos, career fairs gather together many employers at a central location, often a convention center. Employers join in
career fairs because they are looking to hire and recruit talent. It is
an opportunity for you to survey firms and for businesses to discover
potential hires. As a job seeker, you go from booth to booth asking
questions and gathering information. When you talk to a representative, it can be like a mini job interview. Be sure to bring plenty of
rsums with you. While most companies use the fairs as a chance to
meet talented individuals, they occasionally hire on the spot. You can
find a career fair near you by visiting NationalCareerFairs.com.
Finally, use the Web. There are many top sites for posting your
rsum, including Monster.com, CareerBuilder.com, Yahoo! HotJobs,
Indeed.com, JobCentral.com, Hound, Career.com, and Simply Hired.
Bolles says that you should not rely only on Web sites, because more
opportunities turn up in face-to-face conversations. (See Chapter 6
for a list of a few industry-specific job boards worth investigating.)
Here is a list of some of the top broadcast employers:
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Recording Industry
y CBS (https://sjobs.brassring.com/1033/TG/cim_home.asp
y
y
y
y
y
y
y
?partnerid=25084&siteid=5129&codes=CBS_Corpmain/
index.aspx) Employment opportunities are listed at CBS
along with benefits and a video about CBS.
Lucasfi lms (https://jobs.lucasfi lm.com/MGM) Search jobs
at Lucasfi lms and fi nd out about internships and training.
NBC/Universal (http://www.nbcunicareers.com) Explore
opportunities at NBC and all its related entertainment
branches, including amusement parks.
Paramount (http://www.paramount.com/studio/jobs) Learn
about the application process and opportunities offered.
TimeWarner (http://www.timewarner.com/corp/careers)
Review career possibilities and submit a rsum online.
Sony (http://www.sony.com/SCA/jobs.shtml) Find out
about job positions in the United States and abroad.
Viacom (http://www.viacom.com/careers/Pages/default.
aspx) Use the search tools on this site to fi nd positions at
Viacom and its related businesses.
Warner Brothers (http://www.warnerbroscareers.com)
Find the latest job openings and read the In the
Spotlight descriptions of positions that need to be fi lled.
Interviewing Tips
As the old saying goes, first impressions really do count and the
interview is your chance to make a good one. If you have not been
on a job interview in a while, some of these tips can help you when
you go in to meet face-to-face with the person who can hire you.
Before all else, know the details about the position. When you
fi nd out about a job opening, fi nd out as much as you can about
the job ahead of time so you can explain how your interests and
qualifications match the job description. If you have question about
the position ahead of time, you may be able to clarify information
by phone, speaking to someone in human resources, receptionist,
or another person on staff. You want to be as ready as possible to
explain how your talents fit the job.
Next, do your homework. Research the establishment that is offering a position. Find out its history, achievement, and plans for the
future. This can help you develop intelligent questions to ask during
interview and make it easier to explain how you can contribute.
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Recording Industry
Rsum Advice
A rsum is still an essential tool for showing your work experience
and education. Formats can vary but certain aspects of rsums are
universal. It may just be a page, but it has to give a concise snapshot
of your work history and help convince an employer that you are the
right person for the job.
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You do not have to include every job you ever had. You should
feature the experience that best applies for the work you are seeking
and you usually do not have to show your early jobs as a newspaper
boy or babysitter. Some jobs you held may be completely irrelevant
so you should leave them off.
Emphasize skills that apply to the job. Each job is unique, but you
will want to stress the skills needed for a specific position. For example, if you are applying for an audio engineer job you might list that
you have experience with the operation of audio equipment: multitrack soundboards, amplifiers, microphones, loudspeakers, and Pro
Tools software. The more varied projects you list the better. It shows
you are diversed and can juggle different projects. List whatever experience you have synchronizing, recording, mixing, and reproducing
music. You may list some nuts and bolts knowledge of electronics and
computers: circuit boards, processors, chips, and the like.
Stress applicable knowledge in your education section. Every
rsum will list an applicants higher education credentials. If you
were involved in applicable extracurricular activities, such as working at the schools radio station, you might mention that fact here.
You may also list honors and awards. Do not leave out intern or
volunteer experience. Even if you did not get paid at a job, if you
learned pertinent skills, you will want to list those experiences and
the talents you developed.
Consider outside activities and interests. Rsums typically include
these interesting items about an applicants life because they can serve
as a hook, something that intrigues the reader and can be the basis
for conversation. You may own every Beatles album or own a pet
iguana. If there is an unusual aspect of your life worth sharing, it can
pique interest and conversation on an interview. But dont include it
at the expense of keeping your rsum at one, focused page.
Finally, know how to submit your rsum online. Nowadays,
most employers will ask you to send in your rsum electronically,
attached to an e-mail as a Microsoft Word document. Be sure to label
your rsum document so it can be quickly identified. For the file
name, put your last name followed by rsum for [name position].
