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Should You Work For Free?

 

There has been some discussion recently on the topic of should you work for free? I often say to those looking to get into touring that they should try to get on a tour for the experience or ask if they can help someone who is doing the job they want to do. More times than not, when you are in a position of limited knowledge but have lots of enthusiasm to learn, you are not going to get paid for offering your services. In my opinion, and it is only my opinion, there is nothing wrong with offering your time in exchange for knowledge from someone else. You are giving them an extra pair of hands and hopefully making their life a little easier that day, and in return, you are learning. There is an exchange of commodities here, but neither involves money.

We need money to survive of course, and I suggest offering your time for free in the beginning when you are in a position to do so. In my book, Girl on The Road, my strategy is to set yourself up with six months of living expenses for this exact situation. If you really want to learn how to do a job on tour, you need to actually go and do the job. Learning from a book or a course is great and the more knowledge you have going into it, the less overwhelmed you will feel. However, for a job like this (on tour), there is no substitute for going and doing the real thing. Unless you work for a sound company and get sent out on the road, paid, it is unlikely you will be able to tour and get paid from the start. Some people believe you should not do anything for free, it devalues you. I disagree. I believe that you won’t be working or as I see it “learning” for free for long. In this industry, its connections. Once you show competence and a good attitude, it is likely you will get more work and very quickly. Once you can offer your services and know the basics of what you are doing, you will get paid. You don’t need to know everything immediately but you can’t be purely learning and expecting to get paid. If you do, that’s a bonus and a wonderful one at that.

I would say everyone needs to take their own path. If you feel comfortable doing as I said above, then go for it. If you don’t feel comfortable giving your time and not being compensated with money, so be it. Whatever is comfortable for you. It doesn’t mean you won’t get to where you want to be, this is just my experience and advice.

I would invite anyone with questions or comments to reach out to me and we can discuss further!

More on Working for Free

Should You Work For Free? No Pay / Low Pay – Is It Ethical?

Working For Free


 

Should You Work a Gig for Free for Exposure?

When working in sound, chances are you’ll come across projects where you’re asked to work for free – and, depending on the project and your situation, you might be tempted to give it a go. But before you do, stop and think for a second. How will this end up benefiting you?

Reasons You Should Work for Free

  • Gain Valuable Job Experience
  • Build a Portfolio
  • Stay Sharp While Unemployed
  • Learn New Skills
  • Gain Enriching Experiences
  • Use Your Skills to Barter or Trade
  • Build Your Resume

Recently we had a member that was asked to work a gig for Exposure!  They asked for advice, and these were the responses.

Advice, please.

Was contacted last night to do sound and lighting for a big hip-hop gig. After minimal response (and info) from my contact last night, I only just now found out its an “Exposure” gig. A bit last minute to tell me that. I’m not in a financial/transportation position to do a gig without payment, or at least travel compensation. It sucks because I’d love to say at the venue and with the artist, but the fact that I was told only now that it’s an exposure gig really bothers me. Should I still work it anyway?

Update: Member Declined the Gig and feels powerful about it.

The Pros Says NO

Janelle: You can’t eat exposure

Apollonia: No.

Diego:  I have some pretty inflexible rules these days for working.
Bottom line is I have to be paid. That can be 1.) Money 2.) Opportunities/Networking 3.) Skillset development. If the cost of you going there (gas, food, etc.) and opportunity cost (passing up paid work or better opportunities), is outweighed by the benefit of doing the gig, I’d do it. Being told last minute that it’s not for pay is a huge red flag though. It says a lot that they either tried to deceive you or weren’t put together enough to lay out expectations way in advance. Trust your gut on this one, whatever that may mean to you!

Janelle

 

 

Tfer:  If it’s not learning or earning, then no.

Jon: Don’t do it. Report them to your IATSE local

Riley: Organize the place with the IA’s help. We don’t punish employers!

Sarah: Hard no. If they were being dishonest about this, who knows what else they will try to pull, even if they offer to pay you after you back out, I wouldn’t do it without an upfront payment, at least in part.

Allison: Nope.

Dylan: Do not work for free. Then you fuck the rest of us.

Sam: You know what quality of folks you are dealing with, but go with your gut. Also, you won’t have WORKED for the venue or the artist; you will have volunteered for it. Sad to hear that something you were looking forward to now has gone bitter. That is not a good way for them to treat people. Maybe since it is so last minute, you can use that as leverage and actually get paid for it. Who else could they get in 4 hours?? Pay you, or no one!

