Good ways to make Cash

Twenty ways to make money from your audio equipment and your skills |

When there is one thing that most of us would like to know, it is how to make a little more profit - and if we can do it through making sound or making sound, all the better! Many of us do this out of passion for her and for the capacity to realize our own performing arts that include recording and sounding.

However, if you're not really a pro performer or technician (or at least not yet) and have a part-time occupation that has nothing to do with listening to your favorite songs, have you ever thought about increasing your revenue with your gear and your listening skills? Apart from the traditionally successful ways some of us can handle (e.g. recording studios, song writing, high-profile productions and of course becoming a world-famous big top hit ), there are many ways for the entrepreneurial recording artist to earn a little more profit on a consistently and repeatedly repeated likelihood.

A one or two of them will only be open to very few people, but in these cases we will try to get you to think about some of the more remote applications that the outside worlds might have for your talent! Librarian musics (also referred to as producer music) is the name given to works of art in a range of different genres provided by librarian musicians for use on television, in advertising spots, in movies, etc. The concept of works of music in libraries is also referred to as producer work.

It is not made to order, but selected by the individuals who need it from a large variety of "off the peg". Librarian musik gets a certain amount of poor publicity, especially from those who think of it as dull "lift" musik, but this picture is by and large outdated by now. I am fortunate enough to be writing for a few major UK and US librarians, and the standards of musical and productive value demanded are now very high.

As with many facets of the musical industry (and creativity in general), it can be almost as much about who you know as what you know. My first "in" came from two of my boyfriends, who I found out both were writing for the same book, and that gave me a clue when I called the head of the book store unannounced.

Personally, I like doing librarianship for a number of different things, perhaps the most important of which is my degree of versatility. Usually there are no strict time limits, so it is possible to extend the composition of your books with other works or a part-time work. They also give you the chance to work in a variety of enjoyable genres of style, although there are some special abilities that need to be evolved, in particular the capacity to transcribe shorts of songs to exact length, such as those appropriate for ad spaces.

There is no need for special gear beyond that found in any proper home or design studio: cleaner stereo and good quality source sounds will do the work. Listening to your favorite songs is not a fast way to get wealthy. In addition to interest in libraries, it needs to take a while to develop a repository of titles that have been released and make a profit.

As an example, a librarian's item that cost me about a whole days to complete from beginning to end was recently used in a KFC commercial, and while I'm still awaiting part of the PRS revenue, it's likely to earn between two and three thousand quid for that one "sale".

Today, librarian musics make high demands when it comes to composing and producing and are an area of competition, but can be worth it in financial terms. While there are always advertisers who advertise this in the SOS classified advertisements, you can also try to advertise in stores, live gigs and nightclubs, as well as college and university campuses.

Perhaps you need to learn the fundamentals or solve a particular "problem" - one way or the other - you need to broaden your knowledge, be comfortable with a multitude of computer models and softwares, and navigate a multitude of unknown MIDI and DAWs, often associated with amazing "Heath Robinson" arrangments.

There is also the opportunity to get to know some great creatives and it is great for socializing. In fact, composing a "? song for picture" involves a variety of different scenes. Here, too, face-to-face contact is important, and the capacity to connect is just as important as your playing abilities. While there are some good online web site resource (e.g. the Shooting Peoples website: ), there are also activities organised by regional cinemas and economic organizations that can help you make useful connections.

Due to the good response at festivals (the movie was shortlisted in 2007 for the BAFTA/British Council Satyajit Ray Award ) Bo Kata is now getting movie shows and interest from TV stations (some cash can be raised at this point), and I am currently working on Shehzad's follow-up work.

Putting aside networking-abilities, typing by image requires some technique related to the composing - it can be very different from trying to compose a three-minute hop-song - and you have to keep your own personalities in the doorway and compose what the customer wants, not what you want.

That can make this kind of work hard if you also need a full timer to keep a rooftop over your heads. So if you want to get involved in making movie scores, you may need to work on the basement with students or independents that are paying little or nothing, but can result in more profit.

