Music Industry Archives - Music Major - Majoring in Music

Impacts of COVID on Recording and Production

MajoringInMusic — Sun, 06 Sep 2020 18:12:15 +0000

Music school majors and career professionals are discovering a variety of ways to handle the impacts of COVID on recording and production work.

by Haley Zaremba

To learn more, we talked to music production and technology professors at various schools as well as recording and production graduates. The consensus is that being flexible and trained with a diverse skillset is more important than ever.

Versatility is essential

“I think two suggestions [for current students] are roughly the same as they’ve always been, which is that you need to be multifaceted,” says Rob Jaczko, who chairs Music Production and Engineering at Berklee College of Music. “You can’t be a specialist in one narrow little thing, because whatever that thing is, it’s irrelevant or out of fashion in a year.”

The need for versatility is not new, but has been catalyzed by the current economic and public health crises. “In reality, the professional landscape for music technology has been in flux for some time,” says Michael Gurevich, associate professor of Performing Arts Technology at the University of Michigan School of Music, Theatre & Dance. “So the key is to learn a lot about a lot of different aspects of the field and the industry, and to be open to every opportunity that arises. I don’t think that’s going to change.”

When describing modern-day Renaissance women and men of music, Jaczko and Gurevich might as well be describing Aaron Daniels, who graduated from the University of Colorado Denver Music & Entertainment Industries Studies program (MEIS) in 2017 with a bachelor’s in Recording Arts and a piano emphasis. Over the past few months, instead of watching his business dry up, he is busier than ever because he’s been saying yes to all kinds of jobs he had never even imagined before. He’s gone from mixing records and teaching piano to mixing live streams, teaching virtual classes, and producing backing tracks for ministries as far-flung as Japan and Afghanistan. Piano students who had long ago moved to other states have also been reaching back out to him as online learning has become mainstream.

“The pandemic has been one of the best things that’s ever happened to me personally,” Daniels says from his home in Denver. “It pushed me to be able to try new things. I’m making more [money] than ever before.” Although he graduated a few years before the pandemic hit, Daniels says that his program at CU Denver prepared him well for pursuing diverse streams of income and being open to the constant shifting of the industry.

Reshaping the way of teaching and learning

COVID has not changed the art of music production. Instead, it has accelerated a process that has already been in place for years.

Since well before the pandemic, “the way of the large format recording studio [has been] disappearing,” says Los Angeles-based producer, composer, and saxophonist Daniel Weidlein, a USC Thornton School of Music graduate. “The reality is that most recording projects are happening at home or in smaller project studios (like mine) all around the world.”

In this sense, COVID-19 is not necessarily a tragic disruption of the music school curriculum, but rather an essential and overdue opportunity to reshape the way we teach and learn music recording and production for a modern world that requires flexibility over all else.

“It’s super important to continue to learn signal flow, gain staging, and basic physics of sound that are required to engineer and produce in a large format, analog-based studio,” says Weidlein, who runs BioSoul Music production and recording studio, “but it’s increasingly vital to translate those fundamental concepts into digital applications. Those same concepts apply to using a plugin in Logic, but you need to be taught how to properly implement them.

“It’s great to know how to get the perfect sound with the ideal recording setup,” he adds, “but more often (especially with COVID-19 considerations), understanding how to make the best of a less ideal recording situation—like avoiding unwanted room reflections, using good mic technique, and learning how to maximize the returns of more affordable gear—is vital to modern recording. Think of how many great records have been made recently on a tour bus, in a hotel room, or even in somebody’s bedroom. It doesn’t take a huge analog studio, it just takes good knowledge of a DAW (digital audio workstation) and the gear you have.”

Any programs stuck in the past are now reckoning with the future. COVID-19 will be a watershed moment for music programs currently working out how to leave the “old ways” in the past and dive headfirst into the “new normal.”

For Berklee’s Jaczko, the pandemic has been a unique opportunity to learn new skills, broaden his and his students’ horizons, and reshape the future of his program. “The resources, the teaching, the infrastructure that we’re generating now online I think has been overdue,” he reflects. “We could have been exploiting mixed modalities sooner.”

The challenges

There are considerable drawbacks to moving a program that still requires lots of analog equipment and studio time to a purely digital platform. Most schools have had to cancel their studio-oriented courses until students are back on campus and back into recording booths, leaving many students in the lurch.

“When I look at my majors, there are really three different cohorts there,” says Jaczko. The pandemic has had very different effects on each of these groups: students just beginning their studies, students in the middle of their program, and seniors. At Berklee, students just beginning their studies have had no problem moving their foundational classes online. Seniors have also adapted well to online learning by applying their acquired skills at home, with their senior portfolios reviewed digitally. Students in the middle cohort, however, are having a harder time. These students are at a point in their studies “where they absolutely need access to hardware and the recording studios,” says Jaczko. “That is the bedrock of the program.”

Rick Schmunk, Music Technology program chair at USC Thornton School of Music, agrees that COVID-19 has had an uneven impact on different groups of students. “For the most part, the COVID virus is affecting other music students much more than music production students,” he says. “Music production students are already adept at working in-the-box (as we say) and working collaboratively. The only difference is that they are working remotely with their collaborators.” This minor challenge is actually, in some ways, providing a better learning experience as it prepares students to enter an increasingly-remote workforce.

Additional preparation for students

The entire music production industry has already been headed in a progressively more digitized direction for years, and COVID is set to catalyze that transition. Majoring in production and recording is sure to include more digitally-oriented courses going forward. And even if it’s not built into the program, there are plenty of ways for prospective music students to make sure that they are well prepared for the digital world.

“Fill your electives with computer science classes,” recent CU Denver MEIS graduate Michael Stewart advises current and prospective music students. “I can’t stress enough how much everything is moving to IP-based technology.” IP, or Internet Protocol, is the standard system that all network devices use. It’s integral to being able to build, maintain, and understand these networks. “Think of it like wiring a concert over the internet,” Stewart adds.” The hope is that going forward, these classes won’t even need to be electives, as schools plan their post-COVID curriculum with a digitized world in mind.

When asked what the biggest struggle of their COVID-era career is, and what they wish they had learned in school, those working in recording and production respond much like they might in any year, pandemic or not. The hardest things are self-promotion, scheduling, how to file taxes as an LLC, how to network, and how to stay motivated.

“I wish I’d learned DIY marketing strategies, promotion, and advertising for musicians,” says Reymundo Lariosa, a Carnegie Mellon School of Music graduate who uses the name Malrey in his artistic work. “You know, thanks to the internet we have a large database of information that we can draw upon,” he continues, “but it’s also intimidating and time consuming to make sense of all these resources and implement the advice they impart. Maybe having a mentor at school who can guide you through the promotional and business aspects of music would be great at this moment.”

When life gives you lemons…

The increase of digital awareness in university music programs is one of several silver linings to the pandemic. Oftentimes, it’s all a matter of perspective. Jaczko has taken COVID as an invitation to learn to think positively about hardship. “Great art is born out of struggle,” he says on a Zoom call from his home in the Boston area. “Do you think the blues were invented because everything was totally fun and cool and like everyone had what they wanted? No!”

“Recording engineers have traditionally been the technician collaborating with the musician — you do your job, I’ll do mine. Now it has to be more interactive, with both sides learning more about the other in order to make a successful collaboration,” says Riccardo Schulz, Sound Recording Professor at Carnegie Mellon School of Music. “Despite the physical separation, the engineer and the musician have to be less isolated in their thinking about how to get the best results possible.”

According to Schulz, as a result of the pandemic “recording engineers will now be called on to help musicians who are not tech-minded make sonically-acceptable recordings on their own. The emphasis will still be on how the software works, and to help others get going quickly on various software platforms.”

Sure, “the doldrums of pandemic life” as Weidlein describes it, have heightened a lot of these challenges and anxieties, especially financial and social, but they’ve also pushed everyone interviewed for this article to experiment with their craft and explore new perspectives.

“Out of crises,” Jaczko reminds us, “artists rise to the occasion.”

For More Information:

Click here to discover participating schools that offer programs in Music Technology, Recording and Production.

Haley Zaremba is a freelance writer and journalist with an MFA in Food Studies from American University of Rome and a BA in Media Studies from University of San Francisco. Her writing ranges from music and culture to energy and the environment.

Lead Photo Credit: Jason Martin Photography – Audio engineer/producer Aaron Daniels, Aaron Daniels Music

2nd Photo Credit: Taryn Dudley – BioSoul Music producer Daniel Weidlein

Careers for Music Business Majors

MajoringInMusic — Sun, 24 Mar 2019 19:00:05 +0000

Careers for music business majors are changing and expanding rapidly. If you’re interested in a music-related career that may or may not include performance, read on!

What does a music business major study?

Music business majors may study any number of areas including: how music is created, monetized, and consumed; music publishing; licensing; copyright law; and royalties.

Music business programs may also include opportunities to focus on:

• scouting talent

• artist management and brand development

• touring

• record label operations

• pitching music

• music supervision

• media relations

• digital strategies

• marketing and distribution strategies

• entrepreneurship

Some music business programs will require basic courses such as music theory, music history, keyboard training, ear training, and music production. According to Benom Plumb, Program Director for Music Industry Studies & Music Management at University of the Pacific, who taught in the Department of Music & Entertainment Industry Studies at University of Colorado Denver, “These topics are important because they prepare the student for entry-level positions in their chosen music business field.”

What does it take to be accepted into a college music business program?

A strong passion for music is a key ingredient for getting accepted into a music business program – and for succeeding in a career in this field.

“Being able to hear, read and talk about music with musicians in their language is a big help,” says Keith Hatschek, author and former program director for Music Management and Music Industry Studies at University of the Pacific Conservatory of Music. He spent many years as a recording engineer, producer, project manager, and as VP of sales and marketing at a large recording studio in the Bay Area.

How much musical background is necessary?

The level of musical proficiency needed to be accepted into a music business program will depend on the requirements at the school(s) you want to apply to. And that often depends on where the program is housed.

If music business is a major offered through a music school or department, an audition may be required, although the bar for being accepted will likely be lower than for a performance major. Some music schools offer the option of taking audition vs. non-audition tracks.

