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Proper etiquette offering recording services to ensembles
Old 4 weeks ago
  #1
Here for the gear
 

Proper etiquette offering recording services to ensembles

Hi Folks,
Long time lurker, and fairly new to the Remote Possibilities Forum. I’ve done vague searches on the topic and haven’t found much discussion, and apologize in advance for any redundancy. Basically, I’ve been getting more remote classical/choral work as of late thanks to my University Sponsored internship program with a local studio. I’ve been more than grateful for the work of course, as it is still fairly early in my career, and if anything has inspired me to peruse upgrading my current selection of gear and to take advantage of the thriving classical presence in the Boston area. I am curious of the proper etiquette, if there is any, of approaching ensembles with the intention of offering recording servives? I have attended several college-level concerts and recitals in the area with the intention to engage with anyone involved in recording the event, but I haven’t encountered anyone recording/broadcasting these events at all. I would hate to approach an ensemble director and give off the implication that they are not capable of finding an engineer themselves. Any experience in this department would be greatly appreciated, thank you!
Old 4 weeks ago
  #2
Gear Addict
 

Quote:
Originally Posted by Gallagher1819 View Post
I would hate to approach an ensemble director and give off the implication that they are not capable of finding an engineer themselves.
This sounds TOO polite of an attitude.

Don't be afraid of some 'go get 'em' spirit.

Just introduce yourself, tell them bravo on the concert, and give them your card saying you are available to record any future performance.

If there is a recording engineer already there, I'll defer to others on this forum.
Old 4 weeks ago
  #3
Gear Guru
 
Brent Hahn's Avatar
 

Get yourself invited to the after party -- hell, just get the address, they won't know the difference -- and talk to everyone. But be careful -- those classical types can drink.
Old 3 weeks ago
  #4
Lives for gear
Rejection is common .
Prepare for the worst.
I applied to numerous classical festivals locally (mostly in ancient churches), the committees always have a lawyer or ten on em and are petrified of performance rights etc etc.
Also Health 'n Safety will rear its ugly head, reassure them its all 12vdc and cable runs will be minimal.
There is always a sight line issue, so ensure your array is low profile and stick to your guns.
Aim for a polished recording that the Musical Director will cherish, not just emulate a a shaver on a music stand.....
Roger
Old 3 weeks ago
  #5
Lives for gear
 

possibly every other gig i (or the conductor, promotor etc) get approached by someone who's interested in getting his (but much more rarely her) foot into the door:

go ahead, you got nothing to lose! i would howerer suggest you can clearly define what you can bring to the party - you don't need to show all of your cards or ambitions but imo outline what you have been doing so far, what you would expect from a potential collaboration, what your contribution and your limits are.

if it's about trying to take away someone's job, then you better do it secretly...


[this is in old europe though - i noticed (the classical music) business (and 'identity'/mindset in general) to be much more hierachical in the new world and i regularly bump into people who are making a big fuzz out of their position, rank, seniority etc.]
Old 3 weeks ago
  #6
Gear Maniac
 
brhoward's Avatar
 

Considering personal experience: if you are just getting started or recently moved to a new place, find two or three organizations to work with, and work only with them for full pay, never free. Do the very best job you can—in two years or less, if you produce good results, the word will spread and you will begin getting more jobs. This is what I did, and within 5 years I am recording about 40 concerts and maybe 5 full length album projects a year.
Old 3 weeks ago
  #7
Quote:
Originally Posted by brhoward View Post
Considering personal experience: if you are just getting started or recently moved to a new place, find two or three organizations to work with, and work only with them for full pay, never free. Do the very best job you can—in two years or less, if you produce good results, the word will spread and you will begin getting more jobs. This is what I did, and within 5 years I am recording about 40 concerts and maybe 5 full length album projects a year.
This has always been my experience until recently.

Unfortunately in our town the local college has started to do everything, including recording student/faculty recitals in churches and does them for little or no $$$. We lost two of our long term clients and I really cannot blame them. We were charging them what it actually costs us to record them and now the local college is doing them for very little $$$ so I understand.

Also more and more groups are buying "Zoom" type recorders and using them to record the ensemble. One group in town bought a all in one video camera and audio recorder and posts their concerts on line. Not very good audio or video but for what they want it works. The day of the DIYer is here and getting stronger support every day. Best of luck to the OP and I hope you can get some GREAT clients.
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