The number of students qualifying from music technology and music production degrees is increasing worldwide year on year.
The goal of many of those students is to work in a professional recording facility, or work alongside a pro producer, but even as an unpaid intern, no facility or producer will want to touch you without experience.
If you haven’t got a degree, you might have much more to learn still, but hey, you wont have an average of £41000 of debt straddled round your neck, so…. its swings and roundabouts.
Emailing your CV to the studio will probably get you absolutely nowhere, as most other local students in your predicament will also have tried this route.
What you actually need is a track record, as studios often only take on
(a) Their friends that they trust
(b) Staff from other studios that they rate
(c) Their friends from other studios that they rate
(c) Whoever they flipping well want!!!! Have you seen the ratio of studios to music technology students????
The problem is that you need experience to be able to get experience.
So what can you do?
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- Don’t be an idiot!
This is the main factor that studios are worried about with an unknown quantity (i.e. you) and their customers. The studio world is hard enough to keep your head above water now, without having to worry about an intern annoying the talent, The higher profile their clients are, the more important this is.
Be humble, quiet, yet confident in your own abilities and just don’t think you know everything, just because you have certificate. you don’t, you are just beginning to learn that the best engineers circuit-bend the “rules” somewhat to get amazing results.
- Lower your overheads.
Whether this is moving back in with your folks, house / dog sitting for someone that’s abroad or just plain tapping off your understanding significant other, you need to be prepared to live frugally for a bit. Hopefully you blew some of your student loan on a laptop so you can learn skills and programs while you look for an internship.
- Get some cash behind you.
Everything is easier when you aren’t wondering where your next meal is coming from. This isn’t necessarily about buying all the latest kit, this is about being able to take every opportunity presented to you. Being able to afford the train or taxi fare to be able to fill in for an engineer that’s ill, having a few pounds to be able to buy a drink for someone that might be able to help you you randomly meet when you are out.
Just having a float so you can pick up some sandwiches on the way in (and then get reimbursed) means you are much more useful than someone who has to come in and then go out again.
- Get a Job.
…anything, its not forever! I’ll cover a few ideas for optimum jobs for musicians in the forthcoming weeks, but right now you just need cash. Consider working nights (as the pay is higher) and it will get your body clock in-tune with nocturnal activities, so you’ll be on top form if you go to local gigs or events to do a bit of impromptu networking or gig driving (see point 5). You can always book time off, be ill or take holidays if you get something interesting come up. Its only there until you get your internship, but you will need to have some money to support you through it, so build up a pot.
- Get a driving licence.
The amount of DJ’s and performers that i see that need drivers is substantial. Even if they can drive themselves, its not exactly what you can or want to do if you’ve just played a four hour DJ set with the lure of a free bar!
You can always hire a car for the night if you don’t have one, or the performer themselves will often have a car that you can drive. You essentially get a private audience with a professional for a few hours, where you can listen, ask a few questions and learn! Don’t forget point one, be humble, be responsible, be reliable, don’t get caught up in the party!
Watch local artist’s social channels like a hawk for an “SOS” driver post, if you can step in at the last minute and save the day, it’ll go a long way in your favour and wont be forgotten.
- Book a session.
With the money saved from your job, book a session in the studio that you want to intern in, If you make music yourself then this is fairly easy, but if you want to produce other bands you’ll have to find someone to work with. Go out and become your own A&R man on the local gig circuit, find a suitable local band that you would like to work with (and ideally have some ideas for) and offer to do a session with them at the studio that you want to work at (or build up to this in another studio and then book into the one you want to work at once you’ve got a bit more experience). If you’re paying for it, you should get some takers for sessions and they will be quite forgiving while you find your feet! Offer to drive / roadie / engineer small gigs, anything that gives you some experience of working with bands.
- Think outside of the box
The best connections aren’t always where you think, don’t limit yourself to approaching or working with people in your immediate area or genre.
I once got the guitarist from a major US metal band to feature on a track through a guy who booked me to play a breakbeat DJ set in Tokyo.
- Know Your Place
If you are lucky enough to get some work experience, there a few things to remember.
You aren’t the producer or the engineer, never offer your opinion on the clients music, this is a big no-no.
Even if they ask you about it, try and say its not your place, this is one thing that REALLY annoys studio owners, as you are effectively representing their business.
You’re there to help out, make some drinks (learn to do this properly before you turn up), and learn what keeps a professional operation running.
- Make yourself indispensable.
Offer to do the jobs that no-one else wants to, a surefire winner is to sort the cables out, cables are always in a mess.
Bring your cable tester in (what do you mean you haven’t got one??) and give them an MOT. There’s little chance you’ve completed a MT degree without learning to solder some wires, so put your skills to use.
If they don’t have a cleaner, go and tidy up without being asked. Try and think ahead about what might be needed later on in the day / session and get it ready in downtime.
If you are starting out at a practice room / studio type operation, they might not even have proper coffee (how middle class do i sound here now!), go and get a supermarket cafetiere and a bag of premium java, you might just make yourself some new friends.
You want there to be a void left when you finish, because that void is the reason for you to be paid to be there.
Watch and learn how they do sessions, at some point the engineer or producer will be late or cant come and you’ll have a chance to show what you really can do. - Seriously, Don’t be an idiot!
I can’t make enough of this point!
Avoid badmouthing anyone, especially locally, even in different genres, as most studios know a good proportion of the musicians (especially friend of a friend type connections) in the area and you don’t want to get a bad rep. Keep your opinions about someone and their music to yourself, at least until you are Deadmau5 type of level of success and can make your public cussing mildly entertaining!
I knew an American guy that constantly took digs at various British acts on various internet platforms. He then decided to try to get releases signed (that were actually pretty good) by some of the key British labels, but no-one would touch him with a bargepole, because they all knew he was a liability and publicly acted like an idiot, which wasn’t good for their brand to be associated with.
- Don’t be an idiot!