If music business is offered through a university business school, it’s unlikely that an audition or specific level of proficiency will be required.

How to choose a music business program

Some schools use program names such as “music business” or “music industry” or “music management” interchangeably. Others make distinctions among these.

So our best rule of thumb? Don’t choose a program by its name. It’s more useful to look at:

• Program focus

• Required classes

• Faculty – and their involvement in areas you’re interested in. The connections they can help you make will be indispensable to your future career.

• Hands-on and career-related opportunities including internships; panels and presentations with active music business professionals; access to professional organization events and conferences. This is a field that demands learning outside of the classroom.

• Where and when alumni of schools you’re interested in have found jobs after graduating.

What job options are available once you graduate?

Benom Plumb, who worked as VP for Licensing at Bluewater Music in Nashville, has seen his music business graduates go on to work in music publishing, music supervision, and artist management. They’re also working in concert promotion, merchandise management, and online streaming. They’ve been hired by record labels and in broadcasting. Some work in music journalism and as DJs.

“The music business is as diverse as business in general,” says Serona Elton, chair of the Music Media and Industry Department and director of Music Business & Entertainment Industries at University of Miami Frost School of Music. “There is a huge range of positions in legal, accounting, software development, marketing, supply chain, HR, etc. Someone could pursue any of these areas and try to find an opportunity to work for a music-related company in that area.”

Kevin Findlay, a 2018 Music Business graduate of Millikin University School of Music, found his passion in merchandising. “It gives me a chance to help other DIY musicians succeed by creating new revenue streams, while still exercising creativity and individuality,” he says. “I’m in the process of starting my own merch business. I’d mostly like to focus my efforts on small-scale DIY musicians, as I want to help provide them with more of a solid platform to have their messages heard!”

What kind of training and experience should you look for in a college music business program to be more attractive to employers?

• Real-world experience – essential for applying what you learn in the classroom. Student-run music businesses and record labels are great for this.

• Internships – “The real place to find a job in this industry is through who you know and through internships,” says Benom Plumb at CU Denver. “Because to find a job, you need to have first built a network of trusted contacts and relationships (including a little relevant work experience).”

“The reality is that approximately 90% of music business positions are filled internally and through personal referrals,” he continues. “The hiring committee already has their top candidates lined up through referrals from trusted industry friends or their very own interns. This is why it’s essential for students to expand their network of contacts and apply for any music industry-related internships they can.”

• Networking skills and opportunities – with lots of practice in becoming comfortable interacting with others to exchange information and develop professional contacts. No matter what area(s) of music you work in, this will always be useful.

“It’s been said that in the music business, ‘it’s not what you know, it’s who you know,’” says composer and author Steve Danyew, who teaches in the Arts Leadership Program at The Eastman School of Music. “That’s partially true. I still believe that the #1 most important part of career success is the quality of your work…Then, I think networking is one of the most important aspects of music careers.

“You need to communicate well with people,” continues Danyew. “This doesn’t mean that only outgoing people succeed in the music business – there are plenty of introverts in this field! But you have to respond to people promptly, be easy to work with, and make an effort to meet people and grow your network. Many opportunities in music come through your network of contacts. That begins in college.”

• Opportunities to learn and keep up with the latest desktop and mobile tools.

• Experience with social media and website development.

• Effective written and verbal communication skills.

What qualities do successful graduates of these programs have in common?

Music industry professionals interviewed for this article agree that the ability to creatively problem solve is increasingly useful and valued in the world of music business.

“Most music business activities include a rigid timeline, whether that be a show, a release, interviews, or publicity, with cascading, multi-level and interwoven project timelines and increasingly smaller budgets,” says Martin Atkins, producer, drummer and Music Industries Coordinator at Millikin University. “The application of these skills to make the impossible happen is the central, most valuable part of a music business professional…adaptation to change and triumph in the face of adversity is music business DNA.”

Juggling several priorities at the same time is essential. Excellent time management is a must.

According to Keith Hatschek, “The industry changes every 90-120 days. So you have to commit to lifelong learning. Reading, conferences, and having conversations with peers in your field all make up part of what is needed to stay current. There are great organizations (such as California Lawyers for the Arts) that present affordable workshops on changing topics for artists and managers. Stay curious.”

“Employers want to know that students are learning about how the music business works today versus how it worked a decade ago,” says Serona Elton. “Students should look for courses and extra-curricular opportunities that connect with the industry of today.”

And where, geographically, are the jobs?

It’s no surprise that a few cities continue to be considered the major hubs for music business: New York City, Los Angeles, and Nashville in the U.S.; and London and Hamburg, Germany in Europe. But things are changing. “Silicon Valley is now acting as a fourth U.S. ‘center’ due to music’s increasing ubiquity via streaming platforms,” says Hatschek.

“If you think of music business as also including the live side of the business, there are opportunities in almost every city, ranging from large performing arts centers to small club venues,” says Elton. “And if you also consider the musical instruments and equipment side of the business as falling under the broader music business heading, there are manufacturers and retailers all over the country.”

Where to look for jobs has a lot to do with the kind of work you want to do. “In most major metro areas, there are certainly more opportunities in the sectors of concert promotion, booking and production,” says Plumb. Hatschek concurs: “For early stage career growth, nearly every city or region of about 100,000 population will have a music and arts scene to get you started.”

“Sometimes the best place to innovate is away from the costly overheads and the time-crunched, stressed audience of the coast,” says Plumb. But he’s quick to remind, “It’s a myth to believe you’ll get hired for a job in a music business hub like L.A. while living and applying from another location like Colorado. The hiring company is going to consider candidates who are local and can start within days.”

Resources to Know About

• ASCAP

• MEIEA

• Music Business Association

• NAMM

• RIAA

• Music Internship Articles

• Explore MajoringInMusic.com participating schools offering music business/music industry programs

Tips from Recent Music Business Alumni

Find internships at companies you’d like to work at and, if possible, cities you’d like to build a life in. The knowledge gained and relationships formed during an internship often are the difference between being jobless or having a plethora of career options after graduation. The music industry is a close-knit community and you will build a reputation in that community whether you intend to or not. Make sure it’s a good reputation.

– Dustin Banks, (Lipscomb University, 2016, MBA; Belmont University, 2009, Commercial Guitar Performance), Manager, Royalty Administration at Royalty Exchange in Nashville, TN

I recommend actually doing what you want to do in the music business, while in school. For example, if you want to be an artist manager, manage a friend’s band or local artist while you’re in college and take them as far as you can! This is how some managers strike it huge at an early age. Even if you don’t end up with an artist that pops, the experience and contacts that you’ll get from it will set you miles ahead from your peers!

– Maura Duval, (CU Denver, 2013, Music & Entertainment Industry Studies), ASCAP Director of Membership, Pop/Rock in Los Angeles, CA

This is a very competitive industry and starting out it may be difficult to find opportunities to share your music, share your talent, share your work, or to learn something new. That is why I encourage you to say “yes.” With every opportunity you say “yes” to, you have the chance to meet new people and to show them why you’re in this industry. You never know, it might lead to a bigger and better opportunity, but you can’t know if you say “no”.

– Megan Peterson, (Millikin University, 2017, Music Business & Commercial Music), mastering engineer and studio manager at Georgetown Masters Audio LLC in Nashville, TN

CREDITS

Photo: Robert King Photography for CU Denver College of Arts & Media

Article: Barbra Weidlein is a co-founder and director of MajoringInMusic.com

Cool Careers in Music Production

MajoringInMusic — Wed, 18 Oct 2017 18:24:19 +0000

Careers in music production vary according to your creativity, education and training, hands-on experience, spirit of entrepreneurship, and connections.

Professional experience outside the classroom is essential for finding a job or creating your own studio. Most college programs in production-related fields provide hands-on training at campus and local area recording studios along with internships at large and small music and music tech companies. This is essential for anyone wanting to work in this field.

“Professional work within the safety net of college helps students build a professional track record,” says Dan Godfrey, chair of Northeastern University’s Department of Music. It helps “fine-tune students’ chosen paths before their first foray into the profession.” Northeastern students are set up with one to three co-op experiences lasting six months each to provide extensive hands-on experience.

Beyond the technical and musical skills, career success “also requires strong networking skills, tireless efforts to make yourself known to others in the field, being persistent without being annoying, and finding creative ways of solving problems facing others who can become your employer or client,” says Scott Metcalfe, Director of Recording Arts and Sciences at Peabody Conservatory of The Johns Hopkins University. “Most recording engineers have freelance careers that require strong communication and organization skills.”

Metcalfe says students with strong math and science knowledge – especially in physics – find “a wider range of employment opportunities in settings that are more conventional (i.e., full time with benefits). For example: careers in electroacoustics (engineering loudspeakers, headphones and microphones), audiovisual system design (collaborating with architects on the audiovisual and information technology needs of a new construction or renovation project), acoustical engineering consultants, etc.”

Options for Careers in Music Production

A background in music production with business and entrepreneurship skills prepares graduates to create their own production studios.

Others find work:

• at existing studios
• with companies such as YouTube, Avid, Adobe, Apple
• in live performance and multimedia
• touring with musicians
• running music festivals
• working in audiovisual and headphone/microphone design
• as educators

Jobs are also available as:

• acoustic installation engineers
• audio engineers for video
• audio gaming engineers
• audio multimedia specialists
• audiovisual consultants
• front-end/back-end developers
• instructional designers
• master engineers
• multimedia educators and specialists
• stage technicians
• studio managers
• sound effects creators (Foley artists)

We’d like to introduce students and recent alumni who share their best tips for current and future music production majors.

Claire Margaret Wilkins, studio manager

Area of emphasis in college: Recording and production

Music background: Played and performed flute in middle school, high school and college. Also attended a summer study abroad program in Ireland focusing on traditional Irish music.

Current work: Studio manager at Georgetown Masters Audio, LLC in Nashville, TN.

Previous: Internship at Starstruck Studios and Modern Works Music Publishing. Temporary position at KPentertainment.

What I wish I’d known or done differently: In addition to the required final internship for my degree, I wish I had done at least one other summer internship while in school. A lot of my peers gained invaluable experiences at summer internships that helped them narrow down what they wanted to do after graduating.

