Watch the famous Hiwasipi Singers as they record in Studio 1 at McNally Smith College of Music!
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Podcast Video [10:01m]: Play Now | Play in Popup | Download | Embeddable Player | Hits (75)Hiwasipi Singers @ McNally Smith
Podcast Video [10:01m]: Play Now | Play in Popup | Download | Embeddable Player | Hits (75)
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Interships That Work
At McNally Smith College of Music real-life, hands-on learning is as important as what you learn sitting in a classroom which is why our internship program is so important. This summer we have dozens of interns both locally and nationally and their sharing their stories and triumphs on a blog for you! Here are what some of the interns have been writing about: “Alot has been going on for me since my last post. I will first start off by saying I love Los Angeles. I recently got a job at the House of Blues on Sunset…I am also still interning at Studio Atlantis where things are going according to schedule. Working in a commercial studio like Atlantis really tests a persons patience.” - Cole Henricks (Studio Atlantis, Los Angeles, CA)
“Last Sunday (5/25/08) I did my first show in LA at the Desert Rose in North Hollywood and it was amazing. For one it was amazing because it was my first show in LA and I did my thang as the performer.” - Maurice Champion (The Urban Network, Los Angeles, CA)
Like that? Well there’s plenty more! Check our the Summer 2008 Internship blog, trust me, it’s worth it!
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Interview: Faculty Member Joe Mabbott
MSCM Faculty Member, Joe Mabbott made Billboard Charts recently with his work as Mixer and Engineer on records by the local hip-hop group Atmosphere. Four Records In The Top Rap 100: #1, #91, #93, #96. The album, When Life Gives You Lemons charts: #1 Internet, #1 Tastemakers, #2 Indie, #2 Alternative, #2 R&B, #5 Top 200, #6 Rap Core, #7 Digital, #13 R&B Core.
MSCM: How/When did you get started in the recording/production business?
Joe: I started in 1995 as an intern at Trail Mix Studio, which I later bought. I got into the recording field just being a musician and having a lot of passion for music. I started as a post production engineer during the day, and working on music and records at night. I eventually just focused on the album side of the business and haven’t looked back.
MSCM: How did you get started working with Atmosphere and Rhymesayers?
Joe: I started working with Atmosphere on the God Loves Ugly record. I met them through Chris Blood ( McNally Smith faculty member, Music Technology) who did their record Lucy Ford. Chris had business to attend to in another studio in Atlanta, so I took over working with them. Then they turned around 2 months after completing God Loves Ugly and came over to my studio to work on a handful of songs that would eventually become part of Seven’s Travels. It was the first time they were exposed to Pro Tools and loved it. The ease of making changes to the arrangements and mixes was a little mind blowing to them. Plus I think we all just melded together and had a really good working vibe. From there I kinda became the Rhymesayers engineer. Brother Ali, Semi Official, Musab, I Self Devine, they just kept coming in. They are an amazing label to work with.
-MSCM: Who is your favorite artist or group to work with in the Twin Cities? Why?
Joe: I can’t answer that. I’ve been fortunate enough to work with a ton of great groups in this city. It’s a pretty tight knit musical community. I don’t advertise my studio, so all of my business is word of mouth. Once one good record gets made, my clients tell their friend and the rest is a trickle down effect. That’s really the best way to work.
-MSCM: Who has been your favorite client of all time? Why?
Joe: Again, I have to say that everyone I work with has their own unique style to them that makes them great. My favorite clients are the ones that keep making good music and keep this amazing music scene the way it is.
-MSCM: What was your favorite album you’ve worked on? Favorite track?
Joe: Crecent Moon Is in Big Trouble was one of my favorite records I worked on in while. It was all tracked live in the studio in one day, each song had at the most 3 takes. There was just something very raw and amazing about that day.
-MSCM: How do you approach producing versus engineering?
Joe: I find myself wearing both hats on almost every record I work on. There are a lot of elements I feel I bring to the table besides just picking the right microphone and placement. I try to put as much of my own personality as the band allows into every record I work on.
-MSCM: How do you think the industry is changing from a recording/production side? How does that affect you and your work?
Joe: Digital recording has changed the world of the studio. When I first started in this business, it was about big studios, big labels, and big budgets. That’s not the case so much anymore. There are amazing records being done for dirt cheap and in people’s living rooms.
It hasn’t really changed my business that much. I’ve adapted well in the change, but you have to. Plus I get hired for my ears and my ideas. Nothing will change that.
-MSCM: What are the differences in recording hip-hop versus other genres? Is hip-hop your favorite to work with?