At the end of the 80s I began working on the side with editing audiovisual material for a firm specialising in industry and newsstand footage. Some years later I was moving and my new neighbors (who were distribution companies) found out that I was in the record store and came to me with a problem: they were contracted to supply a record, but the guy who was supposed to do the sound track had gone out to do a re-union trip with a group.

I got to know how to digitally edit and edit movies that were totally different from the twin S-VHS tapes I had worked with before; in 2000, I felt self-assured enough in my knowledge of movies to accompany exhibitions for www.musicplayer.com. After that, a producer who saw the clips I had made of their NAMM demonstrations asked himself why I was doing better with my small camera and the Sony Vegas-based recording facility than a Sony Vegas-based recording firm they had employed for a considerable charge.

And I think it was because I gave a lot of thought to the sound and cuts of the beats, so there was both a good music and a good video fluid. Can create a soundtrack, fix noise or problems with your sound files, correct stories, control the ultimate web sound or other transmission medium, and perform rendering for the best compromise between performance and performance - a kind of one-stop-store.

Videocompanies seem to be in despair of those with sound expertise, and this is a burgeoning area where it can be simple to make a demand once you've made the right connection. As a rule, a bald man with long backbones, who plays confusing, widespread soli too loud for about 20 min., performs musical tools, syntheses, special effect pieces and so on.

Without exception, the demonstration consists of an artificial work flow that uses the most important characteristics of the products to create harmless, genre-independent work. Nowadays, one of the best ways to build a relationships with vendors is to participate in their online communities when they have a users forums. Of course, you also need to speak comfortably and confidently in front of a lot of different audiences, some of whom will get up and run away in the midst of the action.

During my time with another well-known producer, the production experts devised ways to fight the boredom of demonstrations, the most common of which was to challange each other by inserting incongruent words or expressions into the scripts. Having a consequent "gig" that wrote an article on music electronic for a journal named Popular Electronic, when its writer unfortunately lost his life in a motor crash.

Perseverance, humor and a little charme are skills that require produce demonstration in additon to their musical backgrounds... They were very cautious, feared questions of responsibility and also felt that there just weren't that many interested people. So now, 20 albums and well over 1000 items later, I can only say that I was in the right place at the right time...and two of the best things that ever happen to me were being dumped by Popular Electronics and having someone on Guitar Player making a bug in a circuit diagram!

When you want to try out musical writing, the writers are always enthusiastic about someone who keeps to schedules, turns into neat lyrics that need little edit, write in the way the magazines do, research thoroughly for facts, and of course present a convincing storyline that appeals to the magazine's readership...and is willing to work for less cash than the amount of extra work they need.

Yet the letter opens many doorways as it carries your name out into the outside worlds, and that is an important compensatory measure in itself. Media literacy for musical technologies is an optional feature for those with the right backgrounds and first-class typing abilities. My first ever essay for SOS was filed'on spec' and was my thesis from the last year of my studies in musical engineering.

There were a full 12,500 words of research and debate about the then still young wireless audiovisual streamers. Radio Free Internet' was therefore released in the August 1996 edition, full of wacky terms like subscription-based shops and artists who upload their songs so they can be heard in person.

Slips we get can be anything from many statics to blue, high-energy sounds to jazzy, orchestra and even funny stuff, so you have to be open and adaptable in your composition.

This can result in alternative mixtures of major edits to allow moderator naming and different callsigns, 30-second talkover cots for each edit, a "shotgun" three-second subsequent release, and then various mixing out, among which cappellas (with and without effects), instrumentals, drum-only and more.

When you want to get into jingling, the two best ways are either to join a studio channel in your studio and get ready for it, or to work free-lance. There are some who think it's very not cool to make a jingling, but I think any career where a player can actually make a livelihood by making musical instruments professionally is golden.