In addition to the challenging coursework of my program, I also wish I had been more active in the non-music art scene and been involved with projects that collaborated with different departments.

Suggestions for future music production majors: Be as active as you can in the existing arts communities in your hometowns or surrounding areas. Begin to learn how to be a part of a creative community as well as how to communicate with a creative community.

Claire Margaret Wilkins, ’14,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Matthew Weiner, acoustical and audiovisual consultant

Area of emphasis: Acoustics

Music background: Studied guitar from 6th grade through college. Minored in music as an undergrad.

Current work: Acoustical and audiovisual consultant, SM&W (Shem Milsom & Wilke)

Previous: Live sound events. Instructor at an audio engineering school.

Suggestions for future music production majors: Consider diversifying your studies.

Matthew Weiner, ’17,
Peabody Institute Recording Arts and Sciences, MA, Audio Sciences

Michael Lekrone, concert recording manager, staff recording engineer

Areas of emphasis: Recording and production

Music background: Trumpeter in high school marching band, concert band, jazz band, church bands, and some private gigs. Self-taught in guitar and percussion.

Current work: Several pro audio positions. Concert recording manager and a staff recording engineer for Appalachian State University Hayes School of Music. Stage technician at the Schaefer Center for the Performing Arts – live audio, lighting, stage load-in and load-out, and artist relations. FOH engineer for Cornerstone Summit Church – live sound, recording, and livestream video. Freelance engineer and independent audio contractor. Regularly hired by DJ Hamilton Productions to run sound in a local bar and around town.

Suggestions for future music production majors: Read as much as you can about music production. You won’t retain all the information, but every little bit helps. And, if it is something you are really interested in, you will grow to enjoy the research more and more.

• Listen to as much music as possible. Consider the reasons why you like a particular song, or why you don’t like it. Go to live shows and listen to how a song sounds versus how it sounds on a record. Technical aspects of a piece of gear are easy to teach, but an appreciation for what sounds good on a recording is much harder to teach. Listening to as much music as possible will begin to hone your ear for what your desired product is.

• Never turn down an opportunity to learn or gain experience. There are many ways to learn other than just sitting in a classroom. Those who seek out those learning opportunities will go further in reaching their goals. You never know who will drop an opportunity in your lap that will be a stepping stone to something bigger and better in the future.

Michael Lekrone, ’18,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Elysia Smith, entertainment management, production; event planning

Area of emphasis: Entertainment management and production. Event planning.

Music background: Classical voice and piano

Current work: Projects in entertainment management, production, and event planning.

Suggestions for future music production majors: Find the college that targets your interests. Even if it’s a great school with a great reputation, if they don’t specialize in what you want to do, it won’t be the right school for you.

Pursing music or any of the arts as a career field is rarely a 9-5 day job with cushy benefits. However, the work that we do, in whatever special interest we choose to pursue, is so very rewarding because it reflects our hearts and our passions.

Elysia Smith, ’17,
University of Colorado Denver, Music Business and Recording Arts

Drew Vandenberg, studio engineer, producer

Area of emphasis: Studio and live recording

Music background: Piano for 8 years, drums, electric bass in high school through college.

Current work: Producer and studio engineer. Live and mobile recording in “odd places.”

Suggestions for future music production majors: Don’t worry about how primitive your first recording setup may be. Learn everything you possibly can from that setup before you move on to something bigger.

Seek out opportunities to shadow people who know more than you. Learn from them. You’d be surprised how much you learn just by being there and helping out. That, along with practicing on your own and doing as much reading and listening as possible, will lead to a very well-rounded foundation for whatever your passion is.

Drew Vandenberg, ’08,
Indiana University Jacobs School of Music, BS, Recording Arts

Nikki Grande, concert recording staff, administrative director

Area of emphasis: Duel concentration in recording and production and marketing and promotion

Music background: Guitarist; high school jazz band and pit orchestra; singer/songwriter.

Current work: Concert recording staff for Appalachian State University Hayes School of Music. Administrative director for the annual Appalachian Guitar Festival and Competition.

Suggestions for future music production majors: Get involved in as much as possible! The more you put yourself out there, the more opportunities you will have to be a part of something really cool that you might love. You never know who you will meet who will have a useful connection down the line.

Don’t underestimate yourself or feel too intimidated. Everyone in school is there to learn, so put yourself out there! (It’s helpful to have) a background in music theory and performance when working to produce bands.

Nikki Grande, ’18,
Appalachian State University Hayes School of Music, BS, Music Industry Studies, minor in General Business

Peter Leonard, sound engineer

Area of emphasis: Post-production

Music background: Studied alto saxophone for 15 years, electric bass for 11 years.

Current work: Podcast engineer and studio manager at Vox Media (Vox.com, The Verge, SB Nation, Eater, Racked, Curbed, Recode, Polygon). Freelance production work. Bassplayer in Sunbathers, a DC/Baltimore-based pop group.

Masters degree candidate in Audio Technology at American University. Focus: audio algorithms and computer music, computer programming.

Previous: Worked at SiriusXM as part-time board operator for their talk radio division (October, 2015 – January, 2017). Recorded, edited, and mixed album for Latitude 49, a mixed chamber ensemble.

What I wish I’d known or done differently: I wish that I had tried and failed at more things. You’ll never really get the opportunity to fail and not have to pay enormous consequences anywhere other than college. You will have the greatest number of resources, facilities, and people willing to collaborate and help you while you’re in college.

Suggestions for future music production majors:

• DON’T pursue any other area of study just for the sake of having a safety net. Unless you KNOW that you REALLY want to, I’d advise against double majoring. Stick with what makes you happy and what you love.

• DON’T get discouraged when, inevitably, out of college you have to work at that part-time job that doesn’t really pertain to your degree or that you don’t really like. The chance of getting to do exactly what you want, and especially right away, is extremely slim. Keep on! It takes a really long time to align all the details that will pave the way to the next thing. To that end, it’s all about the people you surround yourself with and how good you are to them, because they will remember you later.

• Along the way, if your convictions change (and they probably will!), it’s ok! Discovering that the specific place in the music industry that you sold yourself on in college isn’t actually for you may be a difficult realization at first, but on the whole, it’s a positive thing, and it’ll lead you to somewhere else in music that WILL make you happy.

Peter Leonard, ’15,
University of Michigan School of Music, Theatre and Dance, BS, Sound Engineering

Joey Diehl, employed by Special Event Services

Area of emphasis or interest: Recording and production

Music background: Guitarist. Played in bar bands in high school, toured in smaller bands during college. Recorded own albums and friends’ albums.

Current work: Special Event Services, a concert production company.

Previous: Worked with and toured with many mainstream artists including the Avett Brothers, Lynard Skynard, Darius Rucker, Il Divo, Lee Brice.

Suggestions for future music production majors: My own personal basic rules of success have helped me succeed in every place I’ve been in:

• Don’t talk out of your ass, don’t lie about anything, and just be nice in general.

• Apart from those three rules, just be hungry and be prepared for competition. As long as you remember that luck is just preparation meeting opportunity, you’ll be fine.

• If fast-paced is something you crave, then the live (sound) world is somewhere you need to be.

Joey Diehl, ’15,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Emma Azelborn, DSP engineer

Area of emphasis: Digital Signal Processing, audio plugin development

Music background: Vocalist, pianist, composer; member of U of Michigan Chamber Choir.

Current work: DSP engineer at Goodhertz, Inc., an audio plugin company that focuses on unique sounds with intuitive interfaces

Previous: Summer internship at Goodhertz

What I wish I’d known or done differently: I wish I had been less worried about attending things by myself in my earlier college years. Lately I’ve been going to whatever interests me, even when none of my friends are available or interested, and it has been really wonderful.

Suggestions for future music production majors: Google everything. There is so much information available online, and all you really need to get started is a computer with some sort of DAW (digital audio workstation).

Emma Azelborn, ’17,
University of Michigan School of Music, Theatre & Dance, BS, Computer Science and Sound Engineering

Thanks to students and graduates of these schools for their support:

Indiana University Jacobs School of Music

Peabody Conservatory of The Johns Hopkins University

University of Colorado Denver Music & Entertainment Industry Studies

University of Michigan School of Music, Theatre and Dance

Article compiled by Barbra Weidlein, MajoringInMusic.com

Nikki Grande: Appalachian State University Hayes School of Music

Seek out opportunities to shadow people who know more than you.

Drew Vandenberg, ’08, Indiana University Jacobs School of Music, BS, Recording Arts

The more you put yourself out there, the more opportunities you will have to be a part of something really cool that you might love. You never know who you will meet who will have a useful connection down the line.

Nikki Grande, ’18, Appalachian State University Hayes School of Music, BS, Music Industry Studies, minor in General Business

I wish that I had tried and failed at more things. You’ll never really get the opportunity to fail and not have to pay enormous consequences anywhere other than college.

Peter Leonard, ’15, University of Michigan School of Music, Theatre and Dance, BS, Sound Engineering

As long as you remember that luck is just preparation meeting opportunity, you’ll be fine.