Joe: There are a ton of differences in recording from genre to genre but the one simple thing to live by is capturing the best sound and mood you can from record to record.
-MSCM: What are some tips you’ve learned along the way?
Joe: With the different genres I’ve recorded it’s always good to keep an open mind. You can apply what you learned recording some blues record to how you’re gonna get a grimmie sounding organ to translate in a hip hop track. It’s like having a hat full of tricks and figuring out when to use the right magic.
-MSCM: When you are working on an album/project what does your schedule look like?
Joe: Depends on the client. Some of my clients work day jobs, so it is based off of what their schedule is like. For most of my clients, music is their job. Sometimes I don’t get a day off for two months straight. It’s really project per project based. It’s a good idea to try and keep some personal time set aside when working on a big project though. Keeps you sane.
-MSCM: When you get that GRAMMY who will you thank in your speech?
Joe: Come on that’s easy. THANKS MOM!
-MSCM: What are some things you would tell the future producers/engineers?
Joe: Network, keep an open mind, prepare to work your ass off, and have fun with it. We work in one of the greatest fields you can work in. Sure we’re not doctors, but sometimes the music you work on or listen to will change someone’s life forever, and that’s pretty amazing.
-MSCM: What would you still like to accomplish or see happen in your professional career?
Joe: I just want to keep making good records and hopefully inspire other people to do great things in music.
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McNally Smith Master Series - Ed Cherney - Recording Engineer
Ed Cherney, one of the most respected and accomplished studio engineers in music, spoke at McNally Smith College of Music as part of the school’s Master Series on April 21, 2008 from Noon to 1:25 p.m. Cherney’s many accolades include two GRAMMY awards, six GRAMMY nominations, multiple TEC awards, and numerous other industry plaudits. Cherney discussed his 30+ year career as an engineer, mixer and producer for a who’s who of superstars including the Rolling Stones, Bob Dylan, Fleetwood Mac, Eric Clapton (GRAMMY win for engineering “Tears from Heaven”), Bonnie Raitt (GRAMMY win for engineering Longing in Their Hearts), George Harrison, Ringo Starr, Iggy Pop, Barbra Steisand, Sonia Dada, Susan Tedeschi, Tenacious D, The Black Eyed Peas, John Legend and many, many more. Cherney’s Master Series presentation was free and open to the public at McNally Smith’s Auditorium.
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Music Industry Head Start
So let me guess, music is your life, and you want to know how to get more involved in the music scene right? The McNally Smith College of Music Admissions department has compiled some ideas to get you involved and to help get a leg up on the competition.
Getting Involved:
- Make friends with a local band, offer to sell their merchandise, or haul gear. Remember, not all jobs are glamorous, but they are all important, and everyone started somewhere.
- Street team for a band or venue, post flyers, promote shows, etc. The leg-work is normally the part people need help with, and it can be the most rewarding.
- Blog! The internet allows anyone and everyone to be a music critic. Start your own blog, review CD’s and performances. - Blogger -Wordpress - HowWasTheShow.com
- Design posters and flyers to promote performances (high school events, musicals, plays, etc). You don’t always have to print everything you design, save money and post it up online.
- Write Arts & Entertainment articles for your high school newspaper.
Networking:
- Social Networking, there are so many places to meet like-minded people. Myspace! Facebook! Last.fm! Second Life!
- Craigslist lists musicians looking for other musicians.
- Join a local music organization like the MMA or DEMO.
- Check out shows at all-ages venues in your area. Meet the musicians, bookers, and sound engineers.
Live Sound Opportunities:
- High school plays/music performances/concerts
- Religious Services
- Community Centers
- High school Audio-Visual clubs/organizations
Performing Opportunities:
- Open Mic/Poetry Slam nights
- Join your high school orchestra/band
- Participate in community festivals/Battle of the Bands
- Join a church or community choir
- Take a private lesson
- Attend musical workshops in your area
- Enter songwriting contests like the John Lennon Songwriting Contest or The Great American Song Contest
Recording & Music Technology:
- Free Software Downloads:
- Fruity Loops
- Garageband (comes free with all new Macs)
- Audacity
- Reaper
- Software for Purchase:
To download this piece please visit the McNally Smith College of Music Admissions Department.
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Observations on the Audio Industry
An Interview with Tom Kenny (Editor of Mix Magazine) - Note: All answers are paraphrased and not direct dialog.What is your background in journalism, and how did you end up at Mix Magazine? - I graduated from Indiana University in 1988. After graduation I sent out 125 resumes to various media outlets in the San Francisco Bay area, I knew that’s where I wanted to be. The editor at Mix Magazine was an alum of Indiana University so he thought he would bring me on as a proofreader for $5.50 an hour, I quickly learned the audio is a high technology industry that needed all kinds of people.