Once I was contacted by an audiohardware creator whom I knew to get help with an Animation projects. He had been asked by a nearby amusement arena to improve the sound system that would be activated by infrared movement recognition when a kid came close to the animated figures. The decision was taken that there should be a semiconductor system without movable parts, so that electronic sound processors could be adjusted to record a command and integrated into the character animation.

A few uncommon works on the animation of the amusement parks resulted in a commission to produce roller coaster voices and sounds for an SOS employee. So I was asked to do a meeting with the performer (or the talented person known in the voice-over world) to re-record the footage.

Personally, I chose an Audio Technica 4050 with a K&M K&M screen for the sessions, a microphone I had already successfully used for singing on an independent record work. Several times it took for the accent to be right for each of the characters; then I edited the voice-overs to better match the character's personality - for example, by pitch-shifting the ogre's vocal down.

Improvising also some sounds with a cann of beers, some gravel and some mucous waters from a pool outside the recording room; stretching back in order to decelerate the tone, the sounds of an ogre's gut were perceived as sufficiently disgusting! Later on, the manager of the amusement arcade asked me to create voice-overs and sounds for the new roller coaster.

Art coordinators on site can turn out to be a precious resource for session musician. Coordinators in densely settled areas may already have connections with contact persons who have the necessary expertise in the field of voice (in which case you can still provide your services). But if you are in the province, there is a good chance that you are exactly what you are looking for, and they can give you work when a kind of "healthy person" type of projects comes up.

And I think I still have the song "the only audio technician in the village", and I'm still getting inquiries to do one or two jobs, although they know that I've been working full hours for over a year. Being part of my own artwork developing group, I have carried out a number of very interesting assignments - from capturing cathedral orchestra to interviewing artists in gallery.

It was most profitable to record children in Shrewsbury and the centre of London for a soundscape at the Royal Albert Hall. In all these cases, part of the budgets was allocated to providing audiovisual service, so the cash was pretty good. You will find, however, that audio-related service is not taken into account in many engagements. Even if an art coordinator is interested in involving you and your abilities, he may not be able to.

Establishing your own initiatives with a community group can be a good way to avoid this barrier. Contact your nearest band, dancing group or club and send a proposal to a support organization (some of them see below). Keep in mind that these groups may not be well acquainted with what can be done with sound, so a plain, inspiring tone can be what they need.

Art work shops give young audiences the chance to work with professionals and musical technologies. When you have difficulty finding work near you, and if you don't have the conscience to apply for your own financing, the networks of organizations of the Art council (usually your community's art agency ) can learn about job opportunities in other countries.

A lot of cities and villiages have their own municipal event location, where besides musical performances also amateur theatre, bingos and the like take place. One adventurous audio technician can suggest to correct this. At my site, for example, the non-profit organization that administers the facility bought a pretty good JBL loudspeaker system and then connected it to about sixty meters of unsheathed power cable, probably as a savings project.

Currently, if you work in a master suite room, such a transaction could open up a whole new set of opportunities, especially if the location has a full license to entertain lives. You can have a light cabin on the first storey or a backstage room that you can turn into a studios room that provides the event location with both record and stream video.

In my locality, I rebuilt a former cloakroom at the back of the house, which has recently only been used for garbage disposal. Installing a 24-pin multi-core (sponsored by a locally based firm, the UK department of Neutrik), I acoustic handled the new room with broadband bass traps purchased by Ready Traps in the US.

Make lifelong acquaintances with the owners of your municipality could be the solution. Begin by attending the locations near you, listening to the sounds of the rooms (as some of them will have serious acoustical problems) and taking notes of the equipment. I never thought I would, but over the years several businesses have asked me to participate in intellectual property disputes related to musical technologies.

On the other hand, it has some funny times, like when I did a DJ mix in a Virginia courthouse, in front of a magistrate who seemed like he might have been birthed before the sounds themselves were invented...while the courthouse journalist was nodding to the beats. So if you really know your things about musical engineering and are also a good author who is able to explain ideas clearly and create easy samples to visualize your points, you might want to consider writing a musical engineering work.

