How to Get More Work in Mixing and Music Production
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- Опубліковано 15 кві 2022
- Are you trying to find more work in mixing, mastering or music production? Justin Colletti offers some key concepts for landing more clients and working on more satisfying projects.
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please don't stop posting these❤️
Real life wisdom shared, you’re awesome Justin. If you celebrate, I hope you & your family are having a nice holiday weekend.
FACTS. Very well said. Salute sir...
I've watched and learned from most of your videos, but this one has been the most beneficial; so, thank you.
Thanks for helping me reflect on these very important questions you’re asking. I need to improve in a couple areas but I have the confidence I can so this discussion was inspiring. 😎 I want more videos like this that provide a question to reflect on for us freelancers
Thank you Justin =)
Glad you are digging it Jason!
-Justin
Good tips for sure. The best mixing jobs I've gotten have come from people/muscians I've known for several years. Although, I have gotten a handful of decent projects from soundbetter too. It's pretty hit and miss, like you said Justin, but it definitley is good practice... even with dealing with clients. Honestly I have learned a lot about dealing with difficult clients who don't know how to articulate what they want... knowing how to ask the right questions and always ask for reference tracks to illustrate what their after.
Thanks for this in advance! Much appreciated
👏🏻Excellent as always Justin 👍🏻
Nailed it. Fantastic communicator. Continued success to you brotha.
Youre the man! Thanks for sharing more no BS, excellent content!
thank you sir for giving absolute clarity!
Great tips, thanks Justin...you walk the walk.
Dude Thankyou so much I’ve only watched a few videos but you are so genuine and honest in each one and have helped me make my decision on if I’m serious about doing this for a living and to go to school for it
Spot on! 💯
Justin, this is a great video!!!
Awesome to hear, thank you!
I started offering mix coaching today and had such a positive response! Thanks for the advice.
Great video!
Amazing engineers are mixing and mastering entire songs on Fiverr for ridiculously low prices like $40 and some of them have thousands of reviews. As a new Fiverr seller, I can't even get a job because they have a monopoly on those services when searched for. Also, no one is going to hire someone who doesn't have any reviews, even if the demos sound really good.
wonder how many of them create fake accounts to write good fake reviews.... lol
Hey Justin! Thanks for the video and all your insight!
Quick question. Do you think there’s a way to becoming solely a mixing / mastering engineer without having a ton of experience tracking other musicians in the studio. I live in an apartment so I can’t record people here for many reasons but love the mixing aspect of audio engineering. I have plenty of experience being the musican tracking in a studio and went to community college for audio engineering but don’t have access to a studio besides my home studio. Thanks!
initially, specially after the listeners email that mentioned fiverr, i thought you would talk about these sites quite a lot
but after listening to this, i think the only obvious question is how start/create/work on getting a network? literally
in the 10+ years, in which i had different interests in music, i've met one person that has "somewhat" interest in making music. i met him at a minimum wage call center job, of all places lol and musically we're not the closest anyway.
seeing how you strongly push the importance of a network, would you recommend moving to a big town to "be able to do this"? is my mindset wrong and this can be done everywhere? can it technically be done, but could by network be bigger/stronger in a big town?
this might be a "people" question, to me networking for us would most likely only happen in "music related" places?
but when i'm in a concert i'm with the rest of the crowd and if anything, i just meet other people just there to enjoy the show and have a good time.
i did not go to music school of any kind, whether for engineering or instrument related.
i always was of the impression that a network would just be built with time, based on places one visits, which are already influenced by one's taste, so meeting like minded people should only be a matter of time? but it has absolutely not started happening for me yet. and on the other hand, doing something where the only intention is to network just feels wrong to me (with no interest in the dj, but just to hopefully meet the promoter, for example).
i want to start putting out my own music, which could be used in my reel at least (regardless if going after mixing, production or writing work), but i don't expect to have anybody to show it to anyways, so i don't think putting music out would help with networking either?
maybe i'm wrong here, but all this to say, how to start working on networking?
edit: even when you mention approaching new clients - do you say this as in, they become part of your network, depending on how the conversation goes, but they were a stranger, before the approach? or were they already "part of the network", to even be able to approach and initially offer your service?
loved the pod as always, really makes me question my whole long term approach and intentions with music (among other things, of course, the gems here never end)
Great question!
You definitely have a little bit of an advantage, especially in the early stages of getting experience and building a reel, if you are in a place where a LOT of people are interested in music.
But I don't think that living outside of such a city is an insurmountable problem with proper motivation and strategy. Especially not today.