Joey Diehl, ’15, Appalachian State University Hayes School of Music, BS, Music Industry Studies

ALSO READ:

Lead photo: Barbra Weidlein

The following participating schools on MajoringInMusic.com offer majors and minors in music production-related areas:

Berklee College of Music – Music Production and Engineering; also Electronic Production and Design

Carnegie Mellon University School of Music – Music and Technology (recording technology, audio engineering, computer music)

DePaul University School of Music – Sound Recording Technology (audio industry: recording, sound for video, music production, multimedia, acoustics)

Florida State University College of Music – Commercial Music (recording, mixing, mastering with a business minor)

The Hartt School – Music Production & Technology (recording, mixing, and mastering engineers)

Indiana University Jacobs School of Music – Audio Engineering & Sound Production (recording, post production, live sound, IT audio, technical support)

Ithaca College – Sound Recording Technology (recording, mixing)

Leeds Conservatoire – BA (Hons) Music Production (production classes also offered in curricula for majors in Jazz, Popular, and Classical)

Liverpool Institute for Performing Arts – Sound Technology (recorded sound, live sound, post-production)

Mary Pappert School of Music – Music Production & Technology

Northeastern University Department of Music – Music Industry (major or minor, recording industry focus); Music Technology (can add Computer Science or Physics); or Recording minor

Oberlin Conservatory of Music – Technology in Music & Related Arts – TIMARA (technology applications for composition, new media and performance)

Peabody Conservatory of The Johns Hopkins University – Recording arts and sciences

Temple University Boyer College of Music – Music Studies: Music Technology (music and recording technology)

Tiffin University – Music production & technology

U. of Colorado-Boulder College of Music – Bachelor of Arts-Music with Emphasis in Music Technology & Media Studies

U. of Colorado-Denver Music & Entertainment Industry Studies or MEIS – Recording Arts (audition and non-audition tracks in audio production)

U. of Denver Lamont School of Music – Recording and Production (performance area + engineering, production)

U. of Michigan School of Music, Theatre & Dance – Sound Engineering, Music and Technology, or Performing Arts Technology (audio engineering, sound recording, production, electronic music composition, performance systems, sound synthesis, music psychology, digital fabrication)

U. of South Carolina School of Music – Performance, with a Concentration in Technology or Recording Technology Studies minor (audio recording, computer composition, digital technology, multimedia production)

U. of Southern California Thornton School of Music – Music Technology (music production, live performance, multimedia – creative, technical & business aspects)

U. of Toronto – Music Technology and Digital Media (master’s degree, music technology with performance and/or composition)

Music Production College Programs: What You Should Know

MajoringInMusic — Wed, 16 Aug 2017 20:58:19 +0000

Are you interested in studying music production? Are you obsessed with how music is effectively presented live and/or recorded?

This article will help you zoom in on your specific interests and career goals. Find out what you need to know before you apply to music production programs, and learn what schools expect from their applicants.

In a follow up article, students and recent graduates working in a variety of production-related settings will share their insights and recommendations to help you figure out your next steps.

Working in music production

According to Michael Gurevich, chair of the Department of Performing Arts Technology at University of Michigan School of Music, Theatre and Dance, a producer can play a variety of roles including:

• Organizing and funding a recording project
• Making beats or background tracks for solo recording artists
• Working with songwriters, arrangers, and engineers

The production process also includes various engineering roles that Gurevich describes as follows:

Recording engineer – Decides which microphones to use, where and how to use them, how to process or treat the sound before and after the recording. Recording engineers also manage the technical aspects of the recording session.

Mix engineer – Decides how all of the parts that were recorded in a session should be combined into a stereo recording. A single album may have several different recording or mixing engineers on different tracks.

Mastering engineer – Fine-tunes the audio on all the mixed recordings to make the individual tracks sound good. Provides a cohesive sound for the entire album.

How to find a music production program

Schools offer music production programs under various names such as:

• Audio Recording
• Sound Recording
• Music Production
• Music Technology
• Acoustical or Sound Engineering
• Electronic Production
• Recording Arts
• Some combination of the above
• Something entirely unique to the school

Don’t get caught up with the name of the program! Instead, look for this information on school websites:

• Program focus

• Required classes

• Opportunities for hands-on training, internships, and other real-world experience. There’s a limit to what you can learn just sitting in a classroom.

• Additional career-related opportunities

• Faculty – and their experience in your area of interest

• Facilities available to students

• Careers recent graduates have entered based on their education and training

Note that at some schools, you’ll find these kinds of programs within a Music Industry department.

Program focus

Music production programs center around the science of sound, but the classes you’ll take, the hands-on experience you’ll receive, and the type of degree you’ll graduate with vary according to the focus of the program.

BM programs emphasize a music performance component. They require an audition.

BA programs are less likely to require an audition or strong performance chops. They may require a portfolio of previous relevant work and/or an interview.

BFA programs are less common, may include digital performance, and may offer options for a focus in areas including composition or film. They may require a portfolio of previous relevant work and/or an interview.

BS programs are more science/engineering-oriented, and may or may not include a music concentration. General requirements may include calculus, physics and computer science. They may require a portfolio of previous relevant work and/or an interview.

Ask admission offices any questions that aren’t answered on their schools’ websites. If the schools participate on MajoringInMusic.com, you can use the form on their participating pages to ask your questions. We’ll make sure you get the answers you need.

Who’s a good fit?

Music schools contributing to this article describe their students as:

• Passionate about the arts as well as technology
• Comfortable with math and analytical thinking
• Creative and highly self-motivated
• Entrepreneurial – or ready to become so
• Forward-thinking

Jeff Cline, Associate Professor of Music Industry at University of Memphis, emphasizes the need for students to have “a continuous passion to learn and participate.”

“Students who have a penchant for brainstorming and implementing, often with teamwork at the heart of the enterprise, are more likely to succeed,” says Dan Godfrey, Chair of the Department of Music at Northeastern University.

Scott Metcalfe, Director of Recording Arts and Sciences at Peabody Conservatory, describes his students as “relieved to not have to decide between pursuing engineering or music in college to the exclusion of the other.”

Before you apply

Most of the schools we talked with agree that applicants should be “creative and active musicians who also demonstrate an interest in interdisciplinary collaboration and experimentation,” a description provided by Kurt Isaacson, former Admissions Counselor at CalArts.

But expectations vary as far as what you should already know before you apply to a college-level program in any area of music production. Most schools expect you to have a musical background and at least some formal music training.

At a school with a performance-oriented production program, you’ll audition and also take lessons on your primary instrument. These types of programs seek “strong performers who want to continue to develop as musicians in addition to studying the craft of music recording,” says Justin Kurtz, Chair of the Music Production and Technology program at The Hartt School.

Schools that don’t require an audition will likely require a portfolio of past creative work in recorded and/or live sound. Some will also require an interview to discuss your interests and experience.

For the more engineering-oriented programs, a strong math- and computer-savvy background and a high level of comfort in both areas are important.

“Often students will have gained lots or all of their experience outside of their formal education,” says Darren Murphy, International Manager at The Liverpool Institute for Performing Arts. “We like this as it shows commitment and enterprise.”

10 Tips on how to prepare

Before applying to college-level programs, get some experience in the area of music production you’re most interested in focusing on in college.

Some suggestions:

1. Take a music technology class at your high school, at a local community college, or online. This is a great way to see how interested you really are in diving into this field.

2. Look for summer music programs to further your knowledge.

3. Take a music theory class.

4. “Start finding out about how the music you love is made,” urges Darren Murphy at LIPA.

5. Talk with people working in the field you’re interested in pursuing. Shadow them on the job. Volunteer.

6. If you’re interested in recording, “Developing your ears to discriminate between the aesthetics of classical vs. jazz vs. pop/rock recording is very important to becoming a critical listener and student of recording,” says Justin Kurtz at The Hartt School.

7. If possible, obtain some home recording equipment, “even an inexpensive system with freeware software to learn on and record friends, associates, and professionals,” says Scott Wynne, Associate Professor and Chief Recording Engineer at Appalachian State University. This can help you “know the trials of recording music” and see if this is the right path to pursue.

8. “The most important thing we like to see is evidence of entrepreneurship, and this can be shown by finding positions of leadership within your school, launching a music club or event, actively performing in your community or seeking opportunities for creative collaboration with peers,” say Brianne Hayes, Administrative Director, and Alan Watson, Administrative Coordinator at NYU Tisch School of the Arts Clive Davis Institute of Recorded Music.

9. “Above all, be curious and be an independent learner. There is an incredible wealth of resources out there available to students online for self-study in music technology,” says Michael Gurevich, at the University of Michigan.

He continues, “There are free or low-cost DAWs (digital audio workstation software) for recording, editing and producing audio files so that all you really need to get started is access to a computer, the internet, and a pair of headphones.” A microphone is also helpful.

10. Learn how to communicate about your interests. This will be important for successful interviews at schools that require them in lieu of or in conjunction with a portfolio and/or audition.

What about grad school for music production?

The world of music production is rapidly changing. This means anyone entering it must be ready and willing to stay current with technological advances in order to remain hirable.

Graduate-level training will be useful if your career goals are unreachable without it. It may provide training that was unavailable while you were an undergrad. And it can jumpstart your learning new technologies as well as pursuing your creative interests with the assistance of mentors and collaborators.

Gurevich at Michigan encourages anyone considering a graduate program in music technology, production and/or engineering to “start to develop a research or creative focus that you want to explore in grad school” –– ideally while you’re still in college. “At the grad level,” he says, “schools are looking for your ability to formulate original research questions that show an awareness of the state of the art of the field, and have the potential to move it forward.”

The following participating schools on MajoringInMusic.com offer majors and minors in music production-related areas:

Berklee College of Music – Music Production and Engineering; also Electronic Production and Design

Carnegie Mellon University School of Music – Music and Technology (recording technology, audio engineering, computer music)

DePaul University School of Music – Sound Recording Technology (audio industry: recording, sound for video, music production, multimedia, acoustics)

Florida State University College of Music – Commercial Music (recording, mixing, mastering with a business minor)

The Hartt School – Music Production & Technology (recording, mixing, and mastering engineers)

Indiana University Jacobs School of Music – Audio Engineering & Sound Production (recording, post production, live sound, IT audio, technical support)

Ithaca College – Sound Recording Technology (recording, mixing)

Leeds Conservatoire – BA (Hons) Music Production (production classes also offered in curricula for majors in Jazz, Popular, and Classical)

Liverpool Institute for Performing Arts – Sound Technology (recorded sound, live sound, post-production)

Mary Pappert School of Music – Music Production & Technology

Northeastern University Department of Music – Music Industry (major or minor, recording industry focus); Music Technology (can add Computer Science or Physics); or Recording minor

Oberlin Conservatory of Music – Technology in Music & Related Arts – TIMARA (technology applications for composition, new media and performance)

Temple University Boyer College of Music – Music Studies: Music Technology (music and recording technology)

Tiffin University – Music production & technology

U. of Colorado-Boulder College of Music – Bachelor of Arts-Music with Emphasis in Music Technology & Media Studies

U. of Colorado-Denver Music & Entertainment Industry Studies or MEIS – Recording Arts (audition and non-audition tracks in audio production)

U. of Denver Lamont School of Music – Recording and Production (performance area + engineering, production)

U. of Southern California Thornton School of Music – Music Technology (music production, live performance, multimedia – creative, technical & business aspects)

U. of Toronto – Music Technology and Digital Media (master’s degree, music technology with performance and/or composition)

Recorded vs. Live Sound

Live sound refers to amplified sound at a concert. Anytime you see microphones and speakers at a concert, from a small club to a Broadway musical to a stadium rock concert, there is a live sound engineer, or in the case of the latter a team of engineers, whose job is to deliver clean, well-mixed sound to every person in the audience.