Cover Letter
Whether sending in a hard copy rsum or an e-mailed rsum,
you will need to write a cover note or letter to go along with it. This
is your opportunity to show you have strong communication skills
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Recording Industry
Everyone
Knows
K
Computer Essentials
C
IIn entering the recording industry, some basic computer
kn
knowledge
is expected. Many employers expect you to
know Windows, Microsoft Word, PowerPoint, and Excel.
kno
You might need some familiarity with opening and creating PDFs,
depending on the job. Here are a few of the computer basics that
many in the recording industry need to know about:
Ableton Live. A professional loop-based software music sequencer
for Mac OS and Windows.
Apple Logic Studio. A software package that lets users write, record,
edit, and mix their music on Mac computers. Users can add on
software such as MainStage, which allows artists to play live loops
or prerecorded backing tracks in performance. WaveBurner is a Mac
professional application bundled with Logic Studio for assembling,
mastering, and burning audio CDs.
Computer music notation software. Helps to desktop-publish musical scores, and makes it easier than writing out music by hand on traditional sheets. Some will write you the score from recorded music.
MIDI (musical instrument digital interface). The industry-standard
protocol that enables electronic musical instruments such as keyboard controllers, computers, and other electronic equipment to
communicate, control, and synchronize with each other.
Pro Tools software. Pro Tools is a Digital Audio Workstation platform
for Mac OS X and Microsoft Windows operating systems. Recording professionals use the software for recording and editing in music
production, film scoring, and film and television post production.
Sampling software. Sampling is the act of taking a piece of music
and reusing it in recording a new song or as its own instrument.
Some artists sample a snatch of music and repeat it in a loop.
Sequencer. In digital audio recording, a sequencer is a computer
program or a program in a stand-alone keyboard that puts together
a sound sequence from a series (or sequence) of musical instrument
digital interface ( MIDI ) events (operations). The MIDI sequencer
does not record the actual audio, but rather the events related to the
performance. So after you record a piece with a piano sound, you
can change the sound to an organ sound at the touch of a button
because you have the sequence of the music recorded.
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101
and can write in a professional manner, that you are not prone to
typos, misspellings, or grammatical mistakes. Here you can give a
quick sense of who you are as a person. You might convey that you
are a serious worker but you have a positive attitude and a sense of
humor. In the letter, you identify the job you are applying for and
possibly how you heard about the job. You say who you are and give
a sense of the experience you have had that makes you right for the
position. Explain why the company should be interested in you. For
example, you have operated a home studio for several years and
produced a couple independent albums that have garnered critical
notice. Or you have been working in public relations and aim to
apply the skills you acquired to a job within the communications
department of a major label.
All a cover letter needs is an introduction, one to three paragraphs of text, and a short wrap-up paragraph suggesting the next
course of action (e.g., I will contact you in a few days to follow
up.) You may impress by showing you have done some research on
the firm. If you are entering the field with little direct experience,
you will need to stress your applicable and transferable skills, and
highlight why you would still be right for the position. Even though
your contact information should be on your rsum, make sure as a
precaution that it is on your cover letter as well.
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102
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Recording Industry
balance control The dial that allows the user to shift the sound
in a stereo amplifier from right to left speakers or vice versa.
band In audio engineering terms this means a range of
frequencies.
bandwidth This is the width of a range of frequencies that an
electronic device uses, stated in terms of the difference between
the lowest and highest frequencies.
bar code The Universal Product Code (UPC) code (black and
white bars and numbers that you see on packages) that
identifies a product for computer tracking. All CDs have a
distinct bar code.
bass The lower range of frequencies or the stringed instrument
that plays lower range notes.
beat A succession of strokes on a drum or other percussion
instrument that can be altered according to speed or number.
beats A sequence of individual beats.
bit The smallest unit of digital information expressed as either a 0
or a 1.
blanket license A performing rights organization will issue a
blanket license that makes it possible for radio and television
stations, DJs, musicians, and public businesses to play music
without having to acquire rights each time they play a song.
book a session To schedule recording time.
boombox A portable stereo system popular for playing music
outdoors on city streets, beaches, etc. Popular among break
dancers.
boomstand A vertical stand with telescoping attachment to hold
a microphone, like the boom in nautical terms, which is a long
spar extending from the mast to hold the sail.
boost Increasing the gain using the equalizer.
bootleg An illegal recording (CD, DVD, etc.) sold outside the
normal legal channels. The sellers of this music are often called
pirates.
break A record label will break an artist, meaning they get
the act enough airplay and media attention that they start to
become popular on a national level, translating into significant
album and song sales.
break-even point When a record label brings in enough revenue
from an album to recoup all expenses, it has hit the break-even
point. Any revenue surpassing expense is profit.
burn A common term for making a copy of a CD off a computer.
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Fast
Facts
F
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Fast
Facts
F
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tray card The artwork for a CD that slides into the front of the
jewel case.
tremolo An effect created by the rapid repetition of a single note.
