On 5/9/06, AG Schnozz <agschnozz@xxxxxxxxx> wrote:
>
> Richard L. wrote:
> > And if I told you what I was making in
> > those days you'd fall to the floor laughing...it wasn't much.
>
> Let's see, my first 18 months were non-income too. I can't tell
> you how many concerts and events I mixed where I never saw a
> dime. The lead FOH guy was raking in the dough, but I got paid
> in 'sperience. Then I spent another five years earning just
> over minimum wage on the fringes of the industry.
I see you and I had similar beginnings when it comes to money in the audio
industry.
At some point I became VERY fortunate by working for a
> manufacturer and became a factory representive for some studio
> equipment. I definitely got paid after that. It was so much fun
> being beyond the bleeding edge--we we designing and engineering
> the sharp things that caused the bleeding!
I never reached the fortunate stage in the recording industry. By the early
eighties I had finally made it to a major studio in Chicago that dealt with
music only, albums and demos, and had two 24 track studios and its own
cutting lab. After 3 months of interviews to get in I was laid off after a
couple of months due to management changes and worked for free for another 4
months. After being rehired, the studio went to all freelance a short time
later. This whole process created a financial nightmare and I lacked the
character strength to work through it so I left the industry after about 8
years and moved into carpentry where I could provide a better income.
> It's ludicrious that in order to make it as a mixing engineer that you
> have to own your
> own set of special processing gear.
Never came across this problem. The only "tool" I carried with me was a
Ludwig snare drum that was pre-tuned and dampened. It saved a lot of time
with some bands that were not accustomed to working in a studio
environment. Tuning and dampening drum kits for the uninitiated was always
a chore and one some clients couldn't afford to spend a lot of time with.
Richard
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