Looking for better gigs....anywhere!

[SonicBoomPole]

Hello Everyone!

 

I'm Kevin and I'm new here. I've been reading this site like a novel. I love this place. Makes me feel less like a crazy person reading through all of the "experiences" here on the forums. I have a TON of respect for all you guys and aspire to be as great as you all. Big thanks to JW for creating this site!!

 

So basically I'm looking for work on better projects than I have been working on. My goal is to get on something with a real budget and respect for the sound dept. I'm in SoCal but will travel anywhere. I will boom or do utility for any of you vets out there who may need an extra guy. A mentor is really what I am looking for I think.

 

I have been doing sound as a non-union OMB since January 2012. A friend of mine who is a member here got me into this biz and has continued to help me as much as he can (Thank you so much Daniel!). I have had some very cool experiences as well as several not so cool experiences. Traveled to Vegas, Mexico, Pennsylvania, North Carolina, going to Colorado in June...living the dream right?

 

Anyway, my bread and butter is referrals from past projects from CL/Mandy (I know, I know). I'm starting to hate doing this at this level because I feel like I'm stagnating and working too hard for what I'm paid. I understand I'm paying my dues and gaining experience which is a necessary path in this industry and I sure have learned a lot!!

 

I just don't have any idea on how to progress with regard to finding new clients or getting on better shows. How do I do that? Union? I've read most of those posts....not sure I can afford to pay the entry fee with my low budget income but I certainly do want to become a union member if that is really where its at.

 

Sorry to ramble and sorry to sound so frustrated....any helpful thoughts are welcome. Thanks guys!

[studiomprd]

" I've read most of those posts... I certainly do want to become a union member if that is really where its at. "

that may be where it is at, but there are plenty of members (and lots of experience and contacts) competing for those gig's, but not to worry, plenty of non-IA gigs around, as well...

 

start networking...--well, posting more about yourself on jwsoundgroup.net would be a start.

[Philip Perkins]

Hello Everyone!

 

I'm Kevin and I'm new here. I've been reading this site like a novel. I love this place. Makes me feel less like a crazy person reading through all of the "experiences" here on the forums. I have a TON of respect for all you guys and aspire to be as great as you all. Big thanks to JW for creating this site!!

 

So basically I'm looking for work on better projects than I have been working on. My goal is to get on something with a real budget and respect for the sound dept. I'm in SoCal but will travel anywhere. I will boom or do utility for any of you vets out there who may need an extra guy. A mentor is really what I am looking for I think.

 

I have been doing sound as a non-union OMB since January 2012. A friend of mine who is a member here got me into this biz and has continued to help me as much as he can (Thank you so much Daniel!). I have had some very cool experiences as well as several not so cool experiences. Traveled to Vegas, Mexico, Pennsylvania, North Carolina, going to Colorado in June...living the dream right?

 

Anyway, my bread and butter is referrals from past projects from CL/Mandy (I know, I know). I'm starting to hate doing this at this level because I feel like I'm stagnating and working too hard for what I'm paid. I understand I'm paying my dues and gaining experience which is a necessary path in this industry and I sure have learned a lot!!

 

I just don't have any idea on how to progress with regard to finding new clients or getting on better shows. How do I do that? Union? I've read most of those posts....not sure I can afford to pay the entry fee with my low budget income but I certainly do want to become a union member if that is really where its at.

 

Sorry to ramble and sorry to sound so frustrated....any helpful thoughts are welcome. Thanks guys!

Odd as it may sound, you are doing what it is you have to do, and good on you for it.   Persistence and frugality, no fun but what it takes.  Your luck will turn, make sure you and your gear are together for when it does!

 

philp

[SeeKai]

Hello SBP.

 

Hopefully this should generate some good discussion and guidance for people in your (and my) position.

 

Not sure how helpful any of this is but I felt compelled to reply given my close proximity to you on the experience spectrum.

From my limited experience - having a mentor who I worked for, effectively as a junior was the best thing that could have happened to me.  Got contacts, wisdom, improved my working practices, always had an experienced mixer with which to discuss any concerns or strategies with.  I also inherited a bunch of those contacts when it came time for him to leave the game, so to speak.

 

The advantage most relevant to the OP in this case was that I got to work on better shows that I would have going it alone.

I should also point out that one of my buddies here managed to join the union pretty quickly, has worked on some pretty sweet gigs and also managed to form equally beneficial but perhaps not as tight relationships with several different mixers. 




 

[John Blankenship]

What Mike and Philip said. 

 

Becoming well known is your best avenue -- people hire people they can count on, and they learn that by getting to know them.  

 

Right now your handle is SonicBoomPole, so you may wish to add your full real name, and interact here, so we can actually get to know more about you than your frustration to advance.  You can start by posting to Crew's great topic:  "Who I Am Today."

[atheisticmystic]

If I can be very presumptious, do a little thinking, and make sure that, when you say you want a "mentor", you don't mean someone who will show you the "magic bullet"...because there are none.

