How to be a freelance mix engineer ?

[rjay]

I'm just coming back after taking a few years out from producing & writing after my last major label deal (as the artist) went sour. The mix was always my favourite part of a project so I'm thinking that I'd like to specialise as a mix engineer. Now that I'm not based near a big city, specialising in mixing also seems like a sensible idea as it can much easily be done remotely.

So, what would be the best way to get started ?? My "old" mixes are mostly too old and I have better gear now anyway. Once I've built up a decent showreel of mixes, which I'll no doubt do on spec, what would be the best way of pitching myself ?? Direct to A&R ? Through Producer/Engineer management ?? Any tips ?

[thejook]

Mix, mix, mix, network.

The only way to succeed with this, from what I've seen, is just to be awesome and network.

You'll probably have to do a lot on spec, but if you mix something that becomes huge, that'll do it.

[rjay]

Well, my point was more about getting to "mix, mix, mix" in the first place. I mean, I don't mind doing stuff one mix on spec for new contacts but it's got to be good stuff - maybe if I pitched myself to artist managers, that may be a way of getting stuff that should be half-decent AND might go on to get signed (though they won't use my mix probably but it would be good for the resume).

[Led]

And maybe gear the networking towards finding a manager......I know they are evil in some ways, but I found my workload to be pretty consistant since I got representation a few years back. Man, artist side of a deal gone sour...been there...took me about 2 years after till I felt like making music again. I'm not sure my little bro has recovered yet. He's just playing in someone elses band now because it put him off being the "music maker" but they just got the INXS support here so it's good to see him vibed about something again. At least he's stopped saying "what's the point".

[rjay]

Hi Led,

Yeah, my deal went sour just as I turned 30, moved to the countryside and got married so it was a real change-of-life thing going on. Still, 5 years is a long time to be away but you can't really force these things. Looking back, I hardly even listened to music for pleasure for a couple of years

Anyway, managers are a good point - maybe I should find a manager who represents artists & producers/engineers, offer to mix one or two of their artists on spec, and see if any rapport develops.

[u b k]

one step at a time. my guess is that by the time you've got a more current mixreel together, you'll have a better handle on how to get the gigs... because you'll have been getting them. just focus on that and things will fall into place of their own accord.

welcome back .


gregoire
del
ubk
.

[Jim vanBergen]

Originally Posted by rjay

\Looking back, I hardly even listened to music for pleasure for a couple of years

I'm impressed! I can't listen to music for pleasure. All I ever hear is the work. Fades, verbs, comps, gates, edits, pans, EQ.... sheesh.

Glad you're moving back in the world of the living and moving forward.

[bpatural]

While mixing indie and low/no budget stuff on your own, get in with producers and become their tracking engineer...once you've developed a relationship with them you'll get more and more opportunities to do rough mixes which have a small shot at being the final mix if you put in the time (get really good at protools mixing if you want to get in on this angle as there isn't the budget at this stage for a console). Once your chops are good and these sound as good or better than other songs on a record you're going to start having some credits and build confidence with producers who will start giving you the first shot to mix songs (especially if you track them or if the budget is small)...at some point if you stay in the game long enough, you mix a "hit song" and then you're in, the phone starts to ring and you hire a manager and slowly work your way up to 5-10 grand a song and either hyphenate your last name or start introducing yourself by your first middle and last names :)
-Brian

[Steve G]

Change your name to Rjay Lord-Alge.

[thethrillfactor]

Originally Posted by rjay

So, what would be the best way to get started Any tips ?

Pray for divine intervention.


Literally.



And hope that you hook on with a project that's goes somewhere and sells big.

Right now everyone and their brother thinks because he has a PT rig with every plug in known to man and a couple of outboard pieces thinks he is god's gift to mixing and he can compete with the big boys.

So even if you thought you could try to make a living at it without your own studio that can save people some costs and a name to bring them in you are pretty much screwed.

On the management front you could either hook on with a popular mixing studio that manages mixers or find and independent manager that does but they won't even take a sniff at you if you have no credits to your name.

Also they will look out for their other guys first because they bring in the cake.

[Gregg Sartiano]

Originally Posted by thethrillfactor

And hope that you hook on with a project that's goes somewhere and sells big.

Agreed -- if you don't have some sort of creative control or production control, the project may very well get remixed before release by an A-lister, anyway. Unlike songwriting or, to a lesser extent, production, there are virtually NO rights attached to mixing (beyond whatever deals you work out, but that's a given).

Did you mix your major label stuff? Maybe your mixes (or remixes) of that material could be your reel for now, assuming that the tracks would show your abilities in a positive light, and they would show off your production values, too. Do you have access to the tracks? I'm assuming that the stuff isn't entirely irrelevant artistically to today's market.

Where are you based? Let me guess...countryside outside of London...

