We know that sometimes networking can be a little intimidating, but remember that according to experts over 70% of people have found a job through networking. If you consider yourself a "newbie" in the art of networking, don't worry, here are some basic things you should keep in mind for your next event:
If you are interested in learning more about networking basics in the music industry, check out this blog post.
There used to be a time when getting into the music business highly depended on a stroke of faith (where a talent scout might see you playing at a random bar) or that your family had enough money to pay famous DJ’s to get your single into top radio stations (i.e. Payola). Even though many music industry careers existed, it was hard to get into or even know about them, simply because there was not a transparent method of dissemination of information, and frankly speaking, record labels directed the way how the industry was supposed to work.
A Stage Manager or Licensing Specialist would depend on the label’s objectives and marketing goals. Today, and mainly thanks to technology, this has changed. Dissemination of information has grown to exponential levels, where practically anyone can understand, learn and know about the music industry. That said, it’s still difficult to navigate the many roads the industry has, because it’s still at its nascent stages.
Our blog post titled "The Hottest Music Industry Jobs in 2018" might help you make up your mind.
Traveling around the world, touring with major artists and experiencing some of the best music festivals is just what audio engineering can get you. The difference between the audio engineers in the live music industry and the recorded music industry is mainly their workplace. Doing live shows, you’ll be changing your workplace constantly, probably using new mixers as you go, dealing with new lighting technicians and even testing new audio plug-ins.
FOH (Front of House) is literally the engineer than manages the audio quality and output of every show and deals with how audiences experience the sound and music. Monitor engineers deal with the people onstage who are performing. They make sure that the monitor levels are at the best possible level for a successful performance. Both of these engineers have to communicate constantly, but rest assured, you’ll probably have to wear both hats at some point in your professional life.
If you're interested in learning a little bit more about this career path, check out our blog post titled: "Live Music: Travel The World Doing Something That You Love"
Also, you can't miss our StereoClass featuring Pete Kepler, he is one of the best engineers in tehe industry and he will be talking about how he prepares for a tour, what are his console preferences, and the best career path to becoming a successful Front-of-House Engineer.
How do you stay relevant in the industry? There is a lot of noise out there but you should always try to stand out from the crowd. The goal is to engage with your audience in a natural and frequent way; you never know if your future employer, manager, or festival booker is following you or is already an avid fan of your music.
The best way to stay relevant is to focus on specific channels. In today’s media landscape, it’s better to grow audiences and communities in specific channels by voicing out your opinions or distributing your content. Using Facebook as an example, a front-of-house engineer might be constantly sharing his use of gear everyday, expecting comments and community feedback, instead of using disappearing stories from Snapchat or Instagram. Maybe a cello player, who might not be interested in growing a Twitter following might start her own Medium blog, documenting stories of the best cello luthiers out there and sharing best practices for amateur cellists.
Check out this blog post to see how you can stay relevant in this ever-changing industry.
Join us for an exclusive inside-look at the work of recognized engineer and audio master, Daniel Bustos. We’ll delve deep into two of his award-winning recording sessions with Diamante Eléctrico, as well as discussing his unique recording techniques, seeing his preferred gear from within the studio, including Retro Knob equipment.
Recording and Mixing Engineer Daniel Bustos has 6 Latin Grammy’s, 5 as an engineer and 1 as a Recording Engineer / Mixer engineer. He has also earned a Grammy nomination (Chocquibtown “Behind the Machine” – Engineering), and 3x more nominations as an engineer in the Latin Grammy’s.
He is founder of Retro Knob, representing more than 47 high-level audio brands, including Universal Audio, Neumann, Sennheiser, Telefunken, and more. With this company he has signed the best producers and engineers in Latin America as artists – Retro Knob / Universal Audio – and have achieved more than 20 Grammy’s with their artists.
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