If you're seeking a mentor to teach you things while you are on a path that you yourself are creating with hardwork, trust, and persistance, you may find that the job search becomes more bearable, and far less anxiogenic.

Coffee up Bro-Heem, and welcome !!!

best,

steven

[SonicBoomPole]

Much thanks for all the advice thus far.

 

Stephen, I am in no way seeking the holy grail/magic bullet formula as I know there is no such thing.

 

Mike, I know that it always depends and that despite not having a SD 664 that I dream (of or a Nomad), I shoot pretty straight arrows and paint pretty sonic images (IMO) with what I have now.

 

Thanks Phil for your confirmation that I'm doing the right thing so far.

 

SeeKai, as I mentioned I do have someone more experienced than I who brought me into this world and has been such a great resource and anchor. I can't thank him enough. But now I want to take it to the highest level possible which seems to be TV & Film. My buddy prefers commercials and corporate and wants nothing to do with features/union.

 

So after reading up on the 695 website I see that I need pay stubs. Well at least 1/2 of what I do is cash or personal check. Does that count at all? I do have many many archived call sheets. I have done the 100 days but not so sure I can prove it or qualify. I'll keep working on it and make some calls to find out more specifics.

 

John, I will be more active here and try to contribute more if that will help me network; look out here I come!

 

Aloha!

Kevin

[Jeremy Childers]

Hey Kevin!  I am in a pretty similar place, I do lots of reality shows and corporate stuff but want to move up to features (bigger and Better)...Our time will come, keep at it!  As far as joining the union, I ve done quite a bit of calling and asking, I would suggest you first check out csatf.org and give someone a call there.  they are very helpful and have no problem explaining the correct avenues (and whether or not your current work will qualify you).  Maybe a vet will tune in and back my comment?   

 

Jeremy Childers

SoundMatters

[Laurence]

Yes, Jeremy, that's good advice to call Contract Services. What they generally look for is proof that you've worked 100 days (in 3 years) doing sound. But remember, the job isn't just sound... it's sound for film and tv production. You just need to provide dates and proof you did it (checks stubs, letter from employer, etc.) and let them decide what qualifies. You don't need to go into huge detail about each job unless they have specific questions.

[Larry Kaltenbach]

Hi Kevin,

 

I don't post much on jw (or any "social media" type places for that matter) but you struck a nerve here with me, after I just read a truly sound-unappreciative posting for work from a guy offering $175/day for a boom/A2 in the NY area.

 

I've been working in the sound biz in the NYC market for 25 years. The only way I moved up to "better" jobs, which is almost universally understood to mean "higher paying", was twofold... 

 

First, if you truly know your stuff, can hustle when necessary, and spread yourself around working in a bunch of places, "paying some dues", others will spot your talent and want to work with you. Among those that begin relying on you will be some generous folks who will throw some large opportunities your way, which you'll think you can't handle, but they do. Seize those extremely generous gifts of opportunity, being willing to take on the risk of more responsibility. It will likely scare the s&it out of you on set (I've been on few gigs where I had to try to contain my shaking, and stop myself from bolting off set and driving away) but you will get through it. I'd be nowhere in this biz had it not been for those that pushed me into great opportunities.

 

Once you've got a few of those, "Wow, I did it!" experiences under your belt move onto step 2, which is... Stop accepting "lower paying" jobs. Working less and making more is a good thing, even though the sense of "slowness" will bother you a bit. You simply can't be available for and handful of good gigs if you're tied up working on a mountain of low-paying crappy ones.

 

This is a business first, art second.

 

Good luck,

 

Larry

[deep owl]

Keep on it homie. It was only a year or so ago I wasn't busy enough and my rates weren't quite up to par.

As you know I like to stay in the commercial world because it pays the most and corporate seems to be most steady but doesn't pay as much. If I was to desire feature work I would pounce on opportunities to be a utility/A2/boom op for some of the fabulous mixers here. Also, we should go to some of the Friday gatherings and special seminars at Coffey sound and network a bit. Always fun to bs with other sound people and if it's possible to make some work contacts while doing so, it's a double win.

Overall, you're doing pretty well with it. But it does take a long time to get to the point of working solid projects a solid amount of time. Even many of the vets here will tell you that the roller coaster never really ends...but it's a pretty fun ride!

[studiomprd]

" go to some of the Friday gatherings and special seminars at Coffey sound "

Coffey Sound is gone (It is now Trew Audio), and so are the Friday lunch time socials that they had for a while..

[Alexander Burstein]

That's too bad about the Friday lunches! Gatherings are a great place to network. If I ever remember to join the weekend social group with Jan McLaughlin...well, i'd be really happy.

You'll work your way up. What's the definition of luck again? When preparation meets opportunity? I believe luck plays a role.

[SonicBoomPole]

So much uplifting advice. Thx. Yeah its the sitting around waiting on the phone and the low budget shoots that do call that get to me. But I have been on a few bigger things (and did wonder how I got there) but I did get through them and did learn a lot. I'm beginning to set a higher standard and qualifying clients better. And if pay stubs are not required I better get cracking on this union thing. I might be able to get in sooner than I thought. Bummer about Friday meetups too that would've been fun.