What do you think are the key dates in the audio world, as far as its evolution? - 1972 introduced the first piece of real digital recording. - 1982 was the real birth of digital distribution and the compact disc (CD). - 1992 is when software invaded the world, there were over 32 mix workstation platforms, the market was flooded. - 2000 the market was flooded again, this time with plug-ins.
Why do you think the CD stuck out as the most used medium? - I really have no idea why the CD has survived over 20 years. You have this little plastic disc that can only hold 680MB of information, it makes no sense, but it’s still the #1 carrier of music. When Steve Jobs and Apple came out with the iPod they were really the first to challenge the CD. The availability of digital music hasn’t thrown CD’s out as a form of transportation either, for the last 8 years blank CD sales has passed recorded CD sales.
What is going on in the world of music distribution? - Well first of all it’s going digital, and almost anyone can have international distribution in some capacity or another. Shawn Fanning and Napster changed the idea of distribution, people now wanted cheap or free songs at the tips of their fingers, and Apple was really the first to legally answer their needs. When iTunes came out the face of music distribution completely changed, this is only backed up with the fact that iTunes pass it’s 4 billionth download not too long ago. And to think Wal-Mart actually beats out iTunes.
All kinds of stores are getting into selling music now; with digital tracks you no longer need racks and racks of music. At Starbucks you can make your own CD from a list of digital tracks, you pick your music and it’s ready to take with you when your latte is done.
How has your job changed in the last 10 years? - It has grown more than I could have ever expected. I came into this position knowing nothing about the recording industry, and now I run 3 monthly print magazines, 3 websites, monthly and weekly newsletters, international events, and more to come. The name of the game is innovation, not just keeping up; my business shapes what’s cool tomorrow, not just what’s going on today.
The virtual world is shaping a lot of industries, including the recording industry. Places like Second Life are becoming a breeding ground for a new way of doing things and sharing information. Virtual trade shows, events, concerts, and lectures are HUGE. People want their information free and at their fingertips 24 hours a day. Our websites get over 225 thousand unique hits a month, the only way you do that is by having unique information.
What do you think of radio? - As a whole I think radio is worthless, except for during drive time and some talk radio shows. It’s an advertising medium more than a way of finding new music; the internet has taken over that job. I’d have to say though; radio does still work for country music, so it can’t be written off completely, and I think internet radio has a very good chance.
What are some things you would like to leave everyone with? - First, ideas are born everywhere. You don’t need to be in LA, New York City, or Nashville to make something in the music or recording business. That’s the difference between the old world of physical music and today’s world of digital music. This includes the recording world, there are networks and sites out there that allow musicians to share pieces of recordings in virtually real time; this means you can be “recording with” an individual in New York while you’re sitting in LA. - Second, it’s all about content. Distribution is not the issue anymore, anyone can get his or her music out there, what makes you stand out is good content. - Third, learn everything you can about technology, and learn it on both PC and Mac platforms. - Fourth, social networking and search engines are your new best friends. Nearly 80% of our magazines’ web traffic comes from Google and Yahoo! search.
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Tour Managers Speak Out on Tour Managing
Let me first just say I am amazed that we could even get these four very talented men in the same room at the same time, but I could expect nothing else from the legendary Steve McClellan who coordinated and moderated the whole seminar event. Our guests were and are touring veterans and greats in their prospective fields:
Randy Hawkins: Current tour manager for Atmosphere and Brother Ali, previously worked with Hank III, Anthrax, American Head Charge, and many others.
Monte Lee Wilkes: Currently FOH sound and production manager for Hillary Duff, worked as tour manager for Nirvana on their first national tour, FOH for Alice in Chains, The Replacements, Britney Spears, R. Kelly, and MANY others.
Casey MacPherson: Former stage manager at First Avenue in Minneapolis, former “road warrior” with The Replacements, Hüsker Dü , Bob Mould and the Suburbs.
Oscar: Recently got home from touring with the Blues Travelers as their Security Manager, he has also worked with The Replacements and Ani Difranco, just to name a few.
All the panel members started off by recounting some of their favorite moments while being on tour, from the guys in Nirvana trashing a hotel to getting gear through customs and across country lines in Europe, they all had a moment. Interestingly enough the “bad” times were always the stories that they wouldn’t trade for anything.
