[ddots-l] Re: Employment versus Self-Employment: Options for the Blind Audio Producer
- From: "Annabelle Susan Morison" <foristnights@xxxxxxxxxxx>
- To: <ddots-l@xxxxxxxxxxxxx>
- Date: Sun, 28 Aug 2011 20:09:01 -0700
Hopefully they'll be available soon.
-----Original Message-----
From: ddots-l-bounce@xxxxxxxxxxxxx [mailto:ddots-l-bounce@xxxxxxxxxxxxx] On
Behalf Of Chris Smart
Sent: Sunday, August 28, 2011 7:23 PM
To: ddots-l@xxxxxxxxxxxxx
Subject: [ddots-l] Re: Employment versus Self-Employment: Options for the Blind
Audio Producer
Sibelius version 7.
Scripts are almost ready to come out for version 6, and version
5.25 is very useable. It's not a Dancing Dots product or project, so for more
info, go to:
http://www.musicaccess.co.uk/
and join the mailing list if you want.
Chris
At 10:03 PM 8/28/2011, you wrote:
>What's sib7?
>
>
>
>----------
>From: Gordon Kent <dbmusic@xxxxxxxxxxxx>
>Sent: August 28, 2011 9:58 PM
>To: ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Re: Employment versus Self-Employment: Options for
>the Blind Audio Producer
>
>Well, I do a lot of the accompanying for the two choirs especially on
>the jazz/gospel stuff. And I do some solo work and play for memorial
>services etc. Now that sib 7 is starting to be viable, I am really
>going to work at doing some choral arranging this year as well.
>Gord
>
>From: <mailto:lady.arwen15@xxxxxxxxx>Chelsea Dye
>Sent: Sunday, August 28, 2011 8:41 PM
>To: <mailto:ddots-l@xxxxxxxxxxxxx>ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Re: Employment versus Self-Employment: Options for
>the Blind Audio Producer
>
>Hi Gord,
>
>What do you do for your church?
>
>I was really impressed by the demo of Sonar 6 you did! Granted, I
>didn't understand much of the contents, but I enjoyed it nonetheless.
>
>Chelsea
>
>
>
>----------
>From: Gordon Kent <dbmusic@xxxxxxxxxxxx>
>Sent: August 28, 2011 8:20 PM
>To: ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Re: Employment versus Self-Employment: Options for
>the Blind Audio Producer
>
>Hi:
>Well, I have been doing this for a long time as you all know. I think
>that it is very difficult to make all of your living working in a
>studio, whether it is your own or somebody else’s. I never take
>walk-in clients unless I know them well. Most of the work I do is for
>one established studio up in New Jersey and he is a friend who I have
>worked with for a very long time. I do most of his tracking for his
>clients, and send them to him either as full mixes or as individual
>tracks. Now that I can use pro tools, I send him sessions. It is
>possible for me to do the work in Sonar if I havve to and then export
>the raw wave files from sonar. Then I import them into a new pro tools
>session and send him the session by posting it on my ftp site. If I
>know I’m going to be using plug-ins that are included in pro tools I
>do the project there because that will make the session a lot smaller.
>I do, however, make the bulk of my living as a live performer. And I
>do a lot of work for kmy church as well. I guess that it is necessary
>to wear a lot of hats to survive in this business these days, and I’m
>very fortunate to be able to do so.
>
>GOrd
>
>From: <mailto:billlist1@xxxxxxxxxxx>Bill
>Sent: Saturday, August 27, 2011 9:35 AM
>To: <mailto:ddots-l@xxxxxxxxxxxxx>ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Employment versus Self-Employment: Options for the
>Blind Audio Producer
>
>Dear All,
>
>Chelsea and I have been in contact off-list. I suggested that she post
>here and start a thread about options for the blind audio producer in
>the current marketplace. From our perspective, virtually all of the
>customers we have who make some or even all of their living from
>recording themselves or others do so as self-employed professionals.