Sometimes even if you don’t see the microphones or speakers, there will be amplification happening discreetly. Live sound engineers worry about the acoustics and design of the venue, the unpredictability of performers, and all the things that can go wrong during a performance.

Recorded sound refers to recordings often made in a controlled environment like a studio or a closed concert hall for documentation or distribution. Of course, you can make recordings of live amplified performances, but you’d normally have different engineering teams looking after the recorded versus the live sound.

Michael Gurevich, Chair, Department of Performing Arts Technology at University of Michigan School of Music, Theatre and Dance.

ALSO READ:

Photo Credits

Top: Appalachian State University

Side: University of Michigan

Moving Your Music Toward a Record Label Deal

MajoringInMusic — Mon, 12 Sep 2016 21:13:50 +0000

Rising musicians or bands: do you dream of bringing your music to the attention of a major record label? With today’s technology, anyone can record and distribute a record with relative ease and at little expense. Platforms such as Tunecore, Facebook, Twitter, iTunes and Youtube provide the ability to broadcast and sell music.

But what if you want to get the attention of indie and major labels?

by Joe Rapolla

Getting the attention of a record label

Labels are combing the Internet to find bands and artists that stand out. It’s not just a slick video or great recording that’s going to make them stop and listen.

The first thing you’ve got to do, of course, is make good music. Your talent is a gift. But it’s what you do with it that will be rewarded.

You also need to work every day at things that move you and your music forward:

• Practice, write, collaborate

• Engage and build your fan base

• Work on your live shows

• Create and work on your online and offline profile

• Work on your look

• Work on keeping your health in good shape

• Learn to communicate professionally – be confident yet humble

Find someone of influence to represent you

Most labels of any consequence won’t even look at a band that doesn’t have a manager. It goes back to the requirement of having something going on – a foundation built to some degree. If you don’t have a manager you likely don’t have enough of the other pieces in place…and the labels know that.

No bands with all the other pieces described are doing it without someone managing them to some degree. A manager with at least some knowledge of the business should be your goal before you worry about getting a record label deal.

Create great content

You have to be willing to create great content. That of course is music, but it is also video, pictures, and stories. Stories about you, but not just about you, maybe about another band, an event, or a fan. Stories that attract fans and keeps them engaged. So when you have something to drop you have people there waiting for it.

But leave a little to the imagination. Don’t over share. Leave something for your fans to find out about you. Let that discovery be part of the story. That kind of mystery creates buzz, and buzz attracts the industry insiders, the labels.

“One other thing that really stands out [with bands that attract industry attention] – they are really mysterious – maybe they put just one track online, with no names of producers or insiders. This makes people dig a little further. Check to see if they have more music to make sure they’re not just a one-off,” says Elyse Chamberlain, talent scout for Atlantic Records and a graduate of Monmouth University’s Music Industry Program.

Take an alternate route

But is a record label deal even necessary anymore? According to a growing number of industry folks, you don’t need a traditional record deal. Artists and bands have choices now.

“Ten years ago, if you were a new artist or a new band, really, the first step on the ladder was to get a record deal,” says Sam Winwood, senior vice president of Creative at Kolbalt, in “The Disrupters,” a recent Economist video series. “Now, that’s just an option that you don’t have to take.” Winwood adds, “You don’t need to give away your rights to earn your money. In fact, you’ll earn more money if you don’t give away your rights.” Kolbalt, based in the UK, is a new kind of music company that provides label-like services but lets artists keep their publishing and masters.

Kolbalt aggregates streaming usage and collects royalties on behalf of artists – they essentially sign artists into administration deals. Artists can also pay for marketing and promotional services from Kolbalt. But for models like Kolbalt’s to work, you need an engaged fan base or you better be a very established artist.

Jacob Whitesides, an 18-year-old singer/songwriter/multi-instrumentalist from Knoxville, TN built his fanbase organically through social media. He started by posting videos on YouTube when he was 13. His Twitter following is now bigger than that of Bruce Springsteen and Madonna combined. “The fans are more powerful than any label,” says Whitesides in “The Disrupters.” The labels recognize the power of the fans. And because of the fan base that he’s been able to build, Whitesides was able to sell out two recent tours and make the deal he wanted with a major record label, one where he keeps creative control and ownership of his music.

Labels invest in you

But don’t go running away from labels so fast. Record labels still provide a very valuable service and have a proven track record. They have become more service oriented than in the past. They recognize the environment has shifted, and that they need to be more adaptable.

“We invest millions trying to find the next superstar,” says Nick Raphael, president of Capitol Records in the UK, in “The Disrupters.” The labels have the infrastructure and recourse to handle all of the necessary activities to develop and “break” a band, artist or song. “We make all the investment, in terms of skill set and money…. and we take the risk,” adds Raphael. Recently Capitol UK was responsible for breaking Sam Smith and Five Seconds of Summer to worldwide success. That doesn’t come without a well-resourced team…with the right connections and relationships.

“Don’t look to get signed,” says Eric Castellazzo, artist manager and digital operations manager at Universal Music Group. “Try to make your band a fully-functioning entity. If you can cover your expenses – your publicity, recording, radio promotion – you’ve got yourself a sustained business.” And that’s what it takes right now to get the attention of the labels.

But that’s not an easy task these days, nor has it ever been. It takes a lot of work, a lot of time, and a lot of effort.

Labels can’t take chances anymore just because they like the music, but they will if they see something else. Labels want to see that you’re a sound investment – to back up their emotional response to the music.

Craig Almquist, frontman and songwriter for the Philadelphia indie rock band Cold Fronts, was thrilled when Seymour Stein, co-founder and chairman of Sire Records and vice president of Warner Bros./Records, walked into one of their shows at SXSW. Stein took the band’s CD and let them continue to work. A year later they got their deal at Sire Records. And even then, there was plenty of work ahead of them. After making their album it took them a while before the label felt they were ready for it to be released.

“We got stars in our eyes. We were going to be huge,” says Almquist, “but we had a lot to learn, and we didn’t realize how long it takes.” Almquist actually doesn’t recommend a young band sign with a record label until they get some experience on their own.

But he recognizes all that the label can provide: “The record label is able to get airplay, tour support, and there’s a cache that comes along with being signed to a label like Sire and having guys like Seymour behind you. The label has to go to bat [for you] all the time.”

Perseverance required

Still think you want sign with a record label? Then work hard, be persistent, professional, creative and entertaining. Build your base, perfect your craft, your writing, your live shows. Enlist the assistance of a manager – someone with some connections. Get yourself to a point where you don’t need a label, but where you are attractive to a label, and where a partnership with a label, whether an independent, major or otherwise will be the natural next step in your plan to help take your band, your act, your art to the next level.

Joe Rapolla is the chair of the Music Industry Program at Monmouth University. He built and led integrated marketing departments at Universal and Warner Music Group and ran marketing for the video game division of Def Jam Enterprises. He is also an active performing songwriter and producer.

Watch the Economist video “The Disrupters: Music Factory”.

Also see: Student-Run Record Labels at Colleges Provide Real-World Experience

Links & Resources

What to Do with a Music Degree

Stellar Tips for Music Internships

MajoringInMusic — Thu, 02 Apr 2015 06:19:07 +0000

Give serious consideration to music internships as they are great for gaining experience that may be parlayed into a job when you graduate. Internships are especially useful if you are majoring in any area of music that also involves business – including arts management, music industry, and music technology.

Music internships also can be very demanding. And they are generally unpaid. As an intern, you are the proverbial low man or woman on the totem pole and are asked to do grunt work and other projects you may not want to do all your life. Recognize that this is a form of initiation: you are being scrutinized on your attitude, thoroughness, and willingness to support the team. Interns who show up to meet the challenges –– yes, even hanging in there with a positive attitude while dusting the recording studio or taking out the trash –– and who also show their talents and abilities on the technical end, are more likely to be offered increased responsibilities and recognition as well as paid opportunities.

Follow the Leader

To be successful in your music internship, it is essential that you follow the rules. Be on time. Go the extra yard, pitch in wherever possible. Respect your boss and the rest of the team. Show your enthusiasm and passion but also know when to be quiet and listen. Learn everything you can about the company where you’re interning on your own time. Ask permission before using equipment, and ask questions if you are unsure how to use it. Don’t assume anything.

Offer to help with studio set-ups or tear-downs, reports, and other business-related presentations. Plan to learn quickly. Make life easier for your boss and others. Show your appreciation when offered free concert tickets, lunch, or any other perks. Be sure to call your boss or supervisor if you cannot show up at your internship or need to be late for any reason.

Internships that go well can land you great letters of recommendation. It’s important to get those letters while you are still fresh in the minds of your boss and any other significant players.

Finding a Music Internship

Most career offices or centers at colleges and universities provide listings of internships and also host internship fairs. Be wary of websites that promise internships for a fee. You’re much better off working through your school and your professors; music venues; recording studios; and anyone you know in the music business. Note that the U.S. Department of Labor created a set of standards in 2010 to clarify terms under which employers can hire interns and to protect interns from abuse. (See link below to US DOL Internship Programs)

Links & Resources

The U.S. Department of Labor has created “Fact Sheet #71: Internship Programs Under the Fair Labor Standards Act” to safeguard interns. US DOL Internship Programs.
Check out great pointers for anyone taking on an internship in any area of music in music consultant/author Christopher Knab’s “Do’s and Don’ts For Audio and Other Music Oriented Interns: Or, How to Impress Your Internship Employer and Become Successful in the Recording Industry” on this website: Music Biz Academy

These participating schools on MajoringInMusic.com offer Music Industry and related programs:

Photo Credit: courtesy of University of the Pacific

Additional Internship Articles

Music Industry Tips for Aspiring Musicians

MajoringInMusic — Thu, 12 Mar 2015 21:05:20 +0000

What are some of the best music industry tips leaders have to offer students aspiring to work in their field? Former American Idol judge Randy Jackson recently moderated a panel of fellow music industry veterans. Their focus? How to forge a creative career in music on one’s own terms, while finding the ability to stay open and receptive to any and all types of opportunities that might arise.