It has a wavering quality.
trim control A device that lowers signal strength in an
amplifieroften it rises into a restricted range.
turntable A term for a record player or phonograph that plays
records.
tweak Slightly adjusting the calibration or setting of operating
controls for best performance.
tweeter A loudspeaker or part of a speaker that reproduces
higher-frequency sounds.
vamp In a musical performance, repeating part of the tune over
and over at the end, often ending in a fade.
vibrato Smooth repeated changing of pitch.
vocal booth An isolation booth specifically for recording the
voice.
voice over Recording of the words spoken by an announcer who
reads text for a radio or television commercial.
volt A unit of electric potential or electromotive force.
volume A term used to describe a level of loudness.
vox An abbreviation used for voice, usually used when keeping
the track log.
watermarking Adding a code to digital data files as a means of
labeling or recognizing them.
watt A unit of electric power.
WAV Generally, a digital fi le of uncompressed audio; a
universally accepted fi le format for source audio.
waveform A graph of an audio signals sound pressure or voltage
over time.
WMA Windows Media Audio, the proprietary digital audio fi le
format from Microsoft.
woofer A loudspeaker or part of a speaker that reproduces the
lower bass frequencies only.
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Chapter 6
Resources
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Resources
121
Game Audio Network Guild This group supports career development for game audio professionals, publishers, developers, and
students. While the site does not offer job listings, it does promote job networking. The guild presents informative panels and
online resources, updated regularly, featuring conversations on
contracts, negotiations, basic business skills, and deal points, as
well as information on creative and technical issues. (http://
www.audiogang.org)
Graphic Artists Guild A professional organization that can provide career information for multimedia developers. (http://www
.gag.org)
Music and Film Industry Association of America This is the
organization that was formed when the Motion Picture Association of America, Inc. (MPAA) and the Recording Industry Association of America (RIAA) merged in 2006. The two organizations
have very similar goals for fighting piracy, from bootlegged product to illegal downloads. (http://mafiaa.org)
National Association of Music Merchants This organization represents the global music products industry and works to increase
active participation in music making. (http://www.namm.org)
National Association of Record Industry Professionals This
association was formed to promote education, career advancement, and good will among record executives. Its Web site features information on industry trends and news that anyone in
the industry may fi nd of interest. (http://www.narip.com)
National Association of Recording Merchandisers The association serves the music content delivery community in a variety
of areas including networking, advocacy, information, education,
and promotion. Members are music wholesalers and retailers, as
well as online and mobile music delivery companies. (http://
www.narm.com)
The Recording Academy The group that organizes the Grammy
awards which recognizes the best in recorded music each year.
Grammy.com has its Producers and Engineers Wing, which is
comprised of producers, engineers, remixers, manufacturers,
technologists, and other related music recording industry professionals. This branch addresses critical issues that affect the art
and craft of recorded music. (http://www.grammy.com)
Recording Industry Association of America This trade group,
which represents the recording industry, works to protect intellectual property rights, conducts research on the industry, and
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Problem
Solving
S
P
Problem:
A band comes in to record a session, but the
bass player is mad at the drummer and storms out in the
b
middle of the session. He sits in the hallway sulking for
m
two hours, and all recording stops. As the session goes on,
tw
the b
band asks if you, the engineer, can play keyboard on a
tune. You come up with a part and play a mini-organ on the song.
When the session is over, you have put in way more hours and talent
than expected, but the band just wants to pay you the price agreed
upon. That original price was for fewer hours of work. How do you
handle this?
Answer: Al Houghton, audio engineer and owner of Dubway Studios, says that you need to be clear with the artists who come in. In
this case, theyre already paying for your engineering expertise, but
now they take advantage of your musicianship and songwriting as
well, says Houghton. If you give this added service, you might say
upfront that they are going to be charged. Some artists just expect
you to work additionally for free, but you may say upfront that they
should pay for your extra work. Also, Houghton points out that
sometimes engineers and assistant engineers have to play the role of
psychologist. Instead of wasting the studio time, he or an assistant
engineer would have tried to talk to the bass player to smooth over
the situation and get the players back performing.
Periodicals
American Songwriter Devoted to the art of songwriting, this magazine also has sections on technology and the music business.