Also, to many mgr's and artists, the hassle of spec-ing a mix isn't worth it -- right away, they know you're unproven (because you're offering it for free), so the dynamic already turns the wrong way...and you haven't even gotten started yet. Even dealing with you will probably push the project back, and mix-time is usually when everyone gets really antsy for the CD to be done. Assuming you can churn out a half-decent product, I'd say you should try to establish SOME value for your services, even if you do it on a "buy now, pay later (i.e.: never)" basis -- at least then, hopefully, you'll get some respect for your time and ability.

Now maybe if you find a band/artist who a) ran completely out of budget or b) had a falling out with their production team (but kept the Pro Tools files) right before mix time, you can jump in and save them. If you're like some people I know out here, you'll change a couple of things and claim production credit, too...

[SnakeCained]

Find clients who want quality.

Too many times I've been undercut by a kid with a computer running a few cracks because very few care what the end result sounds like, seriously.

Take spec work with material you like and feel you could get good results with.

The network thing is a necessary evil. I get a lot of word of mouth and never be affraid to bore everyone you meet with on the off chance that they need you or know someone who does.

Any favours you could call in would help too.

[Jules]

I read somewhere in a 'how to' book that you should hand out business cards like candy - to everyone.. dont be bashfull..

Anyhow somewhere along the line I got that confused with balpoint pens...

[rjay]

Hi Gregg,

You actually raise a very valid point, re: offering to do it for free. It's a dumb idea as people always attach more value to something they had to pay for (regardless of quality). So, even if I just get expenses out of them it makes a big difference to how they'll perceive me.

I'll listen again to my own album - haven't heard it in a year or two but I'll definitely need some new stuff in there with it. Anyway, a good reel needs to have other people's material on it as it just comes across a bit "bedroom producer" if all the tracks are written/programmed/engineered/mixed/masterd by the same person :)

[Jim vanBergen]

no-one has written,

"First, be independently wealthy!"

but it sure is true.

[Gregg Sartiano]

Originally Posted by Jim vanBergen

no-one has written,

"First, be independently wealthy!"

but it sure is true.

That comes off as a joke, but it's a completely valid point.

Make your money elsewhere and funnel it into your music career.

Heck, if you're trying to mix, you're in an even BETTER place.

Look at all the GS'ers who used real estate equity to buy/upgrade their studios...
With all the studios for sale, maybe you could BUY one.

Regardless, there's more money in the "straight world" right now than for a mixer -- 40 hr. work week leaves a lot of time to mix...with the right job, you could have Saturday and Sunday -- 8 hour days -- every weekend in a NICE studio or maybe even a "BIG" studio.

Then you have your lawyer draw up production contracts on anyone you want to work with -- save up for the A-lister to mix the single, and then produce/mix the rest of the record. Get the band signed, and you've established enough credibility to repeat the process...

[rjay]

Hi Gregg & Jim,

I've been lucky enough to have always made my living from music, though I take your point. Progressing as a Mix Engineer is only one part of my future plans and I don't think I'd even want it to be fulltime, to the exclusion of songwriting, consulting, etc.

R.

[Fletcher]

If you go "looking for a manager" with the thought that they'll get you work you're dreaming. The only time you need "management" is when you're too busy to handle all your booking, negotiations and billing... which is why you employ the services of a manager to handle those mundane tasks so you can focus on the business of mixing music. Any "manager" that tells you that they'll focus on YOUR career and get you working as much as humanly possible is full of shit. A dumbass statement like that means that they have no clients and few to no contacts. Any manager worth their salt already has a client base and is busy working on managing that client base.

If you happen to meet a "manager" from an established 'management firm' who is "about to strike out on his own" that generally means that they're not good enough to move up within the company and don't deserve to be with that managment firm in the first place. There are of course exceptions to that rule... like someone who does have a fairly decent client list and decides to step out on their own... but those guys won't be soliciting you to join their stable as they already have established [as in working] engineers and producers on their client list... that is unless you're already working a whole lot and they can earn from you from "minute one" on.

A good manager is one who has an established client list who is willing to add you to that roster, which seriously means that your reputation is going to earn them money... not that they'll be out there beating the bushes trying to get you work.

N-E-V-E-R depend on a manager to "get you work". Depend on the work to come to you because of the good work you've done in the past and because your services are in demand. Depend on the manager to sort out who's for real and who's a wanker... who will pay you the most for your services and who should be put on the side because they don't have sufficient funds to afford your services... in other words, expect them "to manage" your career.

Now the bitch of the beast is how to get to that point... and make no mistake, it is a stone bitch to build a career from the ground up.

If I were to make a suggestion [which I won't because we're talking about your life here and I sure as shit don't want to be responsible for fvcking that up too]... I would suggest that you mix any and everything that comes anywhere near you.

If I were going to make a suggestion it would be to mix things for people "on spec"... sorta like "oh, you're working on a project with ____, very cool... if you have a notion I'd love to take a stab at putting a mix on it... if you like the mix you'll owe me £____ , and if you don't love the mix no harm no foul".

Unless you totally suck sooner or later someone is going to like something you've done... and chances are that they'll tell two friends, who will tell two friends, who might even tell two other friends... and by the time your kid is ready for middle/high school you'll be working so much you'll never see that bitch who's been ruining your life for the last half dozen years [but I digress].