Panelists, who were addressing students at USC Thornton School of Music, talked about staying disciplined, being open to criticism, and working at relationships the same way one works at their music.

But remaining open to possibilities served as the mantra for the evening. Rachel Fine, executive director of the Los Angeles Chamber Orchestra, shared that her career as a pianist ended early after a repetitive stress injury in college. Because she was forced to discover a “much more collaborative and social side” of herself, her professional setback turned out to be a blessing in disguise.

Randy Jackson, bassist, singer and record producer, admitted that he never would have pictured himself on television. He encouraged students to “explore all of the things that you’re interested in” and be unafraid to “step out of your comfort zone” and “take personal and professional risks.”

Other useful insights shared by the panel:

Listen to others and try to ground your dreams in reality. And let us never forget to be relentlessly musical in our pursuits.

— Glenn Ballard, GRAMMY Award-winning record producer, songwriter and arranger

Whether in classical or rock or even in union orchestras, you have to stay creative and you have to trust your gut. Also, don’t forget to be humble and maintain a sense of humility.

— Rachel Fine, Executive Director of the Los Angeles Chamber Orchestra

If you can’t get a break through one door, knock on another door, and another, and another.

— Randy Jackson, referencing pop music phenom Lady Gaga and singer Erykah Badu as examples of artists who “refused to be denied” entry into the music industry.

Find your strength and run with it.

— Suzanna Guzmán, mezzo-soprana opera singer

There needs to be this constant commitment to quality because everyone can make noise now.

— Glenn Ballard, who has collaborated with Michael Jackson, Idina Menzel, Stevie Nicks. Alanis Morissette, and Katy Perry

Jenevieve Ting, University of Southern California senior, has written for established publications including The Hollywood Reporter, USC News, Next Magazine, The Coalition Zine, USC Chronicle, Thought Catalog, and is currently working as the online editor for the USC Thornton School of Music and as an editorial intern at Ms. Magazine.

Photo credit: Carolyn Diloreto

Read More: Music Industry Internships

Music Industry Internships: How to Get an Offer

Music Industry Internships: Best Tips

Student-Run Record Labels at Colleges Provide Real-World Experience

MajoringInMusic — Sat, 25 Oct 2014 18:34:51 +0000

Student-run record labels at college-level music schools provide real-world opportunities for students. They operate like major label companies, thanks to the high-powered music industry backgrounds of the faculty involved. The skills learned and the experiences gained are essential training for anyone interested in a career in music industry, as well as for anyone wanting to get their own music heard and distributed.

“A current day music industry program requires a perspective beyond the traditional industry functions,” says Joe Rapolla, who heads the Music Industry program at Monmouth University, home of Blue Hawk Records. “As music, media, and technology continue to converge, training needs to go beyond preparing students for jobs in music-only environments. It must go across media categories, and anywhere organizations are looking for creative people who understand the issues and models of current day media consumption and who know how to produce and utilize entertainment media to reach and engage.”

With music distribution changing so rapidly, what can students learn?

“We learned first and foremost that the traditional approach to a record label’s job in the music industry is dying hard and fast,” says Ethan Bates, a 2014 Music Industry graduate of Syracuse University Setnor School of Music. Bates had originally joined Syracuse University Recordings (SUR) to record some of his own music. He found the work so interesting and relevant to his career goals of managing and promoting music that he stayed on to become general manager of SUR in his senior year. “We found success by getting our hands dirty with jobs that a standard record label normally doesn’t involve itself with, like PR, social media marketing, show booking & promotion, etc. It allowed me to experience working from both sides of the desk, and from the perspective of numerous other jobs within the music industry.”

Kevin Guico, a 2014 Music Management graduate of the University of the Pacific Conservatory of Music, worked with his school’s Pac Ave Records to gain experience and see whether he’d want to incorporate record label operations in his career. “Pac Ave Records is run more as a business and a job rather than as a conventional class. As a student, you get to learn academically about the record industry and its operations first-hand. As an entertainment industry worker, you gain experience and knowledge from actually working in the industry. You learn exactly what goes into getting talent, recording an album, making the album, and distributing and selling it. Whether you are a performer or a businessman, working with a student-run record label gives you invaluable experience on both sides of the coin.”

Split Rail Records at Appalachian State University Hayes School of Music has offered Music Industry Studies senior Greg Peterson a chance to prepare for what he’ll do once he graduates. With a focus in Marketing and Management and a minor in Business, he’s taken on the role of “frontman” of Split Rail’s marketing team. “We work to promote our events, artists & bands, along with fundraising,” he says. “I speak with companies and local businesses about promoting. I also handle all graphics for Split Rail, so I make posters, logos, and other images for our events to help with brand and event recognition.” Peterson, who plans to become a festival manager and promoter or a producer for an entertainment company, is getting plenty of experience working with local artists and bands. “We look to sign local artists of any genre and style,” he says, “and give them the opportunity to have a professional album recorded and promoted by our team.”

Andrea Petrucelli is president of CAM Records (College of Arts and Media Records), a component of the University of Colorado Denver’s Music Entertainment Industry Studies (MEIS) program. Expecting to graduate in May, 2015 as a Music Business major, her many career goals include working in A&R, music journalism, concert promotion, management, and music education. In her major, participation in CAM is required and “provides a real taste of what it is like to work in the industry via communicating with other colleagues, artists, press, and venues.”

At Monmouth University, Natalie Zeller heads the Outreach Department for Blue Hawk Records. A junior in Music Industry, she promotes the label both on and off campus. “Working with Blue Hawk Records has taught me how to navigate the advances in technology that the music industry is seeing. While creating our compilation CDs I saw the process of our music being put up on iTunes and Spotify, two huge factors in buying and streaming music that people use every day.”

Professional Support

Faculty advise and support student efforts at these record labels every step of the way. With their backgrounds in music industry as professional musicians, recording engineers, marketing directors at major record labels, entrepreneurial consultants, and managers of music groups and talent agencies, these professionals offer their students a wealth of wisdom and real-world experience. At the same time, students get to make the kinds of decisions they’ll face in their work after graduation. Phillipe Ravenas, Chair of the Arts Entertainment & Media Management Product (AEMMP) at Columbia College Chicago, works with the oldest U.S. student record label, founded in 1982. He says, “Hands-on experimentation is at the heart of what we do. The process is the final product. This is a real training ground for students: a safe place to fail, to test the limits, to measure the consequences.”

Keith Hatschek, Music Management Program Director at the University of the Pacific Conservatory of Music, agrees. Pac Ave Records’ purpose is “to provide a lab for students to test out what works and what doesn’t in terms of choosing, producing, releasing and promoting recorded music and events. Purchasing, operations, marketing, artistic and creative decisions are basically all made by the students. If money or contracts are involved, those are run by the instructor to get relevant feedback.

“Ultimately, unless a question of legality or propriety comes up,” Hatschek continues, “the students make nearly all decisions relating to the label and its operation. Mistakes and successes count equally in this type of learning. Analyzing student decisions and their effectiveness forms the basis for much of the learning that transpires.”

Bob Halligan teaches in the Music Industry program at Syracuse University Setnor School of Music and works with its two labels. “They are meant as learning laboratories for today’s 360 music business,” he says. In addition to preparing students for jobs in industry, “we try to give people tools for inventing their own jobs if they can’t find more conventional ones.”

Opportunities for Students

Experience working at student-run record labels can be parlayed into exciting opportunities and internships, as well as jobs after graduation.

This past summer, Blue Hawk Records students performed and toured in Italy. “During the trip,” says Joe Rapolla, “our students rehearsed and collaborated with students from a music academy in Italy and held live performances to sold-out audiences in beautiful medieval villages throughout the Abruzzo region.”
“One of the goals of the label and class is to give students the opportunity to interact with the artist and build relationships,” says Andy “Rok” Gurerrero, who oversees students at UC Denver’s CAM Records label. “Last semester, we worked with the Colorado-based band “You, Me & Apollo” and helped sell out the release show at the Bluebird Theater (600 cap room).”
“The very first album released by Pac Ave,” says Keith Hatschek, “was recognized by DownBeat magazine as the best collegiate recording of the year for 2012.” Some students who’ve worked with the Pac Ave label have gone on to executive positions at companies including Clear Channel radio, Pandora, Beats Music, and Warner Music Group.
“Many have used real-world experience gained through the label to land internships,” says Kim Wangler. She oversees Split Rail Records at Appalachian State’s Hayes School of Music, where Split Rail is a required one-semester class for Music Industry Studies majors. “One of our (Split Rail) presidents got an internship in the legal department of MTV because she could talk about signing contracts with artists…We also brought in two publishers from Nashville. From that event, they discovered one of our students and he is now signed to a publishing contract with them and regularly visits Nashville to co-write with various artists.”

Takeaways

“Create tangible goals and a schedule to complete them. The fact that we had these goals and had deadlines for them held us accountable and focused on helping the label succeed. And always record everything. This not only helped us look back at our meeting notes whenever we needed a reference, but it also served as a compelling selling point. If we were trying to pick up another artist, we had tangible data on how we helped promote our current artist’s social media and record sales.”

— Kevin Guico

“A class that takes us out of the classroom environment and puts us right in the middle of the industry is the absolute best way to get our feet wet as college students. It is the real-life experience that is the biggest takeaway: record label operations and departments, the legalities, the local scene, the people to know in the local scene, networking, communication with difficult people, communication with easy people, dealing with a 5-piece band, how to pick a band, time management, budgeting, being punctual, how to work with each other, all of it.”

–Andrea Petrucelli

“Working at the AEEMP record label provides entrepreneurship, leadership, collaboration, and decision-making experience.”