(http://www.americansongwriter.com)
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Recording Industry
128
Audio Media A magazine for audio production professionals that covers pro audio technology, technique, and business for the post,
broadcast, recording, media authoring, sound reinforcement, location, and mastering markets. (http://www.audiomedia.com)
Billboard Billboard started as a publication that followed the popular
music charts, printing the top-selling albums for the week. Since
its inception in 1894, the magazine has evolved into a primary
source of information on trends and innovation in music, serving music fans, artists, top executives, tour promoters, publishers,
radio programmers, lawyers, retailers, digital entrepreneurs, and
many others. (http://www.billboard.com)
EQ This source explains all new audio and home recording studio
equipment and software. (http://www.eqmag.com)
Mix Mix is one of the leading magazines for the professional recording and sound production technology industry. Mix covers a wide
range of topics including: recording, live sound and production,
Everyone
Knows
K
A
According
to the Freelancers Union, freelancers make up
330 percent of all workers, and in a down economy that
number can go even higher. Many people working in the
n
recording industry have to work on a freelance basis. Many
rec
recording engineers only find work on a project-to-project
record
basis. Because many opportunities in this industry are for freelancers, many professionals have to:
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Resources
129
broadcast production, audio for fi lm and video, and music technology. (http://www.mixonline.com)
MusicTech Magazine A British magazine for producers, engineers,
and recording musicians, spotlighting recording tips and gear.
(http://www.musictechmag.com.uk)
ProSound News Tons of industry news items on whos working
where, new equipment, and trade shows. The industry calendar
here helps to track major events in the business. (http://www.
prosoundnews.com)
Recording This magazine for the recording musician highlights
reviews of new equipment, interviews with the engineers and
producers who influence the way music is made today, and explanations of any new technology as it is introduced on the market.
(http://www.recordingmag.com)
SoundonSound The music recording technology magazine delivers
a mix of detailed, hands-on product tests of cutting-edge music
hardware/software, covering all aspects of sound acquisition,
editing, and playback. The publication also presents producer/
engineer/musician interviews and how to workshops and tutorials. (http://www.soundonsound.com)
Other Media
Movies
Almost Famous (2000). Based on director Cameron Crowes real life
as a young writer for Rolling Stone, this fi lm is a fun story about
touring with a rock band.
Dreamgirls (2006). A fictionalized account of the rise of The Supremes
and Motown, Jamie Foxxs character is Motown founder Berry
Gordy and Beyonc plays the Diana Ross role.
Grace of My Heart (1996). Set in the 1960s, the fi lm is loosely based
on the life of song writer Carole King and gives an account of
what it was like to work in the Brill Building, where scores of
music publishers had offices.
High Fidelity (2000). This comedy is for the record store owners and
those who compulsively make lists about music and bands.
Im Trying to Break Your Heart (2002). A documentary about the
recording of Wilcos album Yankee Hotel Foxtrot shows a band in
turmoil and gives a view into the bands confl ict with its record
label.
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130
Recording Industry
Ray (2004). The movie biography of Ray Charles with Jamie Foxx in
the title role traces the music stars rise to fame.
This Is Spinal Tap (1984). This parody of a documentary about a
heavy metal band is strictly for laughs, but malfunctioning props
and a rapid descent from fame can be a real part of the music biz.
The Wrecking Crew (2008). A documentary about a group of 1960s
studio musicians in Los Angeles who played for the Beach Boys,
Frank Sinatra, Nancy Sinatra, Sonny and Cher, Jan & Dean,
The Monkees, Gary Lewis and the Playboys, Mamas and Papas,
Tijuana Brass, Ricky Nelson, Johnny Rivers, and helped Phil
Spector create his Wall of Sound.
Education
Berklee College of Music Concentrates on the study and practice
of contemporary music, featuring more than a dozen majors in
the practice and business of music. 1140 Boylston Street, Boston,
Massachusetts, 02215, (800) 237-5533, (http://www.berklee.edu)
Full Sail University Features bachelors degree programs in
recording arts and in music business, as well as a masters program specializing in the entertainment industry. 3300 University
Boulevard, Winter Park, Florida, 32792, (800) 226-7625, (http://
www.fullsail.edu)
Institute of Audio Research Offers a 900-hour course that prepares students for entry-level careers in fi lm, broadcast, and audio
production. 64 University Place, New York, New York, 100034595, (800) 544-2501, (http://www.audioschool.com)
Institute of Production and Recording Founded in 2002 by a
group of education and media professionals, the institute offers
associates degrees on both the production side and the business
side of the recording industry. 312 Washington Avenue North,
Minneapolis, Minnesota, 55401 (866) 477-4840, (http://www.
ipr.edu)
Media Tech Institute The program in recording arts is designed to
prepare students for entry-level work as engineers. 400 E. Royal
Lane, Suite 100, Irving, TX 75039, (866) 498-1122, (http://www
.mediatechinstitute.com)
Recording Engineers Institute Founded in 1973, this institution focuses on hands-on instruction of engineering techniques.
100-5 Patco Court, Islandia, New York, 11749, (631) 582-8999,
(http://www.audiotraining.com)
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Resources
131
Web Sites
General Industry Sites
Artistshouse Music This nonprofit, online organization gives
informational support, guidance, and expert resources to help
navigate challenges and maximize opportunities in the music
industry. (http://www.artistshousemusic.org)
Just Plain Folks This site boasts membership of more than 51,500
songwriters, recording artists, and music industry professionals.
