After renting an office in 1994, Johnson quickly
began working with some of
country music's leading producers, among them,
Buddy Cannon, Scott Hendricks,
Blake Mevis, Billy Joe Walker, Jr., and Paul
Worley. In 1998, she met with Bill Hamm
and Richard Perna, and three days later was
brought in as general manager to set up
the project coordination division of Hamstein
Productions. Within six weeks, busi-
ness had grown so much that she hired two staff
members.
PRODUCTION ASSISTANT · PROJECT
COORDINATOR
JOB OVERVIEW
Production assistants and project coordinators
work for a record producer and
handle the business side of recording. This
includes formulating a budget, scheduling
the studio, hiring the engineers, musicians,
arrangers, and mixers, making arrange-
ment for any necessary travel, tracking the
costs, approving and paying bills, and
overseeing the project until it is
completed.
PREREQUISITES
To succeed, you should have organizational
skills, self-motivation, a friendly per-
sonality, knowledge of the recording process
and administration, and sensitivity.
A DAY IN THE LIFE
"At the beginning of a project, I may be
sitting in front of the computer writing
the budget," says Ivy Skoff. "If it's crazy and
there is a lot going on, I'll be writing the
budget very, very early in the morning, maybe
at 4
a.m., so I can do it before the
phones start ringing. There are always AFM
contracts to process, budgets to write,
billing for reimbursements and billing the
client, and other administrative tasks. Then
"If someone wants to be a project coordinator,
they really need to be
aware that it's not the creative side of
A&R, it's the administrative
processing."
"Print up business cards that say `Production
Project Coordinator.' If you
see it in writing, whatever it is, you'll
believe it and you'll start doing it."
Study liner notes and learn what musicians
played on each track and
who produced it. Learn about the recording
process and who does what.
Try to land an internship in A&R at a
record company.
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