– Phillipe Ravenas

“(At Split Rail Records) students get to talk about working with musicians in the studio, the trials and tribulations of launching an album on time, putting on release shows, seeking sponsorships, and more. I think this is a really great experience for our students – they deal with the real world of working with artists…not just what I can teach them in the class. They also have the pride of helping artists reach the next level in their career and a much better idea of actually working in, not just talking about, the music industry.”

– Kim Wangler

“One of the other interesting outcomes that students learn by taking the class is just how hard it is to stick to deadlines and how quickly the semester flies by. It’s a taste of how fast things must move in the post-graduation music industry and alerts them that time is of the essence in any business venture.”

– Keith Hatschek

Schools and their record labels contributing to this article include:

AEEMP – Columbia College Chicago
Blue Hawk Records – Monmouth University Department of Music & Theatre
Pac Ave Records – University of the Pacific Conservatory of Music
CAM Records – UC Denver Music & Entertainment Industry Studies

Real-Life Experience

“When I was enrolled in the class last semester, I was the head of the A&R department. Our duties resided more at the forefront of the operation, but were vital in ensuring a successful semester. First, my group compiled a list of all potential local artists to sign (a suggestion from each class member), then narrowed down the list based on social media following as well as overall marketable look. After class consultation, we chose a band to “sign” for the semester, and from there, worked on the release of their record. With this, we performed duties such as narrowing down track listings to fit on vinyl as well as arranging the song order on their CD. At the end of the March, I and two other students ventured down to Austin, Texas for SXSW (a trip funded by the music program) to promote and market the band as well as our unconventional record label. ”

— Andrea Petrucelli, UC Denver/CAM

“From working with Split Rail, I’m learning how to interact with musicians, our market, and our team all at once. I’m gaining great hands-on experience by working with real musicians to record and produce a real album to sell real records and make real money. This experience isn’t something I could learn from a textbook…Split Rail gives us the opportunity to do the exact same work that a “real” record label does, just on a smaller scale. For me, the experience of organizing and executing live shows is what I expect to apply the most to my career.”

– Rachel Mullins, Appalachian State University Hayes School of Music/Split Rail Records

Music Industry Internships: How to Get an Offer

MajoringInMusic — Mon, 07 Jul 2014 20:53:29 +0000

What does it take to find music industry internships/jobs that will help launch your career in the right direction? We asked a panel of three highly knowledegable professionals for their advice on finding “right fit” internships and parlaying them into jobs.

* Nicole Hennessey is a graphic designer and Director of Communications for the Music Business Association (Music Biz, formerly NARM), where she also manages the association’s interns. Music Biz is a non-profit organization of music retailers, distributors, and others involved in physical, digital, mobile and other forms of music distribution.

* Ken Lopez is Chair of the Music Industry Program at USC Thornton School of Music. He’s a professional guitarist, audio engineer, and former vice-president of JBL, domestic and international manufacturer of professional cinema, installation, and tour sound equipment. He has worked with international venues and artists including Miles Davis, B.B. King, Ray Charles, Sarah Vaughn, Dr. John, Larry Carlton, Boz Skaggs, Santana, Tower of Power and Chick Corea.

* Katie Reilly founded Intern Like a Rockstar, a website designed to provide internship resources and support to those starting into music industry. In addition to getting her MBA and her undergraduate degree in Music Industry, she’s interned at record labels, a management company, a venture capital firm, an industry trade organization, a radio station, a publishing company, and a performing rights society.

What should a student look for in a music industry/music business internship?

Nicole: First and foremost, make sure you will be doing hands-on work in the particular segment of the industry that interests you. While there is still networking value in internships that primarily consist of coffee runs and laundry pickup, and you will probably be doing a bit of that no matter where you end up, the ultimate goal is to expand your skillset through real-world experience.

Don’t settle for something that won’t help you grow. Don’t be afraid to ask questions. Take advantage of the expertise in the room. Being inquisitive shows that you are interested in what you’re doing.

Ken:

The most rewarding internships are those that allow you to become part of the business routine, with real responsibilities and an opportunity to work with others in the company on a regular basis. Many companies will set aside time each week where the interns can monitor meetings, calls, negotiations and other functions to gain knowledge.

We counsel students to wait until they have taken introductory Music Industry courses so that they have some knowledge of copyright, licensing, publishing, and legal and business tenets. Once these basics are in hand, a student will be able to choose more carefully, and will be able to lend some knowledge and skill to the tasks that are assigned.

Speaking with other students is a good way to find out about the best internship opportunities. The word will get out about the companies that only want you to carry out menial tasks, or that have a hostile work environment.

Katie:

Do your research and listen to your instincts to make sure that it is a legitimate company. Ask questions about the types of projects you would be working with and what an average day there as an intern might be like. You want to find an internship that is willing to teach you and give you new opportunities as well as allow you to network with employees throughout the organization.

Tips for getting an internship offer?

Nicole:

Make sure you do your homework. Make a list of companies you’d like to apply to, well in advance, then check their websites to see if they have an official submission procedure.

Once you’ve applied, see if there’s anyone who works there that you, your friends, or your family know. Send that person an email and explain that you’ve applied, and are wondering if they’d be willing to put in a good word for you.

Finally, when you get called in for an interview, make sure you’ve researched the company and the industry issues they’re facing. This will show them you’re serious and passionate, giving you a big leg-up on the competition.

And once you’ve gotten the job, buy that supporter of yours a coffee!

Ken:

Research companies and influential individuals in those companies before seeking an internship. An “informational interview” with such people will often present an opportunity to show that you have the attitude, intellect, knowledge, and communications skills to be of use in an internship, and possibly as an employee later on.

An internship must be a two-way endeavor, providing learning opportunities for the student, and useful work outcomes for the company. A more prepared, knowledgeable, and personable student will usually be given the opportunity over others who show up as less competent. I recommend multiple informational interviews as a strategy for learning about the industry, and the people that make it function.

As always, a positive attitude, strong “can do” work ethic, skills with social media and spread-sheet programs, and good writing skills will be very useful in securing an internship position.

Katie:

It’s often little things that make a big difference because most intern candidates don’t have a lot of experience to compete with. Research the company, explain why you want to work there specifically. Show your enthusiasm, customize your cover letter, send a thank you note.

Often in an internship, companies want some initial skills and knowledge but are most interested in someone who is excited to learn, wants to work with their company, and is able to behave in a professional manner without acting entitled or ungrateful. Demonstrate those qualities throughout the application process while also sharing any relevant skills or experiences you do have. These may be business skills from a part-time job, past music internships, writing for the school paper, playing in a band, etc.

What is important to pay attention to when considering an internship offer?

Nicole:

The most important questions to ask yourself are these:

Is the internship relevant to your interests?
Will it give you hands-on experience?
Will it help you grow?

Don’t expect to make much money, as the vast majority of music internships are unpaid. If a stipend is offered, then by all means take it. But if you make it a sticking point during your search, you will most likely find yourself disappointed.

Also, expect to do a little coffee fetching or envelope licking wherever you end up, and make sure you do it with a smile and to the best of your ability. Remember that these are the people who will vouch for you for your first real job.

Ken:

An internship often provides a window into other parts of the industry. An example might be a record label interfacing with artist managers, artists, concert promoters, agents, publishers, recording studios, and similar business activities. An effective internship will allow visibility of these functions, and some interfacing with others in the industry. Always look for those possibilities when choosing an internship, and take advantage and learn as much as possible while performing your duties. Often the contacts made will lead to another internship, and finally to a job.

Katie:

You really need to consider what you want in an internship. Did you like the work environment and get along with your potential boss? If something doesn’t feel right, trust your instincts and if you’re still not sure if it’s right for you, ask if you can speak with a current or former intern to get a better idea of what to expect.

Tips for parlaying a music internship into a job?

Nicole:

The most important thing you can do while interning, or any time in your music career, is to network. Music companies are extremely popular with job-seekers, and a well-placed contact can help you break through the noise. To that end, make sure you attend as many industry conferences and meetups as you can to meet new people who can help you. Many of these events offer student discounts, (including our own annual conference, Music Biz). In some cases, you might even be able to get the company you’re interning with to pay your expenses. Most music people remember when they were in your position and will be willing to give you a minute or two of their time. So don’t be afraid to introduce yourself!

Ken:

An informational interview strategy should be an integral part of the internship and job search. Knowledge is power, and the more one knows about the industry and the people in it, the more likely it will be that a job offer comes sooner rather than later.

The greater the number of people that you meet, learn about, and interact with during informational interviews, the more likely that you will be successful in finding good opportunities. Meeting people by chance at industry functions is useful, but getting to know more about them in a well-constructed 20 minute personal interview is far more valuable.

Once you find an internship, look for opportunities to contribute well beyond your job duties. Be observant, and do what needs doing without being asked. Offer to stay late and help someone in another department. Go above and beyond expectations. Become indispensable!

Katie:

The best advice I ever heard about getting a job from an internship is to be so good they don’t want you to leave. This is tough though because most jobs won’t come directly through an internship. Meaning you won’t necessarily get hired by the company you are interning for on the spot. Don’t expect it to happen, but work as though it could. Just because you may not get the job from them immediately doesn’t mean they won’t recommend you for something there or elsewhere later on.

“The best advice I ever heard about getting a job from an internship is to be so good they don’t want you to leave.”

— Katie Reilly

Other Resources

Photos by: Maddie Casey

These participating schools on MajoringInMusic.com offer Music Industry and related programs:

Music Industry Internships: Best Tips

MajoringInMusic — Wed, 18 Jun 2014 20:23:03 +0000

Current music industry students and recent grads have been learning that internships are essential for success in their field. Music industry internships offer the connections and on-the-job training that can’t be found in the classroom. While they may or may not result in direct job offers, internships in music industry definitely open doors to opportunities that would otherwise not exist.

• • •

We invited 6 recent interns to share key insights they’ve learned through music industry internships. Their wisdom is worth paying close attention to. Most, by the way, received college credit for their internships but no financial reimbursement.

Q: Why are music industry internships essential?

Nick Alexander: Internships are really what test your mettle. It is great to learn about the music business but being able to take what you learn in class and apply it outside the classroom is where you’re really going to find out if you know as much as you think you do.

