RECORD COMPANY
Production Manager • Production And Office Manager (independent Label)
JOB OVERVIEW
The production manager takes over the manufacturing master at the mastering studio, ships it to the plant, and then follows through all the way up until the finished product is shipped to the distribution warehouses. The production manager also coordinates with creative services to get their film shipped to the printing plants, the graphics printed to meet up with the CDs and cassettes, and have them assembled and sent to the warehouses.
The production and office manager orders and stocks office supplies, processes invoices, and helps where needed, which may involve answering telephones. The office manager also obtains mechanical licenses, oversees royalty payments, and is involved in artist imaging for photo and video shoots. These staff work with the art director and designer on CD and video packaging, and other promotional pieces, and oversees the design, printing, and manufacturing process. Assembling and mailing press kits, promotional CDs, and other materials is also part of this job.
CAREER TIPS
“Make sure you truly love the business and you believe in the artist(s) that you work with. You can't be motivated by money because the money goes up and down.” You may land a job that pays well, and then the company suffers a major cutback, and you're faced with taking a pay cut to secure another job.
“Don't ever burn a bridge. At some point, you will work again with somebody that you've worked with in the past and you don't want any bad feeling or bad words between you.”
A DAY IN THE LIFE
Throughout Dawn Bryant's day she answers and routes telephone calls, greets artists, managers, and others coming to the label for meetings. She may talk with the art director about a CD cover design, order more stock from the manufacturing facility, assemble promotional packages, or sit in on a staff meeting.
POINTERS FOR THE JOB SEARCH
Strong secretarial skills may enable you to find an entry-level support position. Be willing to start as a receptionist, secretary, part-time assistant, or mail room clerk to get in the door of a record label. Then work hard with a good, positive attitude. When an opening becomes available, you will be a proven asset to the company.
DAWN BRYANT, PRODUCTION MANAGER AND OFFICE MANAGER, EMINENT RECORDS
A three-week temporary receptionist job at a Fort Lauderdale, Florida radio station was Dawn Bryant's introduction to the music business. Two years later, she had moved up to morning show producer, researching topics, writing bits, and occasionally reporting. “We were the number one station in south Florida, so we had constant dealings with artists like Gloria Estefan, Huey Lewis, and Michael McDonald.”
THE LEAST FAVORITE THING ABOUT THIS JOB:
“There is no stability in the music business. You're hot one day and the next day you're not, depending on how successful the artist is you're working for. If something happens—they lose their deal or don't sell as many records—the next thing you know, you lose your job.”
THE BEST THING ABOUT THIS JOB:
“I love the perks. I remember one night sitting on a bus in Austin, Texas with Shelby Lynne, Bruce Hornsby, Asleep at the Wheel, and Willie Nelson, just chatting. I got to go to Tricia Yearwood's wedding and sat next to Johnny Cash. You get to meet people you really admire and respect. I've gotten paid to travel and do some really cool things.”
A divorce and the desire to move to another environment led Bryant to Nashville. “Even though I had built a small career in southern Florida, it really meant nothing in Nashville. If you don't know someone, it's nearly impossible to get in. I worked as a hostess and bartender at the restaurant at night and started doing temporary work during the day. Whenever the agency got a call from the music industry, they sent me.” A call to temp at a business management firm, O'Neil Hagaman, led to a one-year job in reception, office, and administration work. “[While] there I met Monty Hitchcock, who was managing Emmylou Harris at the time, and he hired me as his assistant.”
The time with Hitchcock was an important learning and growth period for Bryant. When Magnatone Entertainment opened a record label, management firm, and publishing arm, she was ready to spread her wings. “I started in the management side. We got a lot of flack about the conflict of interest—our artists that were on the label were also managed by us, and eventually they shut the management division down.” After Magnatone, Bryant joined TLE Management, artist Tracy Lawrence's attempt to manage other artists, but the firm was closed down six months later. Bryant landed back at Magnatone, working as creative services coordinator for the record label, but within ten months the label folded. Several other independent labels closed at that time and she found herself competing in a flooded market of laid off employees, and had to take work outside the music industry.
Eventually, Bryant received a phone call from a contact she had made while looking for work. There was an opening at Moress, Casmus Management, and she secured the job as Stan Moress' assistant. A year and a half later, she got a call from former boss Monty Hitchcock, offering her a job with his new label, Eminent Records, proving the truth of Bryant's advice that “you never want to burn a bridge,” because you will probably end up working with the person again. www.eminentrecords.com
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