JOB ROLES IN THE MUSIC INDUSTRY

Vocalist Lighting Technician

by Martin Hudson

There are a variety of job roles in the industry open to singers of all styles.

Here is just a small example…

Solo artistLead singer of a band/group

Backing vocalistChoir memberSession singer

Events Advertisements

VoiceoversPlays

TutoringBusker

VOCALIST

VOCALIST

1. G ENERAL AS PECTS

2. S TUDIO / RECORDING

3. 3 . L IVE / G IGG ING

4. S ESS ION

5. WEB – TUTORIALS

6. 6 . EXPER IENC E

7. EDUCAT ION/ QUALS

8. REFERENC E/ L INKS

Only around 2% of vocalists are continually in work. Therefore most singers tend not to have a permanent position in employment like perhaps most other instrumentalists would. (ie guitarists, drummers etc).

Being a vocalist is about more than having the ability to just sing. In order to create more job opportunities, a singer must expand their repertoire, by embracing a variety of styles and genres, not to mention acquiring and applying the knowledge of those styles.

What must a vocalist possess to help acquire employment?

• Normally, a CV will cover all an employer needs to know about a job candidate. A vocalist on the other hand, may need to provide ‘audition’ material – after all, the proof is in the pudding. This could be a format such as CD or MP3, or even a live performance.

• The vocalist will need to have an understanding of music theory, even if this is a very basic understanding, such as song structure, harmonies, tempo etc.

• All of this helps a vocalist to not only be versatile, but brings efficiency, saves time and helps other musicians when working as part of a group.

PREPARATION

It is unlikely that a singer will end up in a 9 to 5 job. Most singers are self employed and provide a service which they are paid for. In most cases, qualifications are not needed, in fact a singer can feasibly land a job without any training or experience. It goes without saying a music qualification in music can only help with many jobs though, as it shows the singer has knowledge of the industry. Also, universities and colleges have links with companies that they can refer to students.

It is advantageous for a singer to be able to read music; indeed it is usually a requirement for backing vocalists and for session singers to sight-read.

Fundamental qualifications

GCSE MusicA Level or a BTEC Diploma in Music/ BTEC in Performing ArtsA First Class Honours Degree in Music

Singing exams are available on the current syllabus, they consist of three accompanied songs at Grades 1–5 and four accompanied songs at Grades 6–8.

QUALIFICATIONS

A singer should have always learnt his or her lines when they turn up for their performance. Unless you are a highly reputable or sought after artist, in which case some flexibility will be expected, a vocalist must be as well-organised as an office worker; which means being punctual, hygienic and professional. They must be able to cooperate with other musicians and deal with responsibility.

Studio time costs money, so the vocalist must be as efficient as possible. They should have at least a basic knowledge of equipment, namely microphones, as some basic techniques around the microphone can produce effective recordings. Knowing about microphones speakers and accessories on the market can help in many self-employed jobs.

PROFESSIONAL ATTITUDE

A singer should have style, whether it be in the studio or live (especially live). A stationary, charmless singer can possess a wonderful voice, but without movement, emotion or personality, it can greatly affect its value. More importantly it gives a singer stage presence and helps an audience to connect with them, as well as with other musicians.

Some of the most celebrated singers are not even renowned for their vocal talent, but a voice with conviction and meaning is usually more desirable than a technically brilliant voice without.

Jimi Hendrix and Bob Marley were not technically outstanding, but they sung distinctively, soulfully and with feeling; the power of their vocals will outlast any technically brilliant karaoke style singer in the memory.

Bob Dylan can not match the best singers, but he conveyed his lyrics with inimitable, poetic charm. Mark E Smith, Ian Curtis and Shaun Ryder are all technically poor singers, but make fantastic frontmen and shrewdly enhance the music they sing to.

Professional attitude

CHARISMA

• Solo (eg recording, rehearsing, live) – Must find pitch of music, stay in time, play to click, read and/or memorise lyrics. Depending on role, a singer will almost certainly be consulted. This could be simple information, but this could also bring responsibility on the singer to give creative input or co-operate with the arrangement of music. Thus, even when a job is simply to turn up and sing, having a broad understanding of music helps.

• Working with other singers (eg backing, choir singers) – Working with other singers requires good people skills and the ability to co-operate and share ideas. A singer must grasp melody and often harmonies. Harmonizing is an art, it may be left to the singer(s) to create their own harmonies, but even when a harmony is written for the singer, it can still be tricky to master singing a different melody to the main, especially when its the person next to you.

How knowledge can help with specific job roles

KNOWLEDGE

• Events – A freelance singer who is either self employed or hired by a company, may need their own equipment. This could be as little as a CD backing track or as much as an entire PA system depending on the circumstances. They will be responsible for the arrangement of their performance. Again, to be armed with a broad repertoire opens up more demand. It may even be desired to showcase a variety of different styles in the one showing.

• Plays – (theatre, project) A singer may wish to delve in to performing arts, combining their vocal talents with acting and/or dancing. It is almost a given that superficial pop acts need to learn all three disciplines. Whether it be as a pop star or a theatre performer, a good level of fitness is usually required. The role would demand lots of rehearsals, practising, patience, the ability to work with other people and passion for performance.

How knowledge can help with specific job roles

KNOWLEDGE

No matter how tough the music industry is, there are many great singers and performers who have fought their way to attention. The saying ‘talent is found in the gutter’ often rings true. Some of the best singers have come through poverty, discrimination, sexism, racism, ageism, disability, you name it. If you have enough determination, belief and endeavour to match your talent, there is no reason you cannot make it!

How endeavour can get you to the top

INSPIRATION

Whilst it is heartening to hear the stories of great artists battling the odds, today’s market tends to spawn far more superficial stories.

The grip that music moguls like Simon Cowell have over the industry, means that hard luck stories have become somewhat of a fad and easy to strategise. It is a cynical observation, but if one wants to build a career singing, it is prudent to have a business model in mind. Spotting industry trends can be pivotal.

A word of caution

INSPIRATION

Commercially speaking, the popular music scene goes through changes and generally airs music that is ‘current’. One can instantly recognise the sound of crashing drum kits of 1980s pop songs and attribute it to that decade, vocals are no different.

If we look at some of the most celebrated modern day singers, we can pinpoint their influences. You can look at this in two ways; you can either aspire to ‘change the game’ or capitalise on that shift. The latter is what most recruiters in the music industry are after. You only have to switch on Radio 1 to immediately identify popular styles.

For instance, there are a sea of brilliant singers throughout the globe and so many of these singers could be made in to superstars with the right break. Though blessed with a fantastic voice, would Adele have had as much success if she was singing in the 90s? Conversely, if we plucked Mariah Carey from her heyday in the 90s, would she have had the right sound to make it big in the 10s.

INDUSTRY TRENDS

The popularity of Adele can arguably be accredited just a few years back to the waves Amy Winehouse made when she broke on to the scene. She introduced a return to rich, contralto vocals which proved extremely popular. Thereafter her influence could be heard in many budding singers, some who already carried that style and others who adopted it. Either way, the industry desired and recruited such singers. The likes of Adele, Emile Sandé and Duffy have since thrived.

The supple singing of Antony Hegarty of Antony and the Johnsons, was totally unprecedented when he won the Mercury Music Prize of 2005; since then it has become a staple sound of many vocalists.

It is open to debate, but when you switch on TV audition shows like X Factor and The Voice, do we not hear droves of singers replicating the ‘Mockney’ English styles of Kate Nash and Jamie T? It may be that they are not directly copying those individuals, but more the current flavour that has flourished from those artists that displayed such idiosyncrasies in the first place.

As for Rihanna, her voice has practically monopolised the global market!

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TREND SETTERSExamples

Vocalists are an anomaly compared to say instrumentalists, in that they can have no experience or training and yet land a job role. It can be as simple as having an innate natural ability.

However, as we have discovered, experience and training can be absolutely invaluable. Examples of individuals landing roles by being spotted or making a career out of a single audition are rare. The broader one’s knowledge and experience, the bigger the market they open up for themselves.

Individualism is in short supply, but it is up to the individual as to what degree of integrity they can balance. Both routes have been investigated, as has the differing levels of exposure a singer craves.

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OVERVIEWExamples

http://gb.abrsm.org/en/our-exams/singing-exams/

http://www.creativeskillset.org/film/jobs/performing/article_4726_1.asp

References

http://www.vocalist.org.uk/careers_jobs.html

LIGHTING TECHNICIAN

A lighting technician is responsible for the lighting of performance and productions in arenas, like theatres, stadiums and TV studios. Lighting can affect the visual display of a performance helping to create an atmosphere and setting the mood of an audience. The technician must liaise with the lighting director and carry out a design plan and then co-ordinate the performance. The job demands lots of physical activity, like carrying, climbing, loading and fixing equipment.

LIGHTING TECHNICIANHierarchy of lighting

Production manager – Designs lighting for show

Chief Lighting Technician – Works alongside production manager on design and delegates to other technicians

Lighting programmer – Works with Chief Technician to programme lights

Lighting technician – Sets up, co-ordinates and liaises with manager

Lighting assistant: Works with lighting technician to help with equipment set up

PROCEDUREA designer will explain to the technician how they would like the lights in a performance to be set up and directed. A ‘plot’ or ‘blueprint’ will be handed to the technician, they will affix the lighting equipment in the right areas, focus the lights and then record the settings in to the console that the lighting is connected to.

A set will be rigged before the show and may need to be physically adjusted during. A de-rig is performed after the show and can often take until the early hours of the morning to complete.

EQUIPMENTThere are many pieces of equipment a lighting technician must get to grips with, like spotlights, modifiers and lanterns. They can operate these fixtures to create and programme effects.

For instance, gels are commonly used over lanterns to create a coloured light. Gobos create projected shapes, texts and images. Stage lighting would also be responsible for lasers and fog machines.

QUALIFICATIONS• Most companies would expect a grade C or above in GCSEs before starting an apprenticeship. • It takes three years to complete the learner qualifications: 2 years for Part 1, and 1 year for Part 2 of a City and Guilds 2330 Certificate in Electro-technical Technology.

• Also required is a City & Guilds 2381 Certificate in the Requirements for Electrical Installations, which requires an extra 4 days training.  

• Lighting Technicians undertake further training throughout their career, in order to keep up to date with new equipment and changing regulations.

LIGHTING TECHNICIANMathematics

A lighting technician will use maths a lot. They must determine how much electricity they’re putting down. In a single circuit there can be hundreds of wires and each channel must not be overloaded.

They will often use a signalling system like this DMX 512 which runs from lighting desks to fixtures. It has a total of 512 separate levels that are constantly changing and must be managed with sound arithmetic .

LIGHTING TECHNICIANHealth and Safety

A lighting technician must be up to date with the latest health and safety legislations. The job involves laying lots of electrical cables, manoeuvring lights and affixing equipment at great heights.

A general awareness is needed of your own safety plus that of other people on the set. Lights must be double attached and checked.

IMPORTANCE OF LIGHTINGLighting has become a central feature in music concerts. Perhaps its most prominent inception point was the Syd Barrett era of Pink Floyd. This was a psychedelic period of the bands tenure and Barrett wanted to induce a kind of transformative state of mind on both the group and its audience. Lighting became like another instrument in the performance.

UNIVERSAL EFFECTNow lighting effects are the norm of any artists live performance. From the smallest act in a pub using maybe a couple of light filters, to the biggest acts on the planet such as U2 or Metallica, where we can expect to see effects such as laser lighting.

LIGHTING TECHNICIANExpectations

• There are lots of registered lighting technicians throughout the country and even more who are vying for a position. Landing a job could be quite tough.

• Women are under-represented in this male dominated area of work.

• The job is very physically demanding. One must have good stamina and all round fitness levels. The job involves lifting heavy equipment and climbing great heights.

• The role can involve a lot of travelling, being on the road and committing to tours from national to international stages

LIGHTING TECHNICIANSalary

More often than not, a lighting technician, though employed full time, would not work a fixed 9 to 5 schedule, depending on where he or she is located and signed up to.

That said, they tend to work long hours, anywhere in the region of 40 to 75 per week.

A minimum yearly salary would generally be 15,000+ per for an inexperienced technician, with around 25,000+ for a settled technician.

LIGHTING TECHNICIANOverview

This is a versatile job with technical, practical and creative demands. There is little time to get bored, as the jobs are usually action packed, with pre-show, in-show and after-show requirements, often against the clock.

There is a lot of responsibility and with the long hours, time away from home and the hectic nature of the job, stress is very common.

There are opportunities to climb the career ladder. The main step up is when one deals more with clientele, than the ‘hands on’ work.

LIGHTING TECHNICIANReferences

http://www.totaljobs.com/JobSearch/JobDetails.aspx?JobId=57544369

http://www.creativeskillset.org/film/jobs/lighting/article_3888_1.asp

http://www.youtube.com/watch?v=oojsdbqzU04