Band Aid | Signal Path

Dec 1, 2008 12:00 PM, By Dave Hampton

GET SOME DIRECTION ON THE RULES OF THE BUSINESS TO SUCCEED AS A PROFESSIONAL ENGINEER

My life circumstances led to the doors of opportunity available to me as a young African American man from South Central Los Angeles — from working at Oberheim Electronics to doing studio work, radio shows, writing books on engineering and more. I did what I did out of necessity because many of the normal avenues were not available to me at that time. It's funny that many of today's engineers who cry of little work never had to grow up like many of the engineers I know from the inner cities. If they had, they would understand that many of us have been operating in this type of atmosphere of limited traditional work access for years. Poverty and the fear of it can be a great equalizer in today's business world.

I have seen the trickle-down economics of the record business growing thinner, but whatever you do in our industry, nothing will defeat the combination of skilled labor and good business. I have been blessed to work with musicians who are true artists. They took the time to share with me observations about how I conducted myself while providing a service for them. I put that feedback into my books. I also included stories about mistakes I made, so I don't claim to know everything. What I do know is that my phone is still ringing, and I get my fee and the full return on my sweat equity.

This year, we finished construction on The Famous Radio Ranch in Sherman Oaks, Calif., and built a custom home studio for actor/producer RZA. I am also doing some consulting for Flyte Tyme studios in Santa Monica, I still handle technical work for Prince and I work with several large electronics and technology companies on developing concepts.

With the growing number of home studios, is it harder to get work as an engineer?

For new young engineers, there is always a learning period. The art of conversation has been lost on many of our youth. They might be quick with Auto-Tune and Beat Detective, but what good is it if you can't recognize the need to transition a conversation from social to business to potentially create a work opportunity? For experienced audio pros, work can be especially hard if you are unwilling to change or observe that what you did many years ago doesn't matter to some of the new younger execs and producers. If you are not willing to put in the work and attention to some nonengineering skills needed to survive, then yes, it will be hard to find new work, especially in this economy.

What training helps to secure pro engineering work?

I went to a trade school for electronics. I knew about electronic signal flow before I was exposed to structured audio information. Being able to visualize a circuit and the process by which it works helps you understand and set goals when you start applying audio engineering principles. In the end, it is about the song and how it sounds. The basis of that is to develop a good core set of skills based on the physics of sound and the applications of Ohm's law.

What are some pointers to get those first paying gigs?

Identify the areas of audio you are interested in. List your skills and certifications so that you can use them when evaluating your professional worth. Create a resume that speaks to what you want to do. Research all the businesses in your area that could possibly employ someone with your skill. That first job, no matter what, is the door to your future. You never know where it will lead you. Do research on studios and producers that say they have something coming up.

Once an engineer is hired for a job, what can he or she expect in terms of rates, negotiation and contracts?

Is this a union job? Are you doing studio recording, field recording, voice-over? Each area of service has its own starting point. If it is a union setting, the union will probably establish the rate. Independent productions, however, usually allow for the most creative deals to take place, which are a great way to get in many doors. For contracts, if the environment allows for it, then I would say great. But remember, getting anyone to sign for anything in this business can sometimes create a disconnect. I have a great story about the contract/work-agreement method done badly in my new book, The Business of Audio Engineering (Hal Leonard). Many schools are giving students template contracts to use to become assistant engineers. Remember to be able to do the work before you press on a client with a boilerplate agreement. By comparing the skills and the rates, you can begin to see what your skills are worth and what you should ask for.

What's the difference between “independent contractor” and “corporate employee”?

As an IC, you are your own boss. You say yes and no, and you set the rate. In a corporate setting, they tell you your worth every Friday when you get your check. They set the hours and terms under which you provide them your service. Working for someone is good for the consistency and experience. It teaches you how to be part of a team. It can also at times give you great health benefits. Not everyone has the drive to be an entrepreneur. The natural progression for me was: 1. Employee by day, independent contractor by night. 2. DBA = Doing Business As (name of company).
3. Inc = Incorporation (legal separate entity).

The real money in the content world is in the ownership and licensing of content. Creating it makes the first wave of money for the assembly process. However, you as an engineer have the skills to do the process yourself. That's why life for me as an incorporated independent contractor is great. If I have an idea, I own it, I fund it and I reap the reward.

What are the studio etiquette rules for an engineer?

Be of service. Take notes. Stay current on equipment. If you don't know, find out. If you're going to be late, call. Pay attention. Come to work clean. Respect the studio. Learn to make good coffee. Don't talk too much (but have a personality). Be humble. Know how to read the room. Honor your time with musicians.

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