Top Tips For Tour Management:
1. Make sure you’re doing it for the right reasons. “Sure you can make a lot of money, sure you can have the glory, but unless you’re truly doing for the music you wont make it through the hard times,” said Casey. When you’re on the road for 265 days out of the year even the smallest thing can set you off, just remember why you are there; picture the fan who has been waiting to hear their favorite band live, remember your first concert and how that made you feel. “I remember sitting at the front of house (FOH) board waiting for Britney Spears to do her sound check, she was an hour late, everyone was stressed out, and I looked up at the sound system in front of me and it really hit me, I am doing what I have wanted to do since 6th grade. The stress just disappears then.”
2. Be open to all music. Until you make a name for yourself in a certain genre, and even sometimes after that, you take the jobs you can. In the touring industry there are rarely job postings, most of the gigs you do get will be from word-of-mouth connections you make a long the way. “You have to have an open mind because you can be working for Hank III and then go straight into Atmosphere, country to rap, you look into the crowd sometimes and wonder if you have stepped into a whole other time,” said Randy. ” Monte followed up with a laugh and “Try Alice in Chains to Kelly Clarkson, you really think you’re losing your mind.”
3. Look for any open door. Oscar remembered how working security and clean-up duty at First Avenue in Minneapolis seemed like the least glamorous job ever, but he credits that to his 14 years of touring as a Security Manager. Something may not seem like the best job in the world but in the end could get you where you want to be.
4. Communication is key. Promoters can be your best friends or your worst nightmares, but in the end of it all they are the reason you are there, they are paying you, they are the reason you have a job. If you go in blazing fire things don’t always get done, you must have a balance between getting things done and making friends. Giving people the respect they deserve is key. Casey reminds, “going in blazing fire makes it hard for everyone to do their job, not just you.”
5. You are the scapegoat, don’t take it personal. When something goes bad, it’s all the tour manager’s fault, and when something goes good you will never get the credit.
6. Nothing is below you. As the tour manager your job is to make sure the tour goes smooth, if your lead singer wants a carton of Camel Lights or he wont get on stage then you are the one out looking for a carton of Camel Lights. “Never let a band use your cell phone though,” explains Randy “I had a band run up a $4000 phone bill, guess who got stuck with that?”
7. Be willing to put your body on the line. “As a security manager I used a little more caution when deciding who I would work for, I had to be willing to put my body on the line for them,” says Oscar, “sometimes it comes down to you’re willing to do it for the tour manager and the crew, but make sure someone is worth it.”
8. Independent artists are worth it. These guys are driven, they have their own lives and money on the line, not that of a big label. Working with the DYI crowd can be the most rewarding job ever.
9. You make friends for life. You meet people along the way that you will never forget, it’s a community of “road warriors” that are always there to lend a hand, share a story, or spread the word.
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McNally Smith - The Career Center
Dustin Phillips talks with the Career Center’s own Debbie Sandridge about the music business, music jobs, music internships, and California.
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LA Intern - Ashley Terry
The Career Center part 2, of sorts. This episode focuses on one of our first LA interns and her time at Def Jam records.
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How Can I Promote My Band Online?
Being successful in the music industry takes more the just talent; it takes a solid understanding of marketing. After all, your band will never be discovered if people don’t know who you are! Guerrilla marketing is perfect for new band promotion as guerrilla marketers use their creativity instead of cash.
Below are 5 “Guerilla” ways to promote your band online:
1. Set-up a MySpace Music Page MySpace isn’t just for kids, in fact most MySpace users are in their late teens to early 40’s – likely the demographic your band is looking to market to. MySpace music pages allow musicians the ability to post information about upcoming events and even upload their songs. The Black Eyed Peas, U2 and Don Henley are just some big names bands who have leveraged MySpace for promoting their band.
2. Start a Blog Blogs are simple and free to start. They allow you to connect with your audience on a more personal level. Blogging is a great way to build word of mouth advertising and support for upcoming shows.
3. Create a Profile on Last.fm Last.fm is a website perfect for band promotion, it logs every song you play and like MySpace, you can upload songs to your band profile for people to listen to and comment on. Last.fm allows you to build communities and connect with fans from all over the world.
4. Flickr Band promotion is made easy with Flickr. A one step upload process allows you to share photos of your band with friends, family and fans.
5. Post on YouTube Do you have any video of your band playing live? Throw them up on YouTube, it’s free and people are bound to watch it.
The internet offers countless ways to assist you with your band promotion efforts. Unleash your creativity today and explore the guerrilla in you!
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