Quote:
Originally Posted by DaneMcCloud
This post illustrates perfectly what I tell young kids that want a career in the music business: Go to school.
Go to Berkelee School of Music, USC Film school, UCLA Film school, NYU, etc. There are very few people working successfully (and by that, I mean actually earning "real" money) in the music business that didn't graduate from one of those prestigious schools.
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those prestigious schools cost hella bread; Daddy can't cook that much meth since they put all those restrictions on the Sudafed (dorky winky thing to indicate sarcasm here)
Seriously, I went to UCM (formerly CMSU) for audio engineering, but once I got out playing in bands and working sound in clubs, etc. and wound up in CoMo at MU, I decided to change to something more 'practical', school-wise. I figured, I'll pretty much always be able to find work in music around here at this point...but that may not always be the case. I'm young and brash and some people find that endearing and charismatic (in person, at least) but that shit only lasts so long, and it takes real substance to make a career out of music to make any scratch. I mean, tons of really talented awesome people wind up broke and working shit jobs because they couldn't weather the storm, and maybe just put all their eggs into that 'star trip.' I ain't trying to be a star...just wanna make good music. And get paid, if I can, in the process.
I mean, we already get paid usually anywhere from $300-500 a night to play mostly originals, which is amazing and great. Had a few thousand-dollar nights here and there. But that's just in Central MO. It's different everywhere else.
Too dumb for New York, and too ugly for LA is indeed how I feel.
Quote:
Originally Posted by DaneMcCloud
Whether it Film/TV composition and production, Music Supervision, marketing and promotions, songwriting, etc., it's nearly impossible to compete with well-educated and extremely talented individuals that had had the benefit of a music education taught by the world's best teachers.
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I know.
that's why 'good enough' doesn't cut it.
Quote:
Originally Posted by DaneMcCloud
You're a mid-20's guy in Missouri that's needed more than nine months to cut 12 songs. I know film and TV composer/producers that create 12 Master Quality tracks per day.
It's a really, really tough road otherwise. Good luck, Dude!
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Sure, but those cats either have constant access to the studio or have the gear in their house.
I have Pro Tools and a Tascam reel to reel 8-track. I have some decent mics and good preamps...I can make some really good-sounding demos.
In order to have access to all the preamps and compressors and $2k vocal mics, along the ability to use all that gear, I have to pay an hourly rate at a pro studio. So we duck in and out as money and schedules permit. We cut basic tracks to get drums, and have been overdubbing on top of that. Not cutting any corners, not saying 'good enough', etc
Like, I have a bunch of multitracks from live shows, and there are AUD and SBD recordings of us on archive.org and bt.etree.org, etc. So there's no point in just trying to replicate that in the studio...I feel we should push ourselves to actually be great.
So who knows...it might be enough to get someone interested in working with us...(dorky cross-mouthed guy here)