The group offers a mentoring program and an extensive list of
industry resources. (http://www.jpfolks.com)
KnowTheMusicBiz.com KnowTheMusicBiz.com is an online
community and resource center for independent artists and
musicians. The goal of this site is to help make available the
Fast
Facts
F
lllllllllllllll
llll
ll
llll lllllllll
l lll
lll
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llllll
llll
lll
ll
lllll
llll
lll
lllllllll
llll
lll
l
l
lll
l l l ll
lllll
l l ll
lll
6/16/10 4:28:07 PM
132
Recording Industry
Job Boards
AllAccess Music Group Register to fi nd postings in the radio and
recording industry. (http://www.allaccess.com)
Backstagejobs.com This is an online source for behind the scenes
jobs in entertainment. (http://www.backstagejobs.com/jobs.htm)
CreativeJobsCentral.com This job site is dedicated to those seeking creative job positions. (http://www.creativejobscentral.com)
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Resources
133
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Index
A
AAC. See Advanced Audio Coding
Abbey Road Studios, 125
AC. See alternating current
accountant, 62, 70, 92
acoustics, 102
activities/interests, on rsum, 99
A/D. See analog-digital conversion
add, 102
ADR. See Audio Digital
Replacement
advance, 103
Advanced Audio Coding (AAC),
102
advertising, 4041, 45, 70, 73
advertising account executive, 69
AIFF. See Audio Interchange File
Format
airplay, 103
album, 103. See also long-playing
record album; records
diamond, 107
platinum, 115
promo, 115
All Access Music Group, 132
Almighty Institute of Music Retail,
78
alternating current (AC), 102
ambient sound, 103
American Federation of Musicians,
65
American Federation of Television
and Radio Artists, 68
American Idol, 17, 81
American Society of Composers,
Authors, and Publishers
(ASCAP), 7, 39, 120
YouTube v., 19
ampere, 103
amplification, 103
amplitude, 103
analog. See also digital-analog
conversion
to digital converter, 103
digital sound quality v., 14
recording, digital v., 38
analog-digital conversion (A/D),
102
Apple
iPhone, 20, 30
iPhone applications, 32
iPod, viii, xiii, 15, 20, 2930
iPod Touch, 30
iTunes, viii, xiii, 20, 2930,
42, 111
Logic Studio, 100, 103
recording live shows at, 4243
applications, iPhone, 32
A & R. See artists and repertoire
architecture, 6364
artist(s). See also composer;
musicians; songwriters; talent
budgets/expenses, 69
contract v., 4950, 79
creative control, 106
Foley, 59
manager, 7879
personal v. business managers,
70
publishers and, 40
relations representative, 69
rights of, 7, 19
royalties for, 10
visual/graphic, 7980
artist relations representative, 69
artists and repertoire (A & R), 102
administrator, 69
coordinator, 6970
135
CL_Recording_F.indd 135
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136
Index
CL_Recording_F.indd 136
Bolles, Richard, 95
booking agent, 7879
boomboxes, 12, 104
boomstand, 104
boost, 104
bootleg, 104
Borg, Bobby, 70, 7879
Botstein, Leon, 34
Brand channel, 35
break, 104
break-even point, 104
Brill Building, 129
broadcasting, 67, 6263
Broadcast Music, Inc (BMI), 7, 39,
120
broadcast technician/radio
operator, 6263
Brooks, Tim, 5, 126
budget, 56, 69, 70
Bureau of Labor Statistics (BLS),
25, 49, 59, 61, 65, 66, 73
Occupational Outlook, 62
burn, 104
business manager, 70
buss/bus, 105
Butler, Chris, interview, 1619
C
cable assembly, 105
cans, 105
career. See jobs
career expos, 95
Carson, Fiddlin John, 7
Caruso, Enrico, 5
cassette tapes, 1112
cassingles, 11
CD. See compact disc
CD-ROM, 105, 108
cell phone providers, 39
record labels and, 32
cell phones, 46
certified public accountant (CPA),
62
channel, 105
6/16/10 4:28:08 PM
Index
CL_Recording_F.indd 137
137
door, 109
promoter, 70
ticket sales, 34
console, 106, 113
Consumer Broadband and Digital
Television Protection Act, 50
consumers. See also peer-to-peer
(P2P) sharing
anger at recording industry,
2021
demand, xiii
RIAA v., 31
contracts, 7071
artists v., 4950, 79
negotiations, 66
controlled composition, 106
control room, 2526, 106
Coppola, Francis Ford, 58
copyist, 65
Copyright Office, 106
Copyright Royalty Board (CRB),
106, 112
copyrights, 7, 71, 106. See also