Now there are many publishing houses that are actively involved in this area, so there is no lack of someone who can turn to you with your ideas or manuscripts. You can also release new ones yourself.) New musical applications are continually being created and upgraded, so this is a particularly fruitful area to explore: but you must be or become an experienced fan of the application you want to be!

You will also need samples of your work if you want to suggest to a publishing house before you start a publication, and you will find it simpler if, for example, you can show some success in journalriting. Rather than leaving your gear standing when you don't need it, you can rent it for a charge to other persons who can't buy it or who can't warrant it for just a week or two of work.

Near you, the small informality setting like this will usually be word-of-mouth, so make sure you are part of your own community musicals. A lot of those I know get business work by applying proactively, but for me such job have always been created by verbal propaganda - random conversations, face-to-face tutorials and so on!

The company's work can take the shape of musical performances for the launch of new products, information campaigns, exhibits and phone call services. Often it can be image -based sound, which is much simpler today than in the past and involves much less money to invest. Now that many folks have got dedicated VMHs, the most important (but not material) thing that is needed for this kind of work is the capacity to vaguely interprete the customer's order and give it exactly what it needs.

It' s in sharp contradiction to another customer who wants to get a piece of tune for an on-line gambling site that was "just trying a few things" in a nutshell. It can be as small as an iPod or as big as a mixer, but the basic tech is the same. Such work is a fairly new area, potentially open to anyone with the right mix of musical engineering, coding, and OS capabilities.

There' s a lot of open-source code that allows innovators to create new design, some for new product and others just to promote their work. Chapels are large rooms that require sound service like any other event location. There was a simple single PA and stand-up room for about 200 persons.

Problems were that about 600 persons were waiting to participate in the worship services. Going to school beforehand, I found out that I could install another sound system in the main building and pass the worship on to those who couldn't get into the school.

When the worship began, I encountered issues, as well as feedbacks created by churches who all wanted their level to be turned up (not unlike Rockstars back then), a badly connected tape drive, and a listening device cycle that apparently created an inducement on a small Marshall amplifier I had installed as an audio guitarsuronitor!

I had just updated my notebook and forgot to verify that the U.S. Midi sound drivers were still working properly before I went to worship. Then I took the band and my old HiFi cartridge back to the gym, playing the band in Ardour using an M-Audio keyboard, cutting out the cough and rattling and burning the CD.

Turns out church have a huge need for sound service, such as PA, live relay and now podcasting - or Godcasting as they call it! However, I agree that I reserve the right to use my own materials and instructions for the tutorial. When you want to contact a business to create handbooks, the best business cards are handbooks you've created for someone else.

Meet folks who are writing handbooks on a coherent base, as sometimes a project affects everyone at once. Keep in mind that handbooks need reckless handling skills: you need to keep them as brief as possible while presenting all the information you need in a single stream. When you' re looking for ways to make a little more money:

Obtain a good Musik Busines listing and/or use the web search. Ensure that your own people, at whatever levels, know that you are a musician/audio person: although people are not the only way to get the job done, something that keeps popping up in the story here is that they can be very precious.

Become an integral part of your community and keep your ears on the floor to discuss job options. Look at your taxation situation: you must report all additional revenue, including proper record of the expenses you had to incur to carry out the work. Developing my first abilities by making available sound equipment to the amazingly large number of dramaturgy and opera companies that existed in my region.

Later, when I relocated to Manchester, my living room listening abilities were used to support the group my wifes and I were in. These smaller performances gave me the opportunity to manage sticks in bigger spaces, and they began to turn to me because they liked what I was doing. Like my locations work, where I rented most of the equipment in the beginning, I now have a good little own Rigg, which makes my living simpler; apart from that I find room for everything at home!

They said that they were considering building and selling some high-end library of EPS on their own, and that they were not sure if they knew about good corporations that were selling third-party EPS music. When you are an Ass developer, there is still a need for good sampling library. I began to play in Germany on a regular basis with Rei$$dorf Force and Air Liquide in the early 90's and early 2000's, but since I was in the USA, I couldn't do all of their shows.