Once you have some credibility, past work and testimonials, you can kind of be anywhere in the world in a lot of stages of music production, because so much of it is done remotely now.
I did grow a lot of my career in Brooklyn and Manhattan, where you can throw a rock and hit someone carrying a guitar or who is a DJ who fancies himself a producer, granted!
But before that, I lived in the suburbs where that wasn't so much the case, and I still worked full time doing music stuff... though perhaps not quite at quite as glamorous a scale as I would have liked at the time.
Today I live in New Hampshire, and practically none of my clients are local.
Honestly, even when I was still living in Brooklyn, the majority of my mastering clients were not local and probably 95% of my sessions were unattended! (This was long before everyone was locked in their houses.)
That's easier in mastering, sure. Joe Lambert has moved to what many might call Upstate New York, Bob Ludwig is out in Maine and has been for years.
But there are people who absolutely dominate smaller markets in production, mixing and session playing as well.
I know some producers and engineers in places like North Carolina and Georgia and Vermont, where people travel away from big cities to work in their studios, not to mention the remote work they get.
Thinking of some other people you'll find on UA-cam, if I remember right, Brian Hood got his start producing in Mississippi or something like that, and really cornered his part of the metal production market for a few states around. Joel Wanasek was always in the Midwest I believe. Ryan Earnhardt is in North Carolina. (So is one of my favorite indie rock producers, Scott Solter.)
Getting closer to a city with more music is one option, especially if you want work in live sound, or MAYBE in recording. Possibly in TV and post production. (Although that's increasingly less the case in post production now.)
But in so many other stages of production, people mostly collaborate through the internet these days.
Literally no one else in either my media company or mastering company also lives in New Hampshire, nor does anyone I've hired, except to do a couple film shoots at larger studios locally.
...Wait, actually, we have ONE SonicScoop writer here, but we him well before I even moved here!
Don't get me wrong, there are definitely potential advantages to being in more of a "music city".
Whether those advantages overcome the costs and disadvantages to you is another question.
And you don't necessarily need to move to one of the biggest baddest music cities to get some of those advantages.
Moving to a big music city is an advantage. But it's also an option that a lot of people try that doesn't work out for them...
More recently, it actually seems more people are moving OUT of some of the biggest cities than moving in, which is one of the reasons I hesitate to recommend it.
Millennials by and large appear to now be moving to smaller markets to start families and the like, just like their boomer parents did a generation ago. (I'm case in point of that.)
That's the overall trend, but there's a lot of ways to ride a waves, and many crosscurrents as well!
Hope that makes some sense. I'll think on it more, and maybe do an episode about it some day. Thanks for the great question.
-Justin
@@SonicScoop you truly are one of a kind! i'll have to reflect on your words to truly take it's meaning all in
thank you so much for the input and feedback
Couldn't send you an email ty ty, got to 33k listerens monthly year round partially with your help
25:24 here's the TL:DR
"Do they have the willingness to pay" is a huge one. Sadly the "circle" of groups of wannabe musos is mostly dominated by those unwilling to pay - for whatever reason. Sadly the more the Plugin/DAW manufacturers sell the delusion that ownership of their devices will deliver skills, the worse this gets because the mindset is that everyone is everything these days. The service I keep being asked for is Mix Training - which I do offer. Only people expect it for free - which while I do on my UA-cam etc, I don't this one-on-one as that is not cool.
:-)
Mix coaching is a fine market to be in! At least as one stream on revenue.
If you are a good guitarist, it’s often much easier to find people who want to take guitar lessons from you at $40 - $120 / hour than it is to get people to buy your album for $10, crazy as that may seem.
Is it becoming that way for mixing? At least to some degree, perhaps.
When I’ve done mix coaching, I’ve charged $150/hour+ for it and people have felt like it was a steal, much to my surprise! They really seem to get a lot out of it.
The only problem is that my effective hourly rate for the other things I do is higher than that, so it’s hard for me to justify doing many of them, unless I charged even higher rates…which I’ve had a mental block about doing. So until I get over that, I can only do a couple of them a week. (Even though they’re really fun!)
At the lower end, I’m sure there are people who would pay for more regular mix coaching at lower rates than that.
It’s worth remembering that even accomplished and in demand session and touring musicians usually teach at least SOME lessons. Why would it be crazy for producers and engineers to do the same?
Maybe it’s a mental block more of us have to get over.
Hope some of that makes sense!
Thanks for the comment,
-Justin
@@SonicScoop Oh don't get me wrong, I am delighted to help train people on how to Mix etc. What I don't accept is that I should only do that for free. That my 30+ years of experience should be valued, right up until it has a price tag is not right. :-)