rights; royalties
author v. publisher, 103
fi xed in the tangible medium
of expression, 110
joint work, 111
laws of, 20, 25, 4950, 111,
121122
Costello, Elvis, 33
cover letter, rsum, 99101
Cowell, Simon, 81
CPA. See certified public
accountant
CRB. See Copyright Royalty Board
Creative Artists Agency, 78
creative control, 106
Creative Jobs Central, 132
Crosby, Bing, 8, 17
cross-collateralization, 106
cue sheet, 106
customer service representative/
technical support, 63
6/16/10 4:28:08 PM
138
Index
cylinders, 106
discs v., 34
D
D/A. See digital-analog conversion
damping, 107
DAT. See digital audio tape
data management, 75, 92
DAW. See digital audio workstation
Dawson, Kimya, 40
dB. See decibel
deaden, 107
deadlines, 26, 2728
decay, 107
decibel (dB), 107
decks, 107
de-esser, 107
Def Jam, 18
degauss, 107
delay effects, 107
de Martinville, douard-Lon
Scott, 1
demo, 107
derivative work, 107
development deal, 107
DI. See direct interjection/direct
input
diamond, 107
diaphragm, 108
diffusion, 108
digipak, 108
digital-analog conversion (D/A),
106
digital audio tape (DAT), 107
digital audio workstation (DAW),
107
Digital Millennium Copyright Act,
50
digital music, vii, xiii, 1415,
2021, 2425
analog v., 14
resolution of, ix
sales, 29
CL_Recording_F.indd 138
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Index
CL_Recording_F.indd 139
139
Entourage, 78
EQ. See equalization
equalization (EQ), 27, 110
Eskenazi, Jeremy, 85
ethics, 4950
evaluation
of mentorships, 84
of new employees, 86
events, key industry, 51, 84
evergreen, 110
experience, 8688, 92
on rsum, 99, 101
F
Facebook, 4041, 68
fade, 110
Fadell, Tony, 15
fans, 16
feed, 110
feedback, 110
fidelity, 110
fi le sharing, 110. See also peerto-peer (P2P) sharing
fi lm(s), 89. See also music video
director; television
crews, 61
cue sheet, 106
recording for, 4647
sound designers of, 58
sound technicians, 28
soundtrack, 40
fi lm recordist, 61
fi lter, 110
fi nances, 62, 70, 128. See also
emergency fund
fi xed in the tangible medium of
expression, 110
flange, 110
flutter, 110
Foley artist, 59
Forbes, 39
Freed, Alan, 10
free downloads, 32
6/16/10 4:28:09 PM
140
Index
CL_Recording_F.indd 140
headphone mix, 27
Herbert, Victor, 7
hertz (Hz), 111
high end, 111
hip hop, 18
history, xvixvii
chronology of recording
industry, 2123
of playback, 13
of recording industry, 123
Holly, Buddy, 17
home
radio music in, 67
studio, 3637
honesty, 93
hot, 111
Houghton, Al, 31, 4950, 127
interview, 4244
hours/working conditions, 2529
How the Past Shaped the
Present, 1619
Huang, Kai, 48
Hull, Scott, 8788, 9293
hum, 111
hype, 1617
Hz. See hertz
I
IBISWorld, 48
image, 17
impedance, 111
independent music, 17, 18
informational interview, 85
input, 111
Institute for Forensic Audio, 131
Institute of Audio Research, 130
Institute of Production and
Recording, 130
Integrated Services Digital
Network (ISDN), 74
intellectual property, 121122. See
also copyrights; royalties
International Talking Machines, 6
6/16/10 4:28:09 PM
Index
CL_Recording_F.indd 141
141
clubs, 95
composer, 6465
concert promoter, 70
copyist, 65
customer service
representative/technical
support, 63
interviews, 9698
interviews, Hull, S., on, 88
lawyer, 7071
live sound engineer, 5354
low-level, 8182
lyricist, 68
mastering engineer, 54
mix engineer, 60
multimedia developer, 5456
musicians, 6566
music supervisor, 66
music video director, 7172
producers, 38, 56
product developer, 72
production assistant, 6061
program director, 73
publicist, 72
publisher, 71
radio disc jockey, 73
radio music director, 73
radio promoters, 7677
A & R administrator, 69
A & R coordinator, 6970
receptionists, 82
recording engineer, 5658
recording industry related,
6264
recording studio/recordingrelated, 5360
record store owners, 77
runners, 60, 82
sales representative, 78
seeking, viiiix, xivxv,
9496
singer, 6667
songwriter, 6768, 116
6/16/10 4:28:09 PM
142
Index
sound designer, 58
sound effects editor, 5859
sound engineering technician,
61
studio designer/architect,
6364
studio manager, 59
supporting technical,
6061
talent, 6468
talent manager, 7879
talent support, 6873, 7680
teaching, 65
tour coordinator, 79