>Let’s talk about it.
>
>In general, blind people have to deal with the same changing dynamics
>of the audio production business that effect everyone else. That is,
>decades ago there were big studios where artists went to record. The
>equipment there was generally so expensive that it was far out of the
>reach of most of us. Studio owners could charge clients lots of money
>and use that income to hire engineers and pay off their investment in
>all that expensive recording gear. Over the past decade or so,
>software like SONAR and Pro Tools has put affordable digital audio
>production into our hands. Much of the audio we hear on the radio and
>TV was produced in somebody’s home studio at a relatively low cost.
>The “big studio jobs†are gone or nearly gone.
>
>Here are some questions to get things going:
>
>If you get paid for your services to produce audio, do you work for
>yourself or for an employer. If you produce your own tracks and sell
>them, I consider that self-employment. By working for an employer, I
>mean, do you receive a regular paycheck or some kind of retainer to
>work on staff at a recording facility. If you are hired and paid
>hourly as a consultant, that is significant but that would still be
>considered self-employment. That is, your employer sends you a 1099
>form at the end of the tax year. In other words, if your employer does
>not withhold your taxes or offer you any benefits aside from
>compensation for your professional services, you are still a
>self-employed consultant who runs your own business.
>
>Again, if you get paid to produce audio, what other kind of work do you
>need to do to put together a living? For example, I know that many of
>you play gigs at restaurants, churches, clubs, etc. Some of you teach
>music privately or through a school. I call this approach the
>“portfolio†approach to making a living as a musician/audio
>producer.
>
>If you are self-employed, how do you promote your business? How do you
>find and retain clients? What kind of high-tech and low-tech marketing
>tools do you use? These questions are really general questions that
>anyone who runs any kind of business has to contend with.
>
>But what issues come up for you because you are blind? For example, a
>customer once told me a very sad story of how he was recording some
>clients who left his studio carrying away a laptop and some other gear
>which he never saw again. He learned the hard way that he needed to
>have a trusted sighted person around during sessions with strangers.
>
>How much work have any of you done to edit video and audio
>simultaneously? What strategies have you employed to get that kind of
>job done?
>
>I hope that the questions above will stimulate a lively exchange here.
>
>Bill McCann
>Founder and President of Dancing Dots since 1992 www.DancingDots.com
>Tel: [001] 610-783-6692
>
>From: ddots-l-bounce@xxxxxxxxxxxxx
>[mailto:ddots-l-bounce@xxxxxxxxxxxxx] On Behalf Of Chelsea
>Sent: Wednesday, August 24, 2011 4:47 PM
>To: ddots-l@xxxxxxxxxxxxx
>Subject: [ddots-l] Reintroduction
>
>Hi list,
>
>I'm back. I left for awhile, because I couldn't follow the
>discussions--too technical for me! LOL
>
>I'm going to be getting my diploma next month, and I'm trying to
>network with blind audio producers/mixers/DJs, etc. To learn the tricks
>of the trade. And I have a question as well: do those of you that are
>producers, DJs, etc. Work in your own home studeo or do you work in
>someone else's? I know Nashville seems to be a hot bed for music
>studeos. Do any of you have experience there?
>
>Another option I've thought of is working in film/TV doing their audio
>things.
>
>It sounds like, from what I've observed, that i'll have to create a
>couple home-based businesses--one for audio and one for Braille.
>
>At the moment, I have no equipment whatsoever, just the Pac Mate I'm
>using to write this message. And as far as material goes, it's not my
>best. I know if I have JAWS and Goldwave or JAWS and Sonar/CT, a good
>computer system with a midi controller, etc., I'll be able to put
>together a much better portfolio of my abilities. The only problem is
>that BVR won't fund equipment if they don't think I can get a job. And
>I don't know if home-based businesses count because they're not
>constant gainful employment.
>Or are they?
>
>Any thoughts, suggestions?
>
>Chelsea
>
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