Again for my own use, I remixed the Discrete Drums Series 1 sets for Hardcore/Industrial music. Though I' m currently working on some new samples CD's, I still sincerely hoped to be able to make librarian style stuff next. To present a CD sampling the best way is to make one so that you can supply a finished product to the business.

Whilst you run the danger of being rejected and waste the amount of your own resources, you are in an incredibly powerful job if you are interested because you have something they want - and something they can quickly turn into a ready item because the work is already done. The majority of my work comes from my own recommendations or repetition businesses, but can be attributed to preparation for small scale ventures where I have been able to fine-tune my technique and build a solid base.

Usually I did it only once in a while to show a dubious customer that I could supply the goods, but most of the time I made a good amount of really good work out of it. Sometimes it's rewarding, but in general I think that a good worker is a good worker, and if you work for free, I think that you not only invalidate yourself, but also other folks in the work.

In my own personal life, every single profession is different and different men and women stick to the tariff or, in most cases, try to deviate from your tariff. Unless they are willing to give a reasonable fee for a particular position, it may be in your best interest to leave.

Even though the concept of making cheap covers may seem a bit uncool, such fees are paid from year to year when the record business sees a niche for them, and can be a revenue stream if the records are effectively advertised and sold, and if you can get a license to sell them.

It' s very likely that such an album will drop upside down at the start, so your cost of producing it will have to be a realistic reflection of what you are willing to pay for the work if the final release doesn't even end up on the shelf of a highway restaurant!

Write down the names of the businesses that approved them and contact them; a demonstration that shows what you can do can work in your favor. And then other folks liked what I had done and they asked me to work on their work. Also I have a Pro Tools LE rigid with M box and 002R interface which I have used when I want to go lightweight, even flight to a Northern Ireland studios to follow some meetings for a customer.

If you like to work with classic and puristic recordings, the shooting can be very worthwhile. You can also "produce" during the sessions - encourage and motivate the performers to keep to the timetable and make sure you have good "editable" recordings of every beat of every work.

There is a small but sustained need for recording engineers to do this work, especially at the lower end of the pen. Like most things, word-of-mouth and face-to-face recommendations are your passports for further work, but if you start from scratch, you might try to go to your school first ( often need ing student "demos" of their talents) or even contact your musician locally through the British List of Yearbooks.

Although good results could be achieved with a meticulously selected set of budgets, this is the preserve of costly microphones, preamplifiers and A-D transducers able to deliver maximum clearness and low-noise performance. Required were: Create an audioversion of the songs sung for keyboard and trompet, and a MIDI of the same that can be embed into a web page.

This is an incredibly good task from the man on the street's point of vie, but with a DAW device, a decently sampling audio device and a minimum of keyboard technology, it's about 20 min of work - for which I was paying £75. It' not the kind of work you want to earn a livelihood from(!), but sometimes these little things are decisive to help with paying the rental.

Featuring my own week-long program () and the random messages I'd compiled for on-air transmission, I had everything I needed for any kind of productive work that my growing abilities could handle.

Some of my editor friends I thought would want an audiocomponent for their worlds, and the feedback was tremendously upbeat. The majority of the organizations I approached had already thought about starting podcasting, but had either no spare moment or no ability to put together what they thought was of appropriate value.

As I built my podcasting project from my relationship with those who knew and trust my work, I was able to get started and find new work. There are many possibilities for "audio people" on the web. Do you know that you can even resell your own sounds online? It is a spin-off from the major part of my work, which is radio and television editing.

Since I have a large sounds effect repository, I always go out and buy sounds to close gaps in my 25,000 sounds repository. So I contacted and signed a deal with to buy my sounds for a fee online at www.sound-effects-library.com. You take good good care of everything and regularly report on the results of what humans buy.

Furthermore, I know that since the location has a big draw in the sector, as many prospective clients as possible will be able to get my specials.