Steve Wick has made music his career since the late ‘80s, working by varying turns as a live network board engineer and announcer for radio, a program producer, a staff composer, a Foley artist, a sound designer and session guitar player. He currently works as a self-employed independent media producer and music composer under the business name Resonance Audio.
1. How do you get work?
100% of the work I am involved with today is via word of mouth. What I’ve found is that it doesn’t matter how good your website is or how well-thought out your business plan, unless you have real people out there saying how satisfied they were with your work, you’ll not grow or get work. Anybody can create a sparkly facade of talent and professionalism, but few can actually back it up. You need to methodically prove yourself and build a market base over time.
I worked for many years at a radio network and then a studio where I had many opportunities and met a lot of people. I made it a point to keep in touch with many of them because of similar interests. When I would hear from them about an opportunity, no matter how small, I would go all-out on it, not making money an issue. I apparently made an impression because many of them called me back! Many of the folks I’m working with today go back 20+ years. And then there are those I’ve worked with who refer me. I just got a call this week from an indie producer in Kansas wanting music for a radio production he’s working on. I’ve never met him! The ONLY reason he called is because of good work I did for two other clients.
2. What’s the toughest job you’ve done?
Years ago I was contacted to write and record a simple music theme for an audio book. I wrote what I thought was a nice piece based on the client’s requests. The guy who called me loved what I came up with – so I continued on it, filling it out to spec and finishing off the instrumentation. A few days later I got a call from the same guy, telling me that a couple others on the “creative team” had some issues with the music in places. Could I adjust?
I said ok, as it’s common to make tweaks. We went back and forth several more times to please even other folks. Then I got this call: “So Steve, the cleaning lady in the office – who is also a musician – overheard us reviewing the most recent version and she had some comments on the arrangement.”
This simple project was suddenly a study in art-by-committee, which rarely works. I had to draw the line and tell them that I would need to bump my compensation if further revisions were to be made. They signed off on the one I sent following that conversation.
The lessoned learned was to always ask up front, “Who is the ONE person making the final creative decisions on the project?” If there isn’t anyone specific, I encourage the client to find one. That’s the person I deal with.
3. How has music changed since you started? Where are the opportunities now for musicians?
I remember when a “holy grail” Yamaha DX7 synth cost $4,000 – I saw a used one on sale recently for $100. Most of the classic, highly sought-after synths and music technology are now also available as software instrument “plug ins” at a fraction of the old prices, and they’re much more powerful.
Technology has progressed to where now it is possible for anyone in a bedroom studio or basement to obtain the equipment needed to produce, record, sell and get a song on the radio independently. However, that is also the downside to the current music biz. With so many people calling themselves “musicians” and clamoring to be listened to, it’s harder than ever to get your voice heard–even if you are amazing (even success on American Idol does not guarantee a lasting career).
More than ever before, an artist needs to be authentic and highly creative not only in their art, but also in the way they present themselves. Getting music out there has always been about good business practice – the difference is that today most musicians are choosing to do it solo or with very little help and, unfortunately, experience. But if you can create some buzz around your product, work hard and make people happy, you’ll have some measure of success.
4. What would you differently if you were starting over now, from scratch?
I would freak out less about the equipment and focus more on the craft. I spent several years when I first started out dropping a ton of money and effort on all kinds of stuff I thought I needed to run a good studio and make me sound good. I’ve since unloaded much of it on Ebay. What I’ve learned is that if you are a mediocre artist distracted by gear lust, it doesn’t matter how much money you throw at your craft – you will just make your mediocre efforts sound a little better. Work on making quality art with a minimum of “stuff.” A great mic, clean preamp and properly treated recording space are 90% of a great sound. Throw in some creativity, talent and a good ear and you’ve got something.
5. What’s the most unusual job you’ve done?
I once was hired by a local musician to be in the house band for a concert video shoot. When I got there, I was told that I would be playing “electric air guitar” and to act like it was really me playing. So I did. Easiest gig ever – it was 90 minutes of me jamming flawlessly, guitar unplugged, never sounding better. I’ve treasured my copy of the final DVD product and still laugh about it when I see the other guys who were on stage with me that night.
Find Resonance Audio online and on Facebook, or sample Steve’s original instrumental guitar recordings at stevewick.com.
