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Entries in industry (3)
DIY Or Academic Training? - Why Certifications And Qualifications In The Audio Industry May Still Matter.
(This post is a continuation of the recent PTE discussion on the validity of academic training.)
There once was a time when music was a thing for entertainment, a hobby, a past time that existed independent of the shackles of modern commercial enterprise. A simpler, arguably better time, where people were recognised and judged by their talent and their ability to work, and perform rather than the framed piece of paper they had on the wall. Things now are different. With an expanding consumer base of pro-audio software users, music producers, mixing engineers and songwriters, the industry is becoming an increasingly difficult place to not only make a living in, but to stand out above the sea of content that is created on a daily basis. This has had an increasing effect on the earning capacity of new practitioner’s entering the industry.
So now that money is more and more scarce, and audio hardware and software isn’t getting any cheaper, we need to ask ourselves, what is the best way to spend the money we do have to improve our position? This brings me onto the crux of this article: Education.
It is undeniable that working in the music industry now is not only increasingly competitive, but fundamentally different in its structure and workflows.
We might not say it out loud, but this has undoubtedly ruffled the feathers of more audio professionals than we care to count. As much as we deny it, people don’t like change, especially when it threatens the very fabric of our business model. The industry is very much an ‘Adapt or Die’ environment, populated with constantly changing workflows that require not just evolution, but revolution to continue to operate at ‘industry standard’. The recent PTE article about Phils Book and the decline of iconic UK studios is a prime example of this reality.
So, the industry has dramatically evolved, and even though nearly anything is now possible from the confines of a laptop, we often still find ourselves asking the question: “Why is it so hard to find good work?”
Here are a few points to consider about your presentation while managing and sourcing work:
- Singer Etta James, aged 73
- Soul Train creator Don Cornelius, aged 75
- Singer Whitney Houston, aged 48
- Monkees’ Davy Jones, aged 66
- Guitarist Ronnie Montrose, aged 64
- Song writer Robert Sherman, aged 86
- Bluesgrass legend Earl Scruggs, aged 88
- Bandstand host Dick Clark, aged 82
- Musician Levon Helm, aged 71
- Men at Work’s Greg Ham, aged 58
- Beastie Boys’ Adam Yauch, aged 47
- Funk godfather, Chuck Brown, aged 75
- Bass player Donald ‘Duck’ Dunn, aged 70
- Disco diva, Donna Summer, aged 63
- Bee Gee, Robin Gibb, aged 62
- Country singer Kitty Wells, aged 92
- Bill Doss of Olivia Tremor Control, aged 44
- Composer Marvin Hamlish, aged 68
- Mamas and Papas’ Scott McKenzie, aged 73
- Singer Andy Williams, aged 84
- Jazz legend Dave Brubeck, aged 92
- Amp legend, Jim Marshall, aged 88
- Rock Guitarist Mike Scaccia, aged 47
- Guitarist Doc Watson, aged 89
- Singer Mitch Lucker, aged 28
- Composer Sir Richard Rodney Bennett, aged 76
- MC5 bass player Micheal Davis, aged 68
- Blues and soul guitarist Skip Pitts, aged 65
- Fleetwood Mac’s Bob Welsh, aged 66
- Songwriter Hal David, aged 91
- Sitar legend Ravi Shankar, aged 92
- Session player Big Jim Sullivan, aged 71
- Guitar player Bert Weedon, aged 91
- Band leader Johnny Otis, aged 90
- Saxophonist David S Ware, aged 62
- Hip-hop producer Chris Lighty, aged 44
- Record producer Carl Davis, aged 77
- Reggae Producer Danny Sims, aged 75
- Producer Winston Riley, aged 68
- Singer/Guitarist Tony Sly, aged 41
- Motown Producer Frank Wilson, aged 71
- Tramps singer, Jimmy Ellis, aged 74.
If you think we have missed others, then please let us know.