Ellie: Thank you so much for taking the time to meet with me today! Let's start with a little bit of your background. How did you get into the music industry, and how did you end up at CRC?
Sarah: I started in the music industry in college. I originally wanted to be a sound engineer for films, so I went for engineering. . .I did a lot internships down in Nashville for a while. I worked as an assistant down there, and I just needed a change of pace. I had a contact--networking is everything in this business--I had a contact with Chris Shepard [the CRC General Manager], and came back and had to do the whole intern thing again. . .I was full force towards the assistant route, but living in Chicago by yourself is not easy. I saw a need on the business side, so I went that way. . .working the business side was more attractive to me than working as an engineer plus working two other jobs to make it possible.
Ellie: Do you feel like you're able to balance the business side of things with your social life pretty well?
Sarah: Yeah, I mean, one thing I didn't realize was how 24/7 this job would be. But the nice thing about technology is that you can just do everything on your phone. . .I'd probably say I work 80 hour weeks. . .but at least I can answer when I'm out to dinner. You just have to be on call all the time. . .I only have to deal with paperwork while I'm here [laughs]. The rest of it is just talking to people.
Sarah went on to tell me just how much time she spent talking with people. Interviews, conversations with potential clients, finding the right engineers, assistants, and interns, dealing with former clients, and everything in between all require "talking." Besides people in the studio, making contacts with rental places for equipment and labels are huge for their business.
Sarah: Basically, my job is pleasing everyone [clients, vendors, and employees] at once. . .As much as music is about networking, between clients and studios, it's about trust. A lot. In post [production, getting clients] is all about schmoozing. . .It's all about who is gonna win. . .Taking people to dinner, taking people to concerts. . .It's all about who you like. All of the post studios in Chicago deal with the absolute best. It's about who you like better.
Ellie: What are some challenges you've found in networking? That has to be difficult with such a small community in Chicago.
Sarah: I like to play it honest at all points. . .Sometimes that's not the best for the networking thing. I used to go to all the events and all of that stuff, but it really didn't make a difference in how much business I got. It's all about the people connection. . .The performance when they get there. That's what's going to bring them in and their friends. . .It's about trust, especially with the engineers. . . With the labels, the people are working really hard. . .Making sure that you kind of predict what they are gonna need. Really listening when they call you and tell you what client you're working with and their specific needs. . .You can cater to that and pick the right engineer for them.
. . .You have to treat all of these people, no matter how big they are, like they're an average Joe. Your friend. Just be clear with them. Don't fluff it up--fluff is for post--we just want the hard facts.
We talked about how to choose clients too. Looking for artists who may not be able to pay as much, but who have a great project, is important.
Sarah: That good credit is what you're looking for. Sure this is a demo project, and maybe that aren't able to pay as much, but does it look like it's going to go far? Is it a great project? That's what you look for.
Hey musicians! Here's a good key! Always put your best foot forward. Sarah said that your demo should be the best you can make it. If it isn't radio ready, no important label, or even an indie label, is going to want to take you on. Don't give them a project that still needs work.
Ellie: What are some challenges you've found as a woman in the industry? Do you find challenges?
Sarah: Well, I think there are really just two types of women in this industry. Some have thick skin and they stick with it and they do really well. Others are flakes and they think they want to do it and they never go for it. . .I think it takes a certain type of strength to be in this business surrounded by men. . . People automatically think that you are not as good. But, as long as you know your crap, you're good. . .At the end of the conversation [about music] people are always like, 'Oh you actually knew what you were talking about,' and it puts them at ease. I think it's a fight to the finish; I'm not really sure it's female specific. . .I think a lot women are more musically inclined than tech inclined, but there's no reason you can't be both. I think you should be.
We also got around to that sticky subject of copyrights.
Sarah: I've had people just astonished that I can teach them about copyright law. I'm like, 'You didn't know you had to copyright your stuff, where have you been?' . . .The more you're able to educate your clients, the better clients you'll have. . .It's always good when you can go to a lawyer or a lawyer come to you and you not look like an idiot.
What about other artist's YouTube beats or tracks?
Sarah: If you want to be a part of this industry, then be a part of it. Don't thieve. Contribute something of value to it.
Ellie: Any other words of wisdom for indie musicians?
Sarah: For indie artists, do nothing for free. . . Don't hold out for a favor. The biggest thing for beginning artists is to actually pick good songs for your demo. Pick two, three good songs and invest in them. [See above]. . . Social media is obviously huge. Don't release your stuff for free, like on YouTube, if you can help it. . . Release it on your own website and code it so they can't take it. . . Having super social media skills is important. I would always recommend hiring someone to do just that. Even if it's part time. . .Connections, connections connections.
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