I went full-time freelance when I was 23, the year after starting the thread. Fast forward eight years. Still at it.
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Originally Posted by
NorseHorse
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How did you first start out?
Step one was just for myself. I was writing music that I wanted to record. I'd stay up late writing chamber pieces, pop pieces, whatever. I was always thinking about how the recording would sound. After recording myself, I offered to help friends. I recorded Composition Class projects. Arranging Class projects. A roommate's musical. I remember when I bought my first condenser mics, MXL 990s. Mind blown! And when I bought my first serious preamp, the PreSonus ADL600. It was worth more than my car.
Quote:
Originally Posted by
NorseHorse
โก๏ธ
Who were your first clients? What were you charging them?
My first clients were other students and a few professors. I recorded my first paid recital for $20. The pianist ran into me drunk on her last day of classes: "The recording was so good. I should have paid you more." Later I recorded recitals for $75. When I eventually had the ability to record four tracks, but folks didn't want to pay $100 outright when I felt it would be necessary, I would record extra channels (at no cost), send them a test mix, and ask if they would like to add the extra channel(s) for $25. They would say yes. My first shows outside of university were high school concerts I begged to record. Then a youth concert for Virginia's only professional vocal ensemble. After comparing the recording to the other professional recordings they received from other concerts, they asked me to record their subsequent seasons (until they almost folded).
Setting rates was an evolution. Eventually, it became too expensive to work in an office if I had to turn down recordings. Later, I couldn't take a $350 recording if it meant turning down $750 recordings. Then, I couldn't take $750 recordings if it meant turning down $1500 and $3500 recordings. All income went back to the business.
Quote:
Originally Posted by
NorseHorse
โก๏ธ
How did you get clients in your "first eight years"?
I wrote classical recording engineers in DC, Virginia, and Maryland offering to assist, carry cases, cover gigs. Nothing. Every ensemble said "We already have a guy." And it's true: everyone already had a guy. After first living in the DC area, it took me
three years before I got my first recording in the District. A soloist had botched an opening night performance and was too embarrassed to ask the engineer from the night before to record the second performance. When I wasn't recording, I was being paid to listen to and commercial recordings of classical, jazz, and world music.
Anytime I had an opportunity to record, I wanted to make the recording sound better than any recording they'd had before. I found performers and directors who cared about the differences, and I eventually had more work than I can handle, even full-time. In 2014, I joined "The President's Own" United States Marine Band, serving with two other remote recording professionals. Since that time, a great team of engineers has stepped up Arts Laureate. We've been able to record many beautiful concerts, fantastic CD projects, major symphonies across the US, cool summer programs, special recitals, etc. DC, LA, Chicago, NYC, Seattle, Texas, Massachusetts, Tennessee, wherever. After eight years, I'd like to think we've got some street cred: a gangsta crew, substantial mic locker, cutting edge gear, forum infractions, sexy pictures, hot dance moves, public radio broadcasts, top secret archives, and flaking Sennheiser paint. "Oh, and John Williams hit this microphone with his baton."
Big shout out to the team at
Arts Laureate, some of whom you'll find here GS, as well as the other slutz I've had a chance to work with or meet around the US. If you want to follow what we're up to, we're on
Facebook posting cool photos and videos. The Marine Band streams chamber concerts live and also posts some incredible concert and session recordings on YouTube.