visual/graphic artist, 7980
voice talent, 68
Jobs, Steve, 29
joint work, 111
Jolson, Al, 8
Jones, Quincy, 126
Jonze, Spike, 72
jukebox, 3, 9
Juno, 40
Just Plain Folks, 84, 131
K
Kato, Ken, 4748
Katzenberg, Jeffrey, 81
Kaye, Chuck, xvii
KDKA, 6
Keller, Albert, 3
King, Carole, 129
Know the Music Biz, 131132
L
Lambert, Thomas, Edison v., 3
laws, copyright, 20, 25, 4950,
111, 121122
lawyer, 7071
lead sheet, 111
leakage, 111
Lear, William, 13
Led Zeppelin, 79
levels, 27, 112
CL_Recording_F.indd 142
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Index
mastering engineer, 54
mechanical royalties, 112
Media Bistro, 133
MediaSentry, 31
Media Tech Institute, 130
mentorships, xv, 8384
merchandise, xiv, 3435
visual/graphic artist of, 7980
Mercury Records, vii, 12
meter, 112
mic. See microphones
microgroove technology, 10
microphone(s) (mic), 8, 2627,
112. See also close miking;
distant miking
boomstand, 104
cost of, 3738
diaphragm, 108
feedback, 110
leakage, 111
Neumann U47, 44
MIDI. See musical instrument
digital interface
Miller, Glenn, 910
mix engineer, 60
mixing, 9, 27, 54, 113
boards, 5657
console, 106, 113
engineer, 60
headphone, 27
rough, 116
Mix Makers: All Music Industry
Contacts, 132
Moby, 37
modern production, 5
modulation, 113
Momofuku, 33
monitor, 113
motion picture industry, 89
Motown Records, 17, 129
MP3, 15, 20, 30, 113
compression, 105
players, 4
MP4, 3233, 113
CL_Recording_F.indd 143
143
6/16/10 4:28:10 PM
144
Index
RIAA v., 15
NARIP. See National Association of
Recording Industry Professionals
National Academy of Recording
Arts & Science, 11
National Association of
Composers, 64
National Association of Music
Merchants (NAMM), 51, 121
National Association of Recording
Industry Professionals (NARIP),
83, 84, 121
Strategies for Survival &
Success in a Shrinking
Record Industry Job Market
in Los Angeles, 85
National Association of Recording
Merchandisers, 121
National Recording Merchandisers
Convention, 51
negativity, 93
networking, xvxvi, 82, 8485,
128. See also Facebook; MySpace
e-mails and, 9091
informational interviews, 85
viral, vii
Neumann U47, 44
Nielsen SoundScan, 114
Nine Inch Nails, 79
No Electronic Theft (NET Act), 50
noise reduction, 114
notation
lead sheet, 111
software, 100
O
Occupational Outlook (BLS), 62
Odeon, 6
OGG Vorbis, 114
Ohm, 114
Olmsted, Tony, 125
one sheet, 114
CL_Recording_F.indd 144
opportunities, 89
orchestras, 34
organizational skills, 92
oscilloscope, 114
overdubbing, 109, 114
ownership, 50. See also copyrights
Ozbourne, Ozzy, 35
P
P2P. See peer-to-peer sharing
Pandora, 45, 53
patch, 114
patch cord, 114
Paul, Les, 9, 113
peak, 114
peer-to-peer (P2P) sharing, vii,
viii, xiii, 18, 19, 20, 49, 114. See
also downloads; piracy
CD sales v., vii, 15, 2425
illegal, 3032
performance. See also concerts; live
music
Butler on live, 16
recording live, 3536, 5354
Performance Rights Act, 10
performing rights license, 114
performing rights organization
(PRO), 114
phase, 114
phase shifter, 114
Philips, 14
phonautograms, 12
phonautograph, 12
phonograph parlor, 3
phonographs, 23, 114
physics, 55
pickup, 115
Pierson, Ed, on publishing, 71
piracy, 46, 49, 115
pitch, 115
platinum, 115
playback, 13, 115
playlist, 115
6/16/10 4:28:10 PM
Index
PlayStation 2, 48
podcasts, 46
polarity, 115
Pollstar, 34
portability, viii, 1112, 15, 18
portfolio, 80, 8990
Poulsen, Valdemar, 6
power amplifier, 115
preamplifier (preamp), 115
preparation, for mentorships, 83
Presley, Elvis, 10, 16
preview, 115
PricewaterhouseCooper, 2425,
32, 73
Prince, 79
PRO. See performing rights
organization
problem solving, 127
producers, 38, 56
product
developer, 72
knowledge, 63
production, 3637, 115
assistant, 6061
engineering v., 4950
modern, 5
post, 59
production assistant, 6061
professionalism, 76
professionals, 24
downloads v., 31
program director, 73
promo, 115
promoters, 70
radio, 7677
promotion, 4041, 73
self, 88
songwriters, 68
Pro Tools, 27, 37, 57, 92, 100, 115
publicist, 72
publishers, 68, 71, 113114
artists and, 40
copyright of author v., 103
CL_Recording_F.indd 145
145
6/16/10 4:28:10 PM
146
Index
bootleg, 104
on cassette tape, 1112
8-track, 13
Muzak, 9
portability of, 1112