Kevin Brady: They offer countless opportunities to collaborate, share ideas with others, as well as learn and practice new skills, and refine current skills. They also offer great networking opportunities. As long as you work hard and make a good impression, that letter of reference could be quite helpful!

Maddie Casey: It’s really hard to break into the music industry field without internships, because of how specific this field of work is. You can read books and take classes and watch videos, but until you’re actually doing it, it’s hard to get a firm grasp on exactly how any of this works. Not to mention how quickly changing it is…You have to be on the front lines to keep up with the times, or you’ll get behind before you can even start. Plus, the easiest way to gain the experience necessary to compete for “introductory” or “entry-level” positions is through internships.

Maura Duval: They are the only way to secure a post-college future.

Lauren McCauley: Without an internship, I honestly think it would be almost next to impossible to get a job and meet people.

Alex Wright: The experience of working with a mentor is really the best way to learn about any industry, but especially with one as competitive as the music industry. Also, the more time you spend working in a professional environment, with professional people, the better geared you are yourself to become one of those professional people. It’s impossible to be surrounded by people who are really good at what they do and not absorb the energy that it takes to maintain that.

Q: What did you learn that you’re taking into your professional life in music?

Nick Alexander: l learned about how important organization is and how always paying attention is crucial to success because the little things have a tendency to become bigger problems if they are left unattended.

Kevin Brady: The opportunity to sit in on meetings has given me my first look at how a business really works (not just “in theory” in a classroom). I have also already done some research and had the opportunity to share these findings and collaborate with others in the office. I have learned to think more about the impact of decisions.

Also important – I have gotten to practice and refine my writing skills through interviews, press releases and various other projects.

Maddie Casey: My professional aspirations are to continue to work with bands, and being able to do so in a setting where the pressure was not entirely on me gave me the chance to learn in a safe environment, while still being really immersed in the actual culture and workforce. Working with a smaller, independent band gives you the ability to learn a lot about different topics.

I don’t play instruments, but I learned a lot about gear most musicians frequently use, by helping the band load their gear in and out, and helping them set up on stage. I don’t have training in social media, but by working with our social media team, I learned what it takes to keep things consistent on multiple platforms, as well as what is and is not important to a band’s success.

I learned how to be a successful merch seller and keep track of the merch, I learned what is expected of a tour manager, and I even learned some things about what a venue does to prepare for shows. It’s all very hands on, and all things that will carry me forward.

Maura Duval: I learned how business relationships are built and maintained and how to work with an array of difficult personalities and egos. I learned patience and organizational skills — never, never underestimate the power of organization; it can make or brake you.

I also learned how important it is to be able to “put out fires,” stay calm in tense situations, plan ahead for disaster, and how to get people really excited about things that are in actuality, not exciting at all. Sales skills are also important to take away because at the end of the day, we are all selling something whether we like to think of it that way or not.

Lauren McCauley: It is very important to put in the extra work (ex: getting there early and staying late). Also, it’s important to open yourself up to people within the company. Ask smart questions, go to shows, ask your mentor out for coffee, be available, and smile!

Alex Wright: I’m a singer-songwriter at heart so seeing the behind the scenes of artist management and learning what it takes to do it successfully is huge for me in navigating my future career in music. This is especially the case when it comes to social media management.

Q: Suggestions for figuring out where to intern?

Nick Alexander: Intern at a place you actually care about. If you are a fan of punk music, don’t intern with a top 40 radio station because you’re probably going to hate it and just leave with a bad taste in your mouth. I learned to treat an internship like a job, to show up on time and always be willing to stay after because that is going to set you ahead of the pack.

Kevin Brady: Consider the company and the people you may be working with. Are they reputable and well-connected?

Consider the location and the opportunities it offers. Though you might not want to move away, you might have a better internship experience and better networking opportunities from a bigger and/or more reputable company in a city or just away from home.

Maddie Casey: How much of your own time can you feasibly dedicate to this internship? Most internships are not paid, which makes it difficult sometimes to allocate a lot of time to them. But if the internship is in your specific field, or will give you access to experience in something important to you, then pursue it at all costs.

Maura Duval: Make sure you’re not the intern that gets stuffed into a closet with a million envelopes to lick and seal, never to see the light of day again. A good company and supervisor will make sure you are learning and set up for success; a good set up will put you in a place where you can ask questions, spend time in a variety of departments, and meet lots of people.

Never be afraid to ask to do more. Show interest in meaningful projects and don’t be afraid to ask “Why?” a lot. Do not be the closet intern and if you ever find yourself getting shoved anywhere near one, get out!

Lauren McCauley: Make sure it’s something you are genuinely interested in and want to do. You work a lot of hours and usually without pay, so the joy of doing it is sometimes the only way to get you through.

Alex Wright: Pay attention to why you want the internships you want. The “take what you can get” approach might land you in a position where you’re stuck working for people you may not even like, doing a job you don’t care about, and getting experience in something that isn’t useful to you.

Q: What do you wish you knew before becoming an intern?

Kevin Brady: I discovered there is always going to be a learning curve regardless of how prepared you really are. Also, I wish I had taken more business classes. I feel like it would have made me feel a little more comfortable actually working at a business.

Maddie Casey: I wish that I really, really understood what a huge time commitment it is to be in a band or work for a band.

Maura Duval: I now know that the relationships I built from each internship were probably just as valuable, if not more valuable, than the actual work I did. The learning experiences were great but in retrospect, I could have devoted a little more of my time to meeting new people around the office and during office social outings.

Lauren McCauley: I’d tell myself not to be afraid to ask more questions and talk even more with people. A lot of an internship is not just learning the skills necessary to do a job, but how to engage and connect with others already in the industry.

Alex Wright: I wish I knew how much of an advantage it is being proficient with computers and technology in general. Proficiency with technology is an asset. If you’re not using shortcuts, hot keys, etc., you should start learning because someone faster and more knowledgable that you is out there and looking for the same job. If I didn’t have these skills I would surely be unable to work at my current internship; we do EVERYTHING digitally.

Q: Music industry internships: takeaways?

Nick Alexander: I am learning how a smaller independent label works as well as how to make a living in the DIY music ecosystem.

Kevin Brady: Making connections. You never know when those connections might come in handy.

Maddie Casey: I could feel out my career goals and aspirations, begin to build a network of helpful and involved people who are already working in my desired field, and experience endless networking opportunities. Every show, every day, each task I did allowed me to shake hands and meet one other person who was somehow involved with my band. I built a great rapport with the people I was working with directly – the band, their manager, booking agent, etc., and hopefully those contacts who have seen my work ethic first-hand will be able to help me land another internship or future job based on our past work experience together. ”

Maura Duval: Connections that have led to all of the other internships and jobs that I have managed to get.

Lauren McCauley: Everyone I talked to was always more than willing to offer advice and definitely words of encouragement.

Alex Wright: Making connections. I’m also learning a lot about booking and hopefully I’ll be doing some stuff with touring soon.

Meet the Interns…

Nick Alexander – McNally Smith College of Music, 2015, Associate Degree in Music Business.

Career goal: Artist management and freelance writer for music publications. Internships: Doomtree, a Minnesota-based indie hip hop collective and record label. Role: delivering merchandise from manufacturer to storage space to retailers; data entry; miscellaneous errands. Previous internship with Rymesayers Entertainment, a Minneapolis hip hop label. Role: maintaining inventory and problem-solving.

Kevin Brady – SUNY Potsdam, Crane School of Music, 2014, Music Education and Music Business major, with a concentration in Trumpet.

Career goal: Music teacher. Internship setting: DANSR, Inc., the U.S. distributor of Vandoren reeds, mouthpieces and ligatures; Juno reeds; Denis Wick mutes and mouthpieces; and Jones double reeds. Role: creating, writing and editing promotional materials; writing press releases; interviewing artists for Vandoren’s newsletter, designing and carrying out a survey, researching social media in business, and learning and utilizing Photoshop.

Madelyn “Maddie” Casey – University of Colorado Denver, 2014, Music Entertainment and Industry Studies (MEIS) major, with an emphasis in Music Business.

Career goal: Tour manager or event promoter. Internship setting: Band tour intern with Bop Skizzum. Role: management, booking, scheduling, promoting, instrument loading and unloading, multi-media/social media, selling merch.

Maura Duval – University of Colorado Denver, 2013, Music Entertainment and Industry Studies (MEIS) major.

Career goal: Currently I am a day-to-day artist manager at SQE Music in Los Angeles. I manage mostly bands, artists, songwriters including Islands, Crash, At The Drive In, Morgan Taylor Reid, Jeff Lewis, and Grace Mitchell (Universal Republic/Sony ATV). I have a strong entrepreneurial spirit and want to devote my life to helping change the world and people’s lives through music and media. Internship settings: 1. Universal Music Group, Fontana Distribution (now Ingrooves). Role: sales and marketing intern. 2. The Collective, L.A.-based management firm. Role: working with the managers of Enrique Iglesias, Michael Bolton, Linkin Park, Plain White Ts, etc. 3. AEG Live in Colorado. Role: DeVotchKa’s management in Denver.

Lauren McCauley – McNally Smith College of Music, 2013, Music Business.

Career goal: Continue to work with artists I believe in and can help grow. Internship setting: Windish Agency, an artist management firm (artists include Bon Iver). Role: building imitation artist itineraries, scanning and sending contracts to admins, updating Google docs, checking various artist websites, and other administrative tasks. *Hired at Windish after her internship.

Alex Wright – McNally Smith College of Music, 2014, Bachelor’s in Music Composition, Songwriting Focus.

Career goal: A “jack of all trades” in music industry, a self-sufficient musician. Internship setting: Middle West Management, an artist management firm. Role: artist management assistant, updating and organizing calendars, sorting receipts/statements/tax documents for certain artists, updating and posting to the news blog, performing social media audits for each artist, and updating contact info for record companies, merch companies, festival booking, and more.

Music Internships for All

Internships are not just for music industry majors. Since the music world is heavily entrepreneurial, business-related internships are strongly encouraged. Musicians need to wear many hats, and internships can provide great hands-on experience.

Also Read:

These participating schools on MajoringInMusic.com offer Music Industry and related programs: