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My future career aims consist of me working within the music industry on the production side, hopefully self-employed but employment is another viable option that I will explore. I want my career to be able to sustain me and my family and provide them with everything that a career in another industry could provide. Production is something that I have focused on throughout this course, with the end goal being a remote producer and mixing and mastering engineer. This process could take 5 years, 10 years, 15 years etc, but my initial focus is to be able to finish this course in August and be ready to explore a self-employed avenue and have the ability to earn money right away, whilst also looking for employed positions.

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For the WB10 - Journeys module, I was awarded 94 out of 100 marks, a high mark that I am extremely proud of. For this module, that hard work must continue and leaves a perfect place for me to springboard off of, as well as explore other avenues in order to maximise income streams and be fully prepared when leaving university. I am, however, aware that I would like to niche down and not be too vague and overwhelm myself with different pathways.

The WB10 feedback gave me some things to think about and work on for this term. For example, it was suggested that I need to research contracts and the legalities of my work when working with artists in a producer role as the area of songwriting can become murky in regards to royalties and ownership.

Also, more mixes could be added to my portfolio alongside client reviews - this would bolster the collaborative side of the project as well as provide me with industry-related experience. The continuation of collaborative connections was suggested in order to further bolster repertoire, portfolio and reviews for my website, reputation and social media.

Finally, a case study looking at someone in my field who is a few years ahead of me in their career would be extremely beneficial in giving me a roadmap in which to adapt to suit my career needs.

Overall, the feedback was incredibly helpful and really cemented what I wanted to do in the final project and gave me confidence that I was on the right path and to continue going forward.

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Attached is my timeline that I created a few months ago during the WB10 - Journeys module. Upon reflection, it seems that things are moving at a similar pace. At the time of writing, it is early June and I am still working on the May tasks, which were to gain experience and approach clients. I currently have a few clients lined up but I'm not sure if these will be paid clients but that is probably a fault of my own as my marketing wasn't effective enough - this will be worked on during the course. I have some mixes lined up and have material to work on and add to my portfolio so I believe that this timeline is still relevant. A second review may be needed if progress isn't made quick enough. I am currently in the process of moving jobs, buying my first home and moving and it is already stressful as I'm struggling to find time for everything.

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I have reviewed my 2022 GANNT Chart and have made some changes. For example, 'using real-world experience to approach clients' has been brought forward to June. I am in a position where my portfolio is expanding slowly and I have all of my socials and website updates in place so there is no reason why I cannot approach clients now. Also, I have brought forward 'improve branding upon research' to June as it is essential that my branding stays consistent at the same stage I will be approaching clients. Finally, I have pushed back my 'begin to write business plan' as I feel that writing it in June may be too much too soon without adequate time to research properly. A business plan may never be written if I don't believe it is needed - the end goal of the business plan needs to be defined moving forward.

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Objectives:

• To continue learning and developing a niche when it comes to music production
• To arm myself with the correct knowledge and skillset to network and gain clients efficiently.
• To continue building a portfolio that reflects my core values and helps to develop future goals for my career.
• To learn about the legal side of how my business will operate in terms of client relationships and ownership of material produced, thus, ensuring day-to-day business operations are legal and benefit me, causing less stress and problems.

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This is the start of my client list spreadsheet. It has a few clients and people I have worked with so far but I will add to it as I discover new people and potential clients. Oaccording to Lipovsky (2022), it's an excellent way to manage current clients as well as checking in on new potential clients and building relationships - organisation is key!

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6FigureCreative. 2021. Here's A Client Agreement Contract That Actually Looks Amazing | Free Template [YouTube user-generated content]. Available at: https://www.youtube.com/watch?v=nRxr7bPnGDg&ab_channel=6FigureCreative [accessed 15 July 2022].

Andertons. 2022. 'Home Recording Studio Guide'. Andertons.co.uk [online]. Available at: https://www.andertons.co.uk/home-recording-studio-guide [accessed 24 July 2022].

Benediktsson, Björgvin. 2021. 'How to Guarantee You Will Always Get Paid For Your Mixes'. Audio Issues [online]. Available at: https://www.audio-issues.com/home-recording-studio/get-paid-audio-music-mixing/ [accessed 17 July 2022].

Bird, David. 2018. ‘A small business guide to self-employment’. Smallbusiness.co.uk [online]. Available at: https://smallbusiness.co.uk/a-small-business-guide-to-self-employment-2469677/ [accessed 20 June 2022].

Borsellino, Regina. 2022. 'Beat the Robots: How to Get Your Resume Past the System and Into Human Hands'. The Muse [online]. Available at: https://www.themuse.com/advice/beat-the-robots-how-to-get-your-resume-past-the-system-into-human-hands [accessed 1 July 2022].

Damiankeyes.com. 2022. 'About'. Damian Keyes [online]. Available at: https://damiankeyes.com/about [accessed 10 July 2022].

Davis, Lee and Watts, Rob and Haskins, Jane. 2022. 'Electronic Signature: An Instant, Convenient And Green Way To Sign Documents' Forbes [online]. Available at: https://www.forbes.com/advisor/business/electronic-signature/ [accessed 15 July 2022].

Doyle, Alison. 2020. 'Why and How to Include Numbers on Your Resume'. The Balance Careers [online]. Available at: https://www.thebalancecareers.com/why-and-how-to-include-numbers-on-your-resume-2063136 [accessed 20 July 2022].

Farmelo, Allen. 2009. 'A Brief Introduction to Contracts for Freelance Engineers, Mixers and Producers'. Tape Op [magazine]. Available at: https://tapeop.com/tutorials/73/intro-contracts/ [accessed 4 July 2022].

Filepass.com. 2022. 'Features'. FilePass [online]. Available at: https://filepass.com/#features [accessed 17 July 2022].

Filepass.com. 2022. 'Pricing' FilePass [online]. Available at: https://filepass.com/pricing [accessed 17 July 2022].

Goold, Lachlan. 2022. The production of space and the changing character of the recording studio. Popular Music, pp.1-19. [accessed 24 July 2022].

Haroosh, Itai. 2021. 'Royalties Mixing Engineers Can Actually Get'. Wealthy Sound [online]. Available at: https://wealthysound.com/posts/royalties-mixing-engineers-get [accessed 9 July 2022].

Instagram, 2022. 'Damian Keyes @damiankeyes1'. Available at: https://www.instagram.com/damiankeyes1/?hl=en [accessed 15 July 2022].

Jeppsson, Niclas. 2020. 'How To Find Clients Online'. Pure Mix [online]. Available at: https://www.puremix.net/blog/how-to-find-clients-online.html [accessed 18 July 2022].

Lipovsky, William. 2022. 'Ways to Keep Your Client List Organized'. Due.com [online]. Available at: https://due.com/blog/ways-keep-client-list-organized/ [accessed 10 June 2022].

Lowe, Ben. 2020. 'PRS For Music (PRS, MCPS) & PPL & More'. Music Gateway [online]. Available at: https://www.musicgateway.com/blog/how-to/prs-for-music-prs-mcps-ppl [accessed 7 July 2022].

MPG.org.uk. 2022. 'About The Music Producers Guild'. Music Producers Guild [online]. Available at: https://mpg.org.uk/about-mpg/about-the-music-producers-guild/ [accessed 18 June 2022].

Music Contracts. 2018. 'How Does A Producer Get Paid'. Musiccontracts.com [online]. Available at: https://www.musiccontracts.com/blog/2018/4/23/first-steps-to-setting-up-a-label-sjk55 [accessed 4 July 2022].

Music Gateway. 2022. 'The Musicians Union (The MU)'. Music Gateway [online]. Available at: https://www.musicgateway.com/partners/the-musicians-union [accessed 17 June 2022].

Musicians Union. 2022. 'About Us'. Musiciansunion.org.uk [online]. Available at: https://musiciansunion.org.uk/about-the-mu [accessed 17 June 2022].

Novelli, Marcio and Barber-Smith, Ross. 2017. 'DAMIAN KEYES: MUSIC EDUCATION, EFFECTIVE SOCIAL MEDIA & THE 1% RULE'. Bridge The Atlantic [online]. Available at: https://bridge-the-atlantic.com/137-damian-keyes-music-education-effective-social-media-the-1-percent-rule/ [accessed 15 July 2022].

Patel, Neil. 2022. 'The 4-Point Content Framework That’ll Hook Your Readers and Double Your Time on Site'. Neil Patel [online]. Available at: https://neilpatel.com/blog/the-4-point-content-framework-thatll-hook-your-readers-and-double-your-time-on-site/?lang_geo=us&amp [accessed 14 July 2022].

PayPal. 2022. 'PayPal Merchant Fees'. PayPal [online]. Available at: https://www.paypal.com/uk/webapps/mpp/merchant-fees [accessed 17 July 2022].

PPL. 2022. 'Eligible Studio Producers'. PPL UK [online]. Available at: https://www.ppluk.com/membership/who-can-join-as-a-performer/eligible-studio-producers/ [accessed 7 July 2022].

PPL. 2022. 'What We Do'. PPL UK [online]. Available at: https://www.ppluk.com/what-we-do/ [accessed 7 July 2022].

Resumeworded.com. 2022. 'Music Producer Resume Keywords and Skills'. Resume Worded [online]. Available at: https://resumeworded.com/skills-and-keywords/music-producer-skills [accessed 1 July 2022].

Rifkin, Beth. 2019. 'How To Write A Music Producer Resume'. Chron [online]. Available at: https://work.chron.com/write-music-producer-resume-3662.html [accessed 1 July 2022].

Senior, Mike. 2019. Mixing Secrets for the Small Studio. Routledge, Oxford.

Settembrino, Lauren. 2022. 'How To Target A Specific Job Description with Your Resume'. topresume.com [online]. Available at: https://www.topresume.com/career-advice/how-to-customize-your-resume-for-each-opportunity [accessed 1 July 2022].

Six Figure Home Studio Podcast. 2018. 'How Social Skills Helped Billy Decker Dominate The Nashville Mixing Scene'. Six Figure Home Studio Podcast [online]. Available at: https://www.thesixfigurehomestudio.com/social-skills-helped-billy-decker-dominate-nashville-mixing-scene/ [accessed 15 July 2022].

Transfernow.net. 2022. 'Support and FAQ'. TransferNow [online]. Available at: https://www.transfernow.net/en/support [accessed 17 July 2022].

Wittman, William. 2021. 'Should You Hire A Professional Mixing Engineer?'. Pro Tools Expert [online]. Available at: https://www.pro-tools-expert.com/production-expert-1/should-you-hire-a-professional-mixing-engineer [accessed 24 July 2022].

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Below are different productions/mixes/masters that I have worked on for clients during this semester.

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Andy is an artist who needs a bit of a boost. He doesn't really have an online presence and purely makes music for himself. It's really good stuff though so once I'd heard what he made, I wanted to collaborate with him. He asked me to mix and master a few tracks. It's not in my usual comfort zone genre-wise but I've learnt an awful lot for these mixes and this style of collaboration.

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Another one of Andy's tracks, really love the audio manipulation from field recordings in this. It'll be good to push Andy to release his music online and show the world what he is capable of.

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I have signed up for the following employment opportunity websites:

• ArtsJobs
• Music Business Worldwide
• Music Gateway
• Mandy
• The Music Market - Arts and Media
• MusicJobsUK
• Uk.talent.com

Some of the above websites do offer free trials so I have taken up this offer as I actively look for employed opportunities, whilst also working on the self-employed remote engineer career. Employment is a more stable option right now as I have just purchased my first home with my girlfriend. Self-employment is the dream goal however.

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The Music Producers Guild (MPG) is an organisation that supports producers and engineers and anyone working within the recording side of the industry (mpg.org.uk 2022). I decided to join their free basic membership scheme in order to receive their newsletter and have access to their database. Full membership would allow more benefits but may be out of my price range at the moment. They offer support and guidance and is more of a collective community rather than a trade association, so will offer different things from the MU (mpg.org.uk 2022). I liked this aspect as it covers a few different bases for me.

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As I have previously ran two self-employed businesses, one selling vinyl records and the other as an events promoter, I already have a Unique Taxpayer Reference number and am registered for self-assessment tax as a sole-trader. This will be used when calculating any tax that I may need to pay from income earned completing freelance production work. During my WB04 module (See Appendix D), I worked out that a sole-trader would probably be the best option for me right now as it allows for full privacy when working from home and doesn't require me to pay corporation tax (Bird 2018).

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My first case study will be on Philip Marsden. Philip is a former mixing and mastering engineer based in Oxford that now primarily focuses on mastering, using the Instagram name '@marsdenmastering'. He has over 1800 followers on the platform and has been a full time remote engineer for 3 years now. I thought this would be a good place to start as I think 3 years is a realistic goal to be doing what I love full time.

- At the time of writing, I am currently putting together and planning an interview with Philip. It will probably be completed after the Formative submission.

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There's a lot going on in life outside of uni right now so it's been difficult to search and interact with people organically. I have added a 'Date Last Contacted' column so I can keep tabs on who is responding and when and this also allows me to ensure I'm not pestering artists.

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This week, I added a new column that will allow me to keep track of paying clients and non-paying clients (so far).

I received payment from my first client this week! Big achievement for me, even though it's nowhere near the genre I want to work in. Big personal achievement for me.

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King Jean is my first actual paying client! I requested 50% upfront just to ensure that I could start work as I didn't want to work for nothing. Obviously not the genre I want to work in but it was easy work and took me less than an hour...can't argue with that!

This raised an interesting point for me - I need an invoice/contract solution and the legal side of things needs to be worked on. Would it put people off if they had to sign a contract before any work is done? Research is needed.

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Small update after deciding to contact bands local to my area. I am to contact 10-20 artists a day if I can. This should improve the success rate and allow me to reach more people and hopefully, gain paying clients.

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My mentor is George Donoghue. He's been my mentor at WaterBear since day 1. This first session saw us catch up from where we left off last semester. I had finished setting up the foundations for a freelance producer, mixing and mastering engineer so now it was time to put everything into practice in the real world. I explained to George how I was struggling with initially contacting clients as it felt too quick - i.e, I was getting to the business side of things too quickly and felt like I was instantly trying to sell a product. He suggested I be more human and just chat to them about their release, share their music and become a 'fan'. It was really interesting to see how my mindset had been changed. I now approach clients in a more non-business way and just celebrate their music - it's helped me discover a lot more bands naturally and conversation has flowed organically.

He suggested setting up a weekly plan of action as I'm finding it incredibly difficult to find the time due to moving house and work commitments at the moment. What will my week-to-week activities need to include? I'll create a plan and take into the next session.

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Some updates from WB10 but extremely important and self-reflective. It shows how my life has changed in just a small space of time and the position I am now in.

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I am in the early stages of beginning a weekly blog on my website. This will be a place to 'give back' to the community that view my posts on social media. I can reach out to them by writing about things that may help them - production tips, events promotion tips, what to look for in a producer etc. This way, it'll provide me with content for my social media, as well as increasing traffic on my website - win-win!

Patel (2022) has a really interesting article on the framework for an engaging blog post that hooks readers in and keeps them there, engaged with the information. Keeping paragraphs short, including engaging pictures, a headline that asks a direct question or stands out and writing research out as a story can all help keep the reader engaged with your content and makes them more likely to return to your next blog post (Patel 2022).

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I have applied for three jobs that I saw advertised on ArtsJobs UK and Indeed. The first job is a music recording studio traineeship in Birmingham. it is an 8 week course that leads to full time employment, recording bands, mixing and mastering etc. https://uk.indeed.com/viewjob?jk=dda5f9999cb8c466&q=music&l=Redditch%2C+Worcestershire&tk=1g77enl2vjri3801&from=hpd&advn=8091527274025057&adid=393112298&ad=-6NYlbfkN0DzH7Q8OUUyLASTwBkW34NuSPYa4uOh0XEDQ1K1mx1T8siPynirH4H_wRH0PXTCjrfywNrjm5CYtL04h3ASXFT7W-18X9Q_HS3tYWLH0zeP7dHEwH2XqhVUhpzNNBrnUNAf1JJ1UNaomvUtOp45UnxzHcxxYXUiiIW0ViD1Nn6axhCGYlYIUcHKSAc0CDtApTG9KlHaUDfol4fKSWyzZYXUdfQrXUGLiYAi95PxC0UzIRomXDUIJ67eeLGaE6oCXNtwv2aRfTCIXRcVB-tls6FD1SxcbDOJK8E0fU2DG6YKUKGPF7kXSUYNSDR2d5xSz4Xq8oMUY4j9Caani4sI6fNNr6TGMOal1fgPWGkpyzfQb7npyXDRHb_6Ps4yzwt0L-lF1O2rdmwzxNaJIQuLUlVX&pub=4a1b367933fd867b19b072952f68dceb&vjs=3

The other job is for a music, arts and events producer at the MAC in Birmingham. Probably a bit above my level experience but applying never hurts!

The final job is for a Junior Sound Editor/Audio Designer for a video games company. Something outside of my usual comfort zone but my transferrable skills will help me. https://uk.indeed.com/viewjob?jk=b941c45da73d68b3&from=serp&from=mobRdr&prevUrl=https%3A%2F%2Fuk.indeed.com%2Fm%2Fjobs%3Fq%3D%26l%3DRedditch%252C%2520Worcestershire%26from%3DsearchOnHP%26sameQ%3D1&utm_source=%2Fm%2F&utm_medium=redir&utm_campaign=dt

It's interesting to see the variation in career levels and stages here but it's time for me to start using the services I signed up to and actively seeking employment in order to have that job security. I shall use my newly created CV and adjust accordingly.

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When it comes to CV's, it's incredibly important to tailor each CV for each application and this is known as a 'Targeted CV' (Settembrino 2022). A lot of employers use applicant tracking systems (ATS) which scan CV's for certain keywords, eliminating candidates that don't have enough matching keywords or experience (Settembrino 2022). Therefore, it is vital to tailor the CV in a way that matches the job description. In order to beat the ATS, Borsellino (2022) suggests applying for roles you're qualified for, including the right keywords and using websites like Jobscan and SkillSyncer to use ATS software to check your own CV, placing keywords in context ensuring they are not random and to not use too much formatting and non-standard chronological layouts.

When it comes to a music production type job, resumeworded.com (2022) state that the most commonly used keywords on job descriptions are as follows; music production, audio engineering, audio recording, songwriting, music composition, studio recording, pro tools, logic, DAW, mixing and sound design. Rifkin (2019) states that a music production CV should include the following; personal information, abilities and skills, industry-specific skills and experience, education, credits and possibly testimonials/references, depending on the type of job. These keywords and categories will help me to create a new base template for music production job applications that can be tailored depending on the job role.

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This week has seen me made some good progress. I have received full payment from my first client King Jean and have done demo masters for two different bands - Combat and Black Feather. They are both based locally to me and are looking at recording at a studio in Autumn some time. I convinced Black Feather to let me have a look at their original DAW session and see if I can do a demo mix for them. They agreed. Combat are yet to respond but it's only been a few hours at the time of writing. This will help build my portfolio and make better connections, word of mouth referrals etc.

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Local Recording Studio - Blacktree Studios

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Local Recording Studio - Blacktree Studios

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I discovered a recording studio that is pretty local to me and I didn't even know it existed! It is in the middle of the beautiful Worcestershire countryside, about 10 minutes away from where I'm moving to in August. It's been there for 10 years and I had no idea until I stumbled upon it on Instagram after I band I was networking with recorded there and recommended it. I reached out to the owner, Mark Westwood,  and explained my situation and how amazed I was at the location and facilities (see Appendix A). He responded and was extremely friendly and offered me the chance to view the facilities and have a chat with him (see Appendix B).

A few days later, I visited him at his studio and he gave me a tour and showed me a few things. I was there for around 4 and a half hours! He gave me a wealth of knowledge, such as mixing tips, mastering tips, advice on pricing, advice on royalties and contracts etc. Within this time, I felt like I learnt more from his experience than I could have done with a whole day's worth of researching. He made me think about my pricing and how I want to go forward with contracts. It's something that I may change as he said it would put bands off - especially bands just starting out. They want to make music and enjoy it so as soon as I start mentioning contracts and royalties etc, it may put them off so I must proceed with caution. He also mentioned how difficult it was to determine your own self-worth - something I'd be struggling with for a while. What value can I offer someone and how much should I charge? It raised a lot of questions and interesting points. It was great talking to someone with over 25 years experience in the live and studio music world. He said that I could take a few bands there and record and then mix etc. A highly useful contact and a great guy!

I didn't record the interview or take any pictures as I didn't want to be intrusive or just use Mark for my own self-gain so I know this may be hard to evidence so please forgive me.

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BlackTree Studios are located in the beautiful Worcestershire countryside & Incorporates a state of the art recording, mixing & mastering facility. Established in 2010 we started as a stand alone mobile location recording studio recording live concerts & festivals, in that time we was lucky to record artists such as: Dreadzone, Hazel O’connor, Easy Star-All Stars, Chumbawamba Ferocious Dog & The Beat. In 2012 BlackTree Studios Bromsgrove was built.

Control Room

The studio has an open plan layout which is large enough for full band live multitrack sessions with nice sound separation & good visual communication. It is also a great drum tracking room offering a big room & dry room recording options.

Drum Tracking

Escaping Arkham recording drums for their new album with Lee Evans on Drums & Will Lavis the bands guitarist & producer overseeing the session

Bookends ‘A tribute to Simon & Garfunkel’ recording & filming a live promotional video for their shows

Live Audio & Video Session

If you require any further information or wish to discuss your recording options click the contact us button below. We offer a 20% Discount for students.

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Blacktree studios – Recording, Mixing, Mastering & Video Production

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BlackTree Studios are located in the beautiful Worcestershire countryside & Incorporates a state of the art recording, mixing & mastering facility. Established in 2010 we started as a stand alone mobile location recording studio recording live concerts & festivals, in that time we was lucky to recor…

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I have attached the first draft of my two-page music production CV. It still has a lot of my previous job roles that have nothing to do with music but do have transferable skills, such as, customer service, time management, branding and marketing, training other members of staff, proficiency in IT, working closely with clients, managing a healthy client relationship and building a clientele.

I have used this to apply to a few jobs but more specialised jobs may require another edit of the CV so I can tailor it a bit more...I feel that there are already too many bullet points for my previous job roles.

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I have paid £20 for an annual membership to the Musicians Union. They will be able to help me out with the legal side of my career, as well as update me on key news and maximise employment and income for all members that are a part of the union (Musicians Union 2022). They can protect my rights, provide advice and support, enable a platform for networking and put on events that aid music industry workers across the UK (Music Gateway 2022).

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This is the first invoice that I sent to my first client, Jean Auguste, otherwise known as King Jean. It was the first time I'd use this particular software and it felt quite rushed to be honest. But full payment has been made now and the work was completed quickly and easily.

Going forward, I will definitely try to tailor the invoices more to match my branding and try to keep a more accurate file of everything.

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Philip Marsden has now completed his questionnaire that I created. I will attach screenshots below of each response and my take on it.

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I liked how Philip enjoyed the creativeness of his role, as well as the freedom of being his own boss. This is something that I strive for and have experience with so would love to do it full time. His 8 years experience within the industry is far from where I'm at at the moment but I know that this is a long road and it gives me inspiration to keep moving forward.

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Core values are something that I discovered during WB10 - Journeys module. It made me change my whole outlook on who I am as a creative individual and the reasoning behind my choices. I now ask everyone I interview this question as I feel that it really gets to the bottom of who someone is. I liked how Philip loved the idea of kindness and giving back and helping. His trustworthy, open approach is something I will take on board and try to implement when engaging with potential clients.

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His take on a 'jack-of-all-trades' being a niche is quite interesting and a unique aspect. I can see how this is beneficial but the production side of music is heavily saturated at the moment so I still agree with him on how having a niche is important. I believe my niche of analogue warmth and punch and that 'tape mentality' within my work is a good niche to have. It mixes the world of analogue and digital and has proved effective so far.

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It seems that full time is achievable through word of mouth referrals and regular clients. This helped me to see a potential pathway as well as enable me to set a very open goal for the distant future. He mentions working out how much he needed to earn to sustain himself and I have already done this in my WB04 - Your Strategy module, found here.  This reassured me that I was on the right path but there was still a lot of work to be done and I think the journey of discovering self-worth and value can take years to perfect.

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Instagram is the one platform that I use more than anything to connect and engage with potential clients and I would like to branch out but this may take time. I like the idea of face-to-face meetings and Zoom calls. I think this adds security and trustworthiness mentioned earlier. Something I will definitely implement in future use.

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Four amazing tips from Philip here that I have taken on board. Charging a fair rate is something I still have to work on. It's good to compare this to Mark Westwood's advice about lowering my prices. I have taken a lot from this interview and feel that I can connect to it on a personal level. It has given me inspiration and perspective of a professional within the industry.

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I have received my Formative Assignment feedback. It was very in-depth and helpful. I was told to be cautious about trying to do too much and not covering the most important aspects - the real-world business side of things. Also, my references list needed to be expanded and added to to really cover the amount of depth needed in this module. It was suggested that another case study with another industry professional as well as musicians who have worked with mix and mastering engineers was suggested.

All of this really helped to steer me in the right direction for this module. I discovered that perhaps my reference list lacked depth and I felt as if my SWOT analysis could do with some comparison - as well as my GANNT chart being re-evaluated.

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I have attached the very first SWOT Analysis I did during WB01, the first module on my university course. It's really interesting to see how I have decided to keep some of the things listed in the first SWOT Analysis - these are obviously areas that I still have a strong connection too. However, I have noticed that the changes seem to be more business-based and real-world based. For example, seeing different opportunities and how they can enable my business to succeed, rather than for me to improve or succeed as an individual musician/producer. Also, the fact that my weaknesses have changed or been adapted to suit the way I now work is interesting as I feel like my core values have effected this. It's been really helpful to take a look back and I'd love to do another SWOT Analysis in another two years time.

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This week with George, I discussed how I had had a complete mindset revamp. For example, since the last session, I had interacted with numerous bands and artists and began actively trying to seek clients. This lead to me getting two demo master clients and one demo mix clients, with another potential demo mix client lined up. All of them are free at the moment but I have to do this in order to build my portfolio and try to get work through referrals and word-of-mouth. George complemented me on my attitude and work ethic and how I was just getting it done and getting on with it. I told him about my idea to start a weekly blog in order to 'give back' to the online community and improve my website reach. He said it was a great idea but suggested that I start bulk-writing before posting anything. At least 10 weeks worth of content. I found this a bit daunting and I don't think I will have the time to write over 10 articles before the deadline of this submission but I will include it in my future plan and weekly activities. He suggested I think about what kind of content I want to write and to start listening to the six figure home studio podcast to get some ideas and help on how to make it in this type of business.

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Damian Keyes is a music entrepreneur, musician, author and the co-founder of BIMM, The British Institute of Modern Music (Damiankeyes.com 2022). My mentor, George Donoghue, suggested that I do a little bit of research on him and his social media approach as he is extremely successful at what he does.

From looking at his Instagram account, I could see that his approach to social media was very real and open and transparent, all whilst 'giving back' and providing helpful content to help out other musicians and entrepreneurs (Instagram 2022). Content included things like articles, how to make great social media content, what should be included in your social media bio, how to build a fanbase and how to create engagement etc (Instagram 2022). From the Bridge The Atlantic Podcast, Damian spoke about the importance of trust, following the 1% rule (making something you do 1% better every day), how artists should share each other's content more, how social media posts should always have the end user and client in goal and how picking 1 or 2 social media platforms and learning how people consume content is essential for engagement (Novelli and Barber-Smith 2017).

From this, I found out an awful lot about the importance of being open and honest and showcasing what you can do for the client in a very transparent way that only adds value to the potential clients output. It was really interesting to see Damian open up and he appeared on the podcast exactly how he appears on his social media - open and honest. Finally, I thought that the importance of giving back and learning how people consume social media content was incredibly eye-opening and something that I will try to implement into my marketing strategy for the business.

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This week, I listened to the Billy Decker episode of the six figure home studio podcast. It was incredibly insightful. For example, I discovered how Billy used an ingenious way of 'staying in everyone's minds' - something that he says is incredibly important for gaining clients (Six Figure Home Studio Podcast 2018). He made wooden chopping boards that he would send out to industry people and people he had previously worked with for free. This way, whenever they were at home, preparing food, they would see his name and instantly be reminded of who he was and what he does (Six Figure Home Studio Podcast 2018). I really liked the idea behind this - it has nothing to do with music but it capitalises on how everyone uses a chopping board and it's a great way to keep yourself in the forefront of someone's mind without even using any digital marketing or social media. Billy also mentioned the importance of being nice to everyone - everyone likes a nice guy who is kind to them and this is true for people who praise and enjoy the music artists create. The notion of always answering the call and never ignoring an opportunity was quite an eye-opener too (Six Figure Home Studio Podcast 2018). For example, not being too selective about work at first and always being presentable and contactable. This shows openness and a willingness to be there for the client - something that seems to be a common theme amongst the industry professionals I have researched.

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Black Feather - Who Put Bella in Wych Elm

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Black Feather - Who Put Bella in Wych Elm

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This is the first draft of a demo mix I have done for the Birmingham based band Black Feather. I originally did a master for them but I suggested that they send me their Logic file as there were some things that I could hear that needed fixing. I completely remixed the track to fit in with my niche and, at the time of writing, am waiting for the band to get back to me to see if they like it. If they do, I will probably master it and then they can upload it and that will be my first credit that I can share on a local band. Hopefully this will get the ball rolling on word-of-mouth referrals. Most of the instruments were DI'd and recorded in their bedroom. I re-amped the guitars and bass and added some more realistic drum sounds.

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Who Put Bella in Wych Elm (Jordan Humphreys Mix)

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Following on from advice from Mark Westwood at Blacktree Studios, I have decided to reduce my mastering price to £30 a song. This has been reflected on the FAQ section of my website.

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I have signed up for a PPL Membership. PPL, or Phonographic Performance Limited, is a UK music licensing for performers and recordings rightsholders (Lowe 2020 and PPL 2022). PPL license music recorded music for Radio, TV broadcast and digital media services and then collect the royalties on behalf of the member, once their costs have been deducted (PPL 2022). They also have an international mandate that can allow performers and rightsholders to collect royalties worldwide (PPL 2022).

I have already experienced myself re-recording some tracks that I've worked on in the past for artists, where I've had to play guitar or bass myself so this could be a good opportunity to claim royalties.

There is also an 'Eligible Studio Producers Form' that PPL supply that allows a producer to be added to the relevant repertoire as a non-featured performer. This means the producer can collect equitable remuneration for any previous work that has already been released. The featured performers on the track must sign and give their consent for the producer to be added to the repertoire and receive royalties (PPL 2022). The form is available for free online (See Appendix C).

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I have researched the areas of contracts in regards to my role as a producer, mixing engineer and mastering engineer. According to Farmelo (2009), there are numerous different contracts available, such as; Split Letter, Release Form, Mixing Contract, Production Contract and Letter of Agreement. Depending on my role, there are different options I could choose. For example, on a songwriting, composition or producer role, a split letter would legally identify who the writers of the song were and their respective share of the copyright (Farmelo 2009). It would usually state the amount of 'points' or percentage of the song's sales a producer would receive (Music Contracts 2018). A release form is usually used to untie session musicians or other performers who were hired to play from any copyright rights (Farmelo 2009). I could use a release form for myself so the artist understands that I won't receive any further money after they pay me to do the job - something that would appeal to them but obviously not in my best interests long term. A mixing contract can contain a number of terms, such as; how many songs will be mixed, the rate of pay, how many hours work qualify as 'day rate', how many mix revisions the artists will get, how much is to be paid, method of payment, upfront deposits, instrumental mixes and that the work is strictly 'work for hire' and they won't receive additional rights to the composition copyright (Farmelo 2009). The production contract is similar but may outline how many songs will be worked on, for how long and how and where the producers credits will appear.

The mixing contract seems like the perfect contract for me to use when mixing but I reached out to Mark Westwood at Blacktree Studios and Philip Marsden of MarsdenMastering for clarity and they both said that traditional contracts weren't something they used. This was purely because a lot of the artists I would be working with are just starting out and any mention of contracts or money may make them feel like I am only in it for the money - something that could also be daunting for a band in the early stages of their career. This would be different for other artists who are further along in their journey, so contracts will be used accordingly. A simple letter of agreement via email, followed up with an invoice would suffice.

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When it comes to mixing and mastering specifically, there aren't necessarily any obvious royalties I could get - unless the performer agrees that my role has had an impact on the musical direction of the song. According to Haroosh (2021), mixing and mastering engineers would have to be registered as an affiliate with a publishing company in order to receive royalties from the master rights part of the copyright on the track. This could be difficult. The most obvious way to get royalties as a mixing and mastering engineer is to have an effect of the musical direction of the song - this would have to be cleared with the other performers and master rightsholders involved (Haroosh 2021). This would then entitle the engineer to a percentage of the composition side of the copyright split.

Overall, I feel that royalties may not necessarily be the way to go as a mixing and mastering engineer. I would prefer to use the 'work for hire' method and simply just get paid for what I do. Keeps it simple for me when starting out. However, if an artist gains momentum and a following on their early single that I mixed, I may regret it! I may ask my mentor for some advice.

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Looking at the real-world side of this business, it's time to think about getting paid and how I send my mixes and masters to clients. So far, I have been doing them mostly for free and haven't worried about any sort of content theft - nothing to lose if I'm not getting paid. I currently use TransferNow to send my clients a lossless WAV as it's incredibly quick, secure and gives the receiver an option to preview the audio file online without downloading it (transfernow.net 2022). I like this method but obviously I need to ensure some security when it comes to paid clients. Benediktsson (2021) suggests using a private link on SoundCloud. This way, the clients work isn't published publicly, only they can view it, it's lossless quality, can't be stolen/downloaded and allows the client to comment exactly where and what they want changed (Benediktsson 2021). This is a method I will use going forward. I still require 50% upfront so that brings me on to getting paid.

For my first paid client that wasn't necessarily serious and didn't give me any feedback - King Jean - I just sent a business payment request via PayPal and then sent him my own invoice via email. It worked just fine. It's secure for both parties, although PayPal do take a fee that can range anywhere from 1-3% - additional fees will be added if the payment is made from an international client (PayPal 2022). This isn't ideal and a bank transfer would suffice but may not offer the client as much security as they would like.

An incredible solution I found was a service called FilePass. FilePass combines a platform in which to send clients their music and get paid (Filepass.com 2022). It's features are similar to SoundCloud, users can leave comments where they would like to see a change, but they then have to complete a payment in order to download the actual file and all of this can be done through the secure FilePass website (Filepass.com 2022). However, FilePass charges $24 a month with a 10GB upload limit per month (Filepass.com 2022). Not a bad price when there are regular clients coming in. However, I'm not at the stage yet so, for the time being, it's something to consider for future use. I like the professionalism and alternative approach that FilePass brings - it's a good trustworthy system that does come with a monthly cost.

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WB04 - Your Strategy Summative Assignment

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This week, I reached out to Adam Fiasco - a producer/mixing engineer in the UK (@adamfiascoproductions on Instagram). I reached out to him to get a mixed bag of responses from producers and engineers, whereas Philip Marsden mainly does mastering and runs his business as a mastering engineer. I used the same questionnaire as last time so I could compare the results and get a wider range of information and advice. The results will be posted below.

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Instantly, I liked how his bio mentions what he specialises in (rock and country artists) and how he can make their music and careers improve. From this, it's clear to see his a business-minded individual and implements what he can offer a potential client, even when talking about himself. This is something that I have tried to implement in my bio and posts on social media and my website. It's interesting to see another music production professional talk about how passionate they are about teaching and giving back to the production community - I think it's something we all love to do! 15+ years experience is incredible. I know have feedback from someone who has had a music career 7 years longer than Philip Marsden's career and Philip's career is 7 years longer than mine - a great comparison and a good way for me to track goals and progression.

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Again, core values reflect the idea of honesty and originality. It's interesting to see how honesty is used as a way to gain business. For example, Adam talks about being honest with a client about their current situation and material and how they can improve and get to the next stage. This is incredibly helpful to artists who can use his experience to progress. He also talks about himself being consistent but wants to mirror that in an artist. He says an artist should be consistent in what they do and I feel like this shows connection with the artist - on the same page etc. This builds rapport and is a great technique. He mentions that niche is 100% important and his niche is based on genre - Rock & Country. I feel like my niche is based on Rock but also the sound and how I achieve that sound. I like to use analogue equipment where I can and focus on a natural 'real' sound rather than polished and clean.

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The leap to full time was N/A and Adam explained to me why he put this answer. He started out as a full time engineer/producer and had a job before doing his own thing in his own studio. So I guess he still made that leap but it's something that I should've asked about before sending him the questionnaire. My error and, on reflection, doesn't really give me much information on this topic. Facebook and Instagram are his top engagement platforms but doesn't give too much away about how he gains his customers. Perhaps this question was a bit too close to home. After all, it is a business asking another business for tips on how to gain clients and increase engagement...

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Great advice form Adam here. He mentions the need to never quit and recognise that you may not be at the level you want to be for some time. I think this links back to his core values and how you need to be honest with yourself sometimes, as well as consistent and never give up. Investing in yourself was a really interesting comment. I think it's all too easy to invest in equipment, marketing, social media etc. But the real results come from the person. I think this is what he means anyway. upon reflection, I should've asked for clarification but my interpretation has given me a different and positive outlook on the work that must be done.

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I have decided to edit my first draft of my CV and include my credits within music production, as well as add some industry-related references and professional references regarding my current job role within retail. Upon reflection of my first draft of my CV, it wasn't tailored enough to the music industry and all of my job descriptions sounded boring and long. According to Doyle (2020), numbers are a great way to break up large blocks of wording - perfect for job description and achievement sections. It also allows the employer to see distinct achievements and quantify them, whilst not being long-winded or tedious to read (Doyle 2020).

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This update includes a few changes - I have tried to contact less people each week in order to just stay on top of the conversations. Upon reflection, it's clear to see that this spreadsheet is a bit messy and I could use some sort fo colour-coding for bands that have replied, bands that are interested in the future (chase them up etc) and bands that I'm doing free/paid work for.

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I recently did a master for a local Birmingham band called Combat. I mastered one of their home-recorded demos. However, I could hear a lot of things within the actual mix that just didn't sound right and couldn't be fixed during mastering. I asked the band if they would let me have a look at their Logic project and try my own mix. Attached is the first rough mix (unmastered) that I did for the band. It's great when bands put faith in you and are excited for me to have a look at their projects and put my own spin on it. This links back to what Philip Marsden and Adam Fiasco said about helping people and giving back - I really enjoyed helping this relatively new band perfect their home-recorded sound.

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I received my very first message on the contact form on my website today. It was completely out of the blue and left me feeling a huge sense of achievement, although I still need to work on my imposter syndrome as I couldn't believe someone found my website and wanted to work with me. I have since emailed Dylan and will arrange a Zoom call so we can discuss his project further.

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Finding Clients and the correct Target Market

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Finding Clients and the correct Target Market

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Last term, during WB10, I researched my target audience based on my niche and genre (please see Appendix E). However, upon reflection, I can see that this is perhaps too vague and not good enough for a real-world business scenario. For example, rather than thinking about genre or how I mix, I need to think about who my clients are, where are they in their career, are they even ready to have their songs mixed/released etc. It poses more realistic questions and outcomes. I followed advice from Jeppsson (2020) who shares how and where to get clients initially - Bandcamp, SoundCloud, Instagram, live gigs etc, and also, how to contact them. It's worth noting that the artist should always be the main focal point during correspondence - it is all about them after all. The artist and their music being the main focus will ensure that their interest is peaked and they'll know I have their best interests at heart (Jeppsson 2020). This links back to a core value of helping people grow and 'giving back'.

From my recent weeks of actively contacting bands using this approach, I can see that my target market are people who are starting out in the world of recording, looking for someone to help them make their music sound better and more professional. Often, these bands have only done a handful of gigs but have some home demos or want to get into a recording studio. It's at this crucial time when getting to know bands and being friendly, honest, open and helpful can turn leads into sales and potential future regular customers. I believe it to be a good approach and it's working so far. However, the only downside is that relatively new bands don't necessarily have the money to pay for a full mix and master of their new upcoming EP.

I've also discovered that some bands I've contacted just aren't ready to record or even release material yet as they're not sure how to do so. I think this is where my knowledge, help and guidance could really benefit me in the long term and help me build long-lasting relationships.

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I have learnt two extremely valuable lessons from mixing two tracks for Black Feather and Combat. Upon sending both finished mixes to the bands, they both didn't have any intention of releasing them as they either didn't know how or weren't ready. Combat suggested that they wanted to take the time to record live drums and then they may come back to me at a later date for a mix. I was very disheartened by this as I couldn't share anything on my social media (same with Black Feather who weren't releasing just yet) and I felt as if I had wasted a couple of days.

However, I have since seen it as a hugely valuable lesson. It has taught me that I must use a booking form or have some sort of agreement in place when doing free mixes for an artist that states I can use a proportion of their material for my own social media posts, regardless of if they release it or not. It was the first time I truly thought about what do I want out of these free mixes that I do for bands...social media content, referrals, relationship-building and experience.

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This week with George, I told him about the free mixes I had done for the bands and that they didn't really go anywhere and I couldn't post them to my social media (See Evaluation and Reflection 'Lessons Learned' post). The standout thing for George was how a band didn't know how to release their music online. He said it's a great opportunity to link back to my website blog writing and provide them with a PDF of all the info they would ever need, written by me. This content could then be used for a normal Instagram post or even smaller macro content and suddenly, one article turns into 3 or 4 different types of social media posts and engagement. I was truly inspired. He said that I should use the example as a perfect opportunity to learn and build my system. He said it could take months to be ready but I feel driven and inspired and ready to take on real-world challenges.

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It's the final week and this is my final client list spreadsheet. It's good to see the work and relationships I've gained from it. At the time of writing, I haven't contacted any other bands for about a week now as I'm trying to focus on content creation and dealing with the open-ended queries and follow-ups that I have. Moving forward, it definitely needs re-organising and colour-coding and this is something I will constantly work on over the next year. For me, it has to be perfected and easy to read. Keeping track of everything was difficult but this spreadsheet helped me out massively.

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When looking online, I found a few really good companies that offer electronic signing, a method that allows the user to sign legally binding contracts digitally, without the need to print out and sign using a pen then re-scan (Davis et. al 2022). This sounds incredibly convenient and ensures that no client wouldn't be able to sign the document due to lack of a printer or scanner etc. A video from 6FigureCreative (2021) helped me discover the importance of client on-boarding and how a client agreement form is an absolute necessity for paid services and covers both the service provider and user, whilst outlining take aways, responsibilities, legalities and payment requirements. Using this information and other information found in my previous post "Contracts", I have created an initial agreement form template for mixing/mastering services and shall use the online service EverSign or Adobe Acrobat/Sign to enable users to e-sign the document.

6FigureCreative (2021) states that an on-boarding Zoom call is an absolute necessity for getting to know a client and knowing what they want out of the project, whilst being open, honest, transparent and easily contactable. This will be built into my system over the next year and perfected so it's a smooth process and I know what to discuss with each and every client.

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Jordan Humphreys Mixing Contract template

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For the next year, I will continue to build my own freelance music production business, working from home and on location when required. I will continue to write my blog posts and release them when I have built up enough to release consistently. Building relationships with both clients and other like-minded producers and engineers that have experience is essential to me. This module has proven that people who are 5, 10, 15 years ahead of me in their career are willing to talk to me, help me out and offer incredibly useful advice. I will continue to still do some work for free here and there so I can build up my portfolio and reputation but the transition to paid work needs to happen naturally, but this will come with time. The importance of building my 'system' over the next year is imperative. For example, I'd like to now re-organise my client spreadsheet into sections and have different pages with clients that are more interested than others or those I have already done work for. This will allow me to keep in contact more efficiently. Also, refining a system that is followed consistently will help business growth. For example, having content ready for social media posting and posting similar things each week. Monday - Mastering, Tuesday - Message a plethora of artists, Wednesday - Uploading demo mixes, Thursday - blog post, Friday - new music releases etc etc.

In the meantime, I will seek full time employment in order to support me financially and allow me to build on my self-employment without the fear of not being able to pay the bills at the end of the month. This doesn't necessarily have to be within the music industry. However, a full time employed job within the music industry could lead to a different career path altogether and that would alter my plans for the self-employed business but that's still a positive thing and would be altered accordingly. My research on establishments that advertise music opportunities will help me search for employment opportunities easier.

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Briefly, I'd like to be in a position where I could feel confident transitioning into full time self-employment with a regular clientele. I believe 3 years is a good time scale but will probably see me working part-time employed and part-time self-employed as I enjoy the security of employment, especially now that I have a mortgage. At this stage in my career, if I have more time in the studio, I'd like to branch out and start looking at sync licensing placements and perhaps try to explore an extra revenue stream. I have the ability and facilities to compose, record and mix professional music that could be used in media and I think it's worth exploring as a way of diversifying income streams. Of course, more research would be needed and may be more time-consuming than it's worth but diversifying is key at this stage.

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In 5 years time, I would like to have transitioned into full-time self-employment and be comfortable with the money I'm making, knowing that I have regular clients etc. This is the ideal goal. At this stage, I'd like to branch out and have a dedicated studio that could also record artists as I know this is something that a lot of artists want to do. From my interactions with unsigned artists online, they want to get into a recording studio and record live drums and make good records. I'd love to be a part of that at every process, not just mixing and mastering. Of course, this requires more space and more investment in equipment. This is when I'd like to move to a bigger house and be in a position to invest. Seeking funding could be a good start at this point of my career. It's nice to have something big to work towards, whilst constantly improving clientele and expanding my portfolio.

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DIY recording is now incredibly accessible and there are thousands of videos and articles online about how to mix and master and produce your own music, so is there even a need for a business like mine? (Andertons 2022). Wittman (2021) and Senior (2019) states that a professional mixing engineer has the experience, tools, space, ears and ability to create a record that an untrained user may not be able to do - even if they can produce the same outcome, it would probably take them much longer than a mix engineer. A study conducted by Goold (2022) aimed to look how artists rated their experience and the final product when recording in small DIY spaces and larger professional recording studios. The outcome shows that the DIY home studio space was received positively due to the freedom of time constraints and creative freedom (Goold 2022). Goold (2022) concluded that the DIY recording studio is emerging as a new paradigm in the recording world and artists seem to be satisfied with either. This shows that the DIY home studio still has a place. Couple this with the need for a mix engineer and I believe that my place and business is valid and can offer artists valuable resources and a service they can trust.

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Based on my experience with a few free clients, I have decided to put together an article on self-releasing music. I have attached a PDF script that will be edited on my blog with images when the time comes to uploading. I will wait until I have at least 10 posts before posting the first one in order to remain consistent.

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Final Reflective Commentary and Conclusion

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Final Reflective Commentary and Conclusion

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Throughout the WB11 module, I feel that I have consistently met my objectives that I created at the start of the module. I have developed my production knowledge and skills and built relationships with fellow producers and engineers whilst also gaining advice and knowledge on the business side, rather than just the production side. One of my targets, to begin my self-employed journey at the end of August, has already been surpassed. I have earned a small amount from completing mastering work for a client, as well as built my portfolio and headed out into the real world, building relationships with clients and running the business. This has left me feeling accomplished but still driven to take it further and receive regular paying clients. Upon reflection, I feel that maybe my targets could have been more realistic as I had most of the tools to begin searching for clients at the start of the module. One of my initial objectives from WB10 was to create a business plan for this business but I never actually got round to creating one and didn't necessarily feel like it was a necessity at this point as I had already launched the business. I do feel that it may have helped with future plans and organisation however.

All of the work I completed for clients went well and I feel that my mixing techniques are constantly improving, whilst also sticking to my core values. The case studies and research completed gave me a great insight into the world of mastering engineers, mixing engineers, producers and studio owners, who gave me a lot of valuable advice that I will take with me moving forward. Upon reflection, it would have been nice to have had the opportunity to meet up with the engineers or maybe even sit in on a session to gain more experience but I don't think time and distance allowed it.

A great positive for me was all of the lessons that I learned and the speed at which I learned them. Within a period of 5 weeks, I had gained experience and learned how to interact with potential clients and also realised what I wanted to get out of each free mix that I do. This led to me creating a client agreement form - something that I will use every time in future, even for non-paying clients. Looking back, I would obviously like to have had this agreement first before doing free mixes but hindsight is a wonderful thing. I also think that actually going through a small negative phase and having to learn lessons helped me grow as a person, as well as helped me to develop in a business setting.

Finally, if I were to repeat this module, I would allow myself more time to focus on extra revenue streams and start writing a blog earlier, thus providing me with more content to post and increase my user engagement quicker.

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LOXZ are a garage-rock band from Birmingham. They caught my eye when I heard their EP, after I discovered them on Instagram. I sent a message to them saying I loved their music and would love to help them out and work with them. They listened to my portfolio on my website and said that they loved the sound I got from mixes and thought I'd be perfect to work with them on their next single in late September. We exchanged messages for a while, talking about music and their recording process. They wanted to record live drums in a real studio so I suggested Mark Westwood's Blacktree Studios and they loved the sound of it. This opened the door to a new opportunity and my first genuine paid client with an official release.

Now I must work on pre-production and my tracking skills. This is where client on-boarding and relationships really makes a huge difference. Moving forward, I will be engaging with the band over social media, sharing their content, staying in touch and going to their gigs. More planning is needed but it's very exciting and something to look forward to after university.

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This week, George and I discussed the band LOXZ and the steps I needed to take in order to be ready for the recording and mixing of the tracks. He suggested contacting Mark Westwood first to see if he offered dry hire on his studio. However, George suggested that, as it's my first time in a studio not in an education setting, I should ask Mark to engineer and I act as producer. I would then take away the tracks and mix them myself at home and this would be how I would earn my pay. I loved the idea of this but it was clear there would be more preparation needed. For example, George suggested going to a rehearsal session with the band and then a pre-production session to work out what sound they were going for, how they play, and how long it would take to get everything done. It's the value exchange, client expectations and client experience now and that is something I haven't necessarily focused on. This is a great thing to focus on moving forward and will be worked on over the next month. I must admit I am nervous and don't want to fail at the first hurdle. Failure is important in growth however so I must take whatever comes and continue to learn.