We learned a long time ago that when presented with the opportunity to learn from really successful people, you take it!

A few weeks ago our studio had the privilege of working with Will Kennedy who engineered the album All Sides from the band OAR. The song Shattered from that album reached the top 10 on the Billboard charts. Educated at the prestigious Berklee College of Music (where I also went) and having stints in Nashville and New York, Will now calls Los Angeles home. Will was at California Road Studios to engineer and produce the upcoming album from rocker Alison Pipitone. With a national following Alison has been described as “one part cover girl, two parts Springsteen, one part Liz Phair, and a bucketful of Kurt Cobain”. Well read and with a masters in English Literature we have known Alison for years and she is a joy to work with.

In this blog we get the scoop from Will on what it takes to make a record and some meaningful tips for those who are starting out in the music business. If you know young people who are considering a career in the music industry please forward this blog.

It is a must read.

1. What advice would you have for anyone looking to make it in the music industry as an engineer/producer?

This is a complicated question these days. The business is in a tremendous state of flux. Recording budgets have shrunk to amazingly small levels. Nobody has yet figured out how to monetize recorded music in the digital age. As some of my colleagues have noted, “The days of milk and honey are over.” But the funny thing is that the business of TEACHING recording seems to be booming. So what’s happening is that there are more people training for jobs in an industry that has very few jobs to give. The end result is that there’s more competition than ever for top-tier engineering and production gigs. And we’re talking about a business where the competition was cut-throat even during the best of times. To top it all off, the availability of good quality recording tools at very low prices has made it possible for anyone to plunk down $2000 and claim to be a “studio owner, engineer, and producer.” Even when they have no actual qualifications.

With all that in mind, here are my – admittedly unschooled – thoughts on getting a foothold in the business just my observations from what I see and hear:

1. Start by thinking very carefully about whether or not you REALLY want to do this for a living. Because it’s going to be hard, and you have to have a passion for it. You’re going to have to devote as much time to understanding the tools of recording as you would to learning an instrument. The nights will be long, and the rewards few at first. DON’T think of engineering or producing as a “back-up” plan for when your dreams of playing don’t work out. It’s every bit as challenging. Be sure you love it before you commit to it.
2. Ask yourself, “What’s the difference going to be between me and every other fledgling engineer/producer out there?” Remember, everyone can afford the tools now. So the only thing that’s going to separate you is going to be your talent, knowledge, and experience. Do whatever you can to make yourself better at your craft.
3. Learn from the best. Seek out the best people you can think of. Do whatever you can to get in the room with them while they’re working. Even if that means making coffee, delivering their food, assisting them (if you’re lucky enough to be in that position), and doing it all for free. And if you DO get a chance to hang out and watch, BE RESPECTFUL! You’re a fly on the wall. Pay close attention to everything that’s going on, and keep your thoughts to yourself. As you learn more, you’ll find out there are a lot of layers to what’s going on in a studio. Navigating them is tricky business.
4. Conquering the technical stuff is only the beginning. Musical knowledge and psychology are a huge part of the job.
5. Be prepared for opportunities. If you get a call for a gig you think is out of your reach, say yes. Then work your butt off to make sure you’re ready on game day.
6. Be helpful. On your own sessions, to clients, to fellow engineers and producers, to record labels, to studio employees, and to musicians. Never forget that this is a service business. We’re all working not only in the service of our clients, but in the service of the music. People recognize and appreciate that. Never lose sight of the fact that in the end, engineers and producers are worker bees. We don’t get to do what we love without artists who create the music in the first place. Make sure you have a positive impact on their creations.

Check out Part 2 of this blog. Will discusses how he got started and gives us his secret to making a great album.