Good thing I'm not going to make a suggestion because let's face it... I'm an asshole who has no idea of what the fvck I'm mumbling about... I pimp gear and record low selling records and demos... if I knew what I was actually talking about I'd be earning great big wheel barrows full of show biz cash like Ed Cherney or Mike Shipley... right?

Peace.

[tunasafedolphin]

Originally Posted by Fletcher

if I knew what I was actually talking about I'd be earning great big wheel barrows full of show biz cash like Ed Cherney or Mike Shipley... right?

I dunno, it's really begining to seem like the TuneCore thing is well on it's way!

I'm rooting TuneCore on like it's the underdog in a Super Bowl!

-C

[Led]

Originally Posted by Fletcher

N-E-V-E-R depend on a manager to "get you work".

He's right ya know...the thing our management has been able to do has hook us up with work from overseas, which is good because Oz makes about 10 major albums a year. But, you have to have something to begin with which is where the speccing and stuff comes in.

[knightsy]

Originally Posted by Fletcher

If I were going to make a suggestion it would be to mix things for people "on spec"... sorta like "oh, you're working on a project with ____, very cool... if you have a notion I'd love to take a stab at putting a mix on it... if you like the mix you'll owe me £____ , and if you don't love the mix no harm no foul".

That's what I'm doing at the mo! Onya Fletcher

[MarkRB]

Hey RJay,

Somerset eh.. I'm from that part of the world myself and miss it now I'm in London.

Used to have a Studio in Yeovil for a while, we wouldn't of met would we?

(bit like asking if I know the queen, but you never know..)

[jumpnyc]

Only other suggestion would be to diversify your mixing skills - if you really want a career, and learn to mix film, vo, ads - learn about sync, framerate, and be able to mix many different things, not just music. That way, at least, you might be able to eat.

[rjay]

Hi MarkRB,

My studio is in Marston Magna :) barely 10mins from Yeovil and I live near Wincanton. I miss London now I'm in Somerset ;)

[rjay]

Originally Posted by knightsy

That's what I'm doing at the mo! Onya Fletcher

How's that working out for you Knightsy ?? Has it led to any paid work or interesting hookups ??

[rjay]

Hi Led,

So you're mixing projects from overseas ?? Do you have any problems with endless revisions, or any other downside to the producer/artist not being in the room with you ?? (I can think of numerous upsides to an empty mix room !)

[Sqye]

a big problem within the industry is that there are so many people doing stuff for free
(whether intentionally trying to build a portfolio or just getting screwed by everyone and their mothers,
including these "managers who are supposed to be managing their business and/ or getting them work "),
that the prospects for making a good living - well, you figure it out.

i agree with Jules - network like a m&therf*cker, and with the statement above,
being independently wealthy, or self-sustaining, to start with, is a major plus.

good luck.

[rjay]

Nobody should be doing stuff for free, as in "even if you release this you don't have to pay me" ... that's just stupid. But, doing stuff on the basis (as has been suggested here) of "pay me if you want to use it" seems like a good compromise.

[grahluk]

Originally Posted by jumpnyc

Only other suggestion would be to diversify your mixing skills - if you really want a career, and learn to mix film, vo, ads - learn about sync, framerate, and be able to mix many different things, not just music. That way, at least, you might be able to eat.

I'm gonna disagree here and borrow a bit of Fletcher's "blunt" stick. There are very few (or no) pros who do it all. "Jack of all trades master of none" comes to mind. In this business people want to hire masters not jacks. Also few to no masters of one arena cross over to another. If you mix film professionally (if you're so lucky) no one's going to call you to mix a record and vice versa. While Protools has created a bit of commonality to different production jobs each niche is a vocational mountain of their own.

Advice for 2006? Find out what it is you want to do, then pursue it single mindedly. IMO the career of a music production professional is less and less different than the artist situation. Meaning that artists learn their craft, establish their identity, then get it out to the most receptive audiences they can find. If they got something (talent, luck, a cute ass, etc) those audiences widen and deepen until they need managment. While being on the production side of the glass may exempt you from having to have a cute ass the rest still applies. If it's music you're going for work in the field of music that you know, understand, and maybe already have a social life in. Networking is key. This (and I believe most) business is based on interpersonal relationships. Having the Ft Knox of gearslut heaven wont get you work. It'll come from someone you know or got word of you from someone. It's the wild west out there. You are competing against the other gearsluts, bedroom musicians, and yes the big guys. The name mixers may have the relationships and reputations that keep work coming to them but they'd be lying if they thought the legions of Protools guerillas hasn't got them looking over their shoulders. Like the artists know your thing and get someone else to want it.

Film and broadcast are the last niche's that still operate as a fairly standard trade. Apart from the Final Cut/iDVD home productions you can't really make it anywhere on your own. You gotta find the outfits that do that work and start wherever you can get your foot in the door.

Good luck.