recording. See also recording
session
analog v. digital, 38
digital, 1415, 108
for fi lm and television, 4647
hard disk, 111
Houghton on diversity of jobs
in, 43
ISDN, 7475
live, 3536, 5354
phone-in, 7475
speaking events, 48
The Recording Academy, 121
recording companies, 5
recording devices, 12, 6
Nagra tape recorder, 47
Recording Engineers Institute, 130
recording industry
being successful in, 1617,
7577
consumer anger at, 2021
ethical issues of, 4950
evolution of, xiiixiv, 24
history, chronology of, 2123
history of, xvixvii, 123
model for, vii
technology v., viii, 1819
Recording Industry Association of
America (RIAA), 910, 121122
consumers v., 31
music fans v., 19
Napster v., 15
Thomas-Rassert v., 20
recording session, 116
booking a, 104
recording technology
evolution of, 910
multitrack, 9
CL_Recording_F.indd 146
6/16/10 4:28:10 PM
Index
CL_Recording_F.indd 147
147
of broadcast technician/radio
operator, 63
of business managers, 70
of composer, 65
of disc jockey, 73
freelancer, 128
of multimedia developers, 56
of musicians, 6566
negotiation, 98
of producers, 56
of publishers, 71
of recording engineer, 57
of record store owners, 77
of singers, 67
of sound designer, 58
of sound engineering
technician, 61
of visual/graphic artist, 80
sales representative, 78
sampling, 117
sampling software, 100
satellite radio (SR), 45, 73
scheduling, 92
Schools in the USA, 57
Scott Hull Mastering, 88
scratch vocals, 117
Screen Actors Guild (SAG), 68
selling yourself, 88
sequencer, 100, 117
SESAC. See Society of European
Songwriters, Artists, and
Composers
session. See recording session
Sgt. Peppers Lonely Hearts Club
Band, 12, 125
Shemel, Sidney, 123
Showbiz Jobs, 133
Shuster, Gil, 89
signal-to-noise ratio (S/N), 117
Sinatra, Frank, 17
singers, 6667
SIRIUS, 45
skills, 8586
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148
Index
communication, 101
organizational, 92
on rsum, 99, 101
transferable, 9192
Smith, Bessie, 7
S/N. See signal-to-noise ratio
socializing, 84, 8788
social networks, viii
Society of Broadcast Engineers, 55
Society of European Songwriters,
Artists, and Composers
(SESAC), 7, 39, 122
Society of Professional Audio
Recording Services, 122
software, 3637, 92, 100. See also
Ableton Live; computers; Pro
Tools
hardware v., 31
music notation, 100
sampling, 100
songs
chorus, 105
controlled composition, 106
evergreen, 110
fade, 110
songwriters, 6768, 116
Sony, 14
Walkman, 12
sound check, 3536
sound design, 48, 58
sound effects, 4647
auxiliary equipment for, 103
editor, 5859
sound engineering technician, 61
SoundExchange, 117
sound quality, ix
digital v. analog, 14
records v. CDs, 33
Soundscan, xiii
soundtracks, 40
sound waves, 1
Sousa, John Philip, 3
South by Southwest Music and
Media Conference, 51
CL_Recording_F.indd 148
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Index
sweetening, 117
synchronization, 47
rights, 118
T
Tainter, Charles, 23
take, 27, 118
take sheet, 118
talent, 16, 6468
manager, 7879
scouts, 6970
support jobs, 6873, 7680
talkback, 118
tape(s)
cassette, 1112
DAT, 107
8-track, 13
magnetic, 9, 112
multitrack, 9
tapeless studio, 118
taste, 37, 66
teaching, 65
technology, 77
audio, 57
digital, 1415, 30
evolution of recording, 910
Houghton on, 4344
Internet, 19
microgroove, 10
recording industry v., viii,
1819
television, 1214, 38. See also
fi lms; Music Television Network
audio for commercials, 68
crews, 61
cue sheet, 106
digital performance of sound
recordings, 108
recording for, 4647
sound designers of, 58
tempo, 6465, 118
Tesla, Nikola, 5
Thall, Peter M., 123
theory, 64
CL_Recording_F.indd 149
149
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150
Index
Talking Machine, 4
Victrola, 6
video games, 4748
Vig, Butch, 38
vinyl. See records
viral networking, vii
visual/graphic artist, 7980
vocal booth, 26, 119
voice over, 68, 119
Voice Over International Creative
Experience, 68
voice talent, 68
volt, 119
volume, 119
gain, 110
gate, 111
volunteering, 84
vox, 119
W
Walkman, viii, 12
CD, 14
Waring, Fred, 10
watermarking, 119
watt, 119
WAV, 119
waveform, 119
Webcasts, 48
CL_Recording_F.indd 150
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