 

Persistence, a bit of luck, sharpened skills and a good attitude.That's all I got!

[deep owl]

Things, they are a-changin'. Did they kill the Coffey Sound sign on the building? I was there pretty recently and it was still there, so I figured the Trew name was reality but the Coffey name was still holding on...even if for only aesthetic purposes. I mean, it is/was a great sign!

 

" go to some of the Friday gatherings and special seminars at Coffey sound "

Coffey Sound is gone (It is now Trew Audio), and so are the Friday lunch time socials that they had for a while..

[pampasound]

 

Hey Kevin,

 

I am kind of in same boat as you...however i am happy working on docos and some corpo stuff. I'm just wondering what is your rig??...the reason i ask is just to give me an idea of how i am doing on equipment....Up to now I have been getting around with my 302/DR-680 combo with a couple of G2s and whenever i need timecode or camera hop (SRb) i rent. 

 

At some point i would like to upgrade some stuff...and i am in between a good camera hop or a more capable mixer/recorder (zaxcom maxx or SD664). I have heard rumours about wireless systems going to be obsolete in a couple of years due to spectrum availability...not sure about this but it makes me uneasy buying a 4000$ system that will fail me in a couple of years...

 

 

As usual thanks everybody for the great advice!!

[SonicBoomPole]

Pampasound, yeah I'm running a DR-680 as well but it is the heart of my rig. I rarely if ever NEED TC but if I did I'd rent. I wonder if not having TC ability keeps me from working some jobs but at this rate since there is no affordable solution I don't worry about it.

 

I also run G3/G2s and just bought some OST TL-40s which should be here tomorrow. I'm excited about those.

 

My next purchase is to upgrade from the Tascam. Hopefully the end of this year will allow me to pick up a 664 in January. Hopefully I can snag a used one cheaper

 

I'd love to step up to Lectro stuff from my Senny stuff but I'm hoping that with better mics they'll do what I need them to for a bit longer.

 

I doubt wireless is going away. Maybe the spectrum will change again meaning it becomes WiFi or something similar but as others has pointed out there is latency with WiFi. I don't know what it will be but wireless mics as a thing will not be going away from production sound anytime soon IMO.

[Reuben Colazo]

Hey Kevin, I am right there with you on this one. I have been doing OMB work with my PSC M4 Mkii and zoom with a 416 as a base kit  since Jan 2012 until I upgraded just a few weeks ago. There is always going to be the frustration of taking the gigs that you do a lot as a OMB. I would follow suit of what many of the others here have said, network and make a good impression. I will agree that this site is a great place to learn, not just about the craft but the state of the industry and anything else about what we do from rates to gear. I used to think making $350 a day was killer, until I had my first "real jobs" which according to some of the people here or on facebook sound groups, still isn't up to par. I have had one job pay me what these people normally demand, and I can only hope that the day I worked made an impression for the client so I can keep working for them, or if they have someone who may need me for a similar rate. Keep pushing, buy when you need to upgrade. The G3s are going to be fine for a while, as long as you get some decent mics on them ( I still use them myself.) I am not going lectro until I know they will pay themselves off. Keep pushing.

[Michael Miramontes]

.. Stop accepting "lower paying" jobs. Working less and making more is a good thing, even though the sense of "slowness" will bother you a bit. You simply can't be available for and handful of good gigs if you're tied up working on a mountain of low-paying crappy ones.

 

This is a business first, art second.

 

Good luck,

 

Larry

+1. I have a few friends still accepting $250/day gigs. Yes, you know who you are! STOP DOING THIS!!!

[studiomprd]

" still accepting $250/day gigs. "

for some folks, that is more than they are worth...

and it includes a few of your friends, and a lot of folks you don't know.

[Michael Miramontes]

" still accepting $250/day gigs. "

for some folks, that is more than they are worth...

and it includes a few of your friends, and a lot of folks you don't know.

Yes, understood. 

[SonicBoomPole]

I get your point guys. Lowering the bar. Got it.

 

Stop taking gigs equals not eating. I'm skinny enough already.

 

I'd rather be rolling sound. Got it?

 

Good.

 

Happy New Year!

[studiomprd]

SBP: " my Senny stuff "

real sound mixers don't call them that...

[chriskellett]

SBP: " my Senny stuff "

real sound mixers don't call them that...

 

 

Give me a break SMM, stop with the elitist crap. People can and will call their gear anything they want, all of which does not have a bearing on whether you should think they are "real sound mixers".  Nobody jumped down your throat this week when you completely misunderstood the post about a portable router with your suggestion of contacting Cell service providers. 

[Angelo Waldron]

Well, I believe this comes from a sound person here that reportedly sent in a lav mic to be wired to

a G3 transmitter.

When they asked what transmitter he wanted the mic wired for he told them "wire it for Senny".......

so they wired it for a Sony transmitter.

 

Time to open up a can of New Year Beer and relax a bit unless you have to work.