Emily: I agree with Dylan. When you take free or even super low paid work, it makes it’s worse for everyone. It devalues our job.

Gilli: Say no.. if it’s super last minute and they need someone they will find the money.
And, if you do the gig and negotiate a fee, get it in advance…

Riley: Don’t work if you’re not getting paid.

Melisha: So sorry to hear this, they should’ve made that clear from the beginning. Tell them they have to pay because they didn’t say it from the start and didn’t ask if this was ok for you.

Andrew: Exposure doesn’t even work for artists, and it definitely does not work for engineers

Hannah: What’s the exchange rate on exposure bucks these days?

Adam: Exposure for engineering? What exposure would that even be? I work in film, so maybe things are different, but who’s getting name recognition from free engineering work, regardless of who you work with or where?

Oliver: Nah

Petra: Refuse the gig at the last minute, so they have to either pay you or the show does not happen.

Cassie:  Red Flag. Common courtesy to let you decide if you want to work for free, not the other way around.

Brad: My experience over 35 years is “Exposure” or “Future Opportunity” gigs are NEVER worth it.

Kim: I’m cooking dinner tonight, fried exposure. Also, anyone got a spare room I can move into? I can afford 400 exposure a month.

Juno: No, never work for free. Trade only if you can take some advantage of it.

Shea: Run away!

Debbie: Considering you’re experienced, I don’t see why you need exposure. Do we ever really need it? If I were in your position, I’d feel disrespected and possibly tell him to go fuck himself. Well done for not doing that. You should still get paid. Your time is worth way more than whatever “exposure” is.

Jett: Giving them a hard no at the last minute will also make them feel the consequences of their actions.

Jeremy: Ask your landlord if they accept “exposure bucks.” Seriously though, you’re in a good spot. Just tell them if they went want an engineer, they’ll have to pony up the dough.

Lora: Always establish a fee before agreeing to a job.

Justine: Absolutely, resoundingly NO.

Bridget:  If you were a performer I’d still say no, but the exposure part would at least make sense (chance to play in front of a new crowd at a big venue, etc.). As it is, how the hell are they gonna pay you in exposure as an engineer?

Chad:  I’m with on this one. Odds of it paying off, in the end, are super slim

Brad: If you’re going to do something for free, it should be something you WANT to do for free for some reason.

Gemma: Nope. Nope, nope, nope

Ben: I’d say no, personally. Exposure doesn’t pay my bills

Ky: I wouldn’t do it! It seems like people are trying to take advantage tbh.

Ben: Are the security guards also asked to work for free?
“I work for free” = “I am not a professional”

Hayley: A lot of times in my experience when people don’t have a budget and aren’t upfront about things in the first place, they (and the people they introduce you to) are also shady and will just keep being stressful and low-budget. It’s easy to get caught in a rat race to the

Danielle: Kindly respond with your rate, if you are willing to do it at a lower rate then emphasize the discount & leave the ball in their court to accept or reject it. Bottom line is your time & experience is something they need & has a cost. Just because some promoter didn’t budget his event wisely doesn’t mean you have to do a gig for free.

Chris: Maybe ask if you’re going to be offered paying gigs there in the future. If it’s a foot in the door for a new regular venue to work at, it would be worth it. I’ve had to do that at one of the venues I work at. Once they recognized my abilities, I’ve been offered shows and have been getting about three a month.

Jess: Zero pay is unacceptable unless you are the one offering to do a favor. Do it if you believe in the art.

Agusta: Sorry to hear that! Not fair to not tell you in advance I wouldn’t trust they will ever want to pay you.

Leo: I never work for free. Never again (did it lots of times before making this decision) If you work for free, they usually treat you like a dog and suck the life out of you (no food, no water, no help, no communication, nothing…

Rosanna: Noooooo. It’s bad enough that people take advantage of creatives in this way, especially for their own financial gain. I went into technology, so I wouldn’t have to deal with that shit!…

Joan: You were way too nice. The only response to an unpaid offer is laughter

Sesret: No. Nope. Nah. Nuh-uh. With a side of telling them to call you when they are serious

Sue:  “Thank you for your interest in my services; however, I’m afraid I must politely decline your offer.”

Kim: No!!!

Ben: In this industry, if you want it enough, you’ll get it with pay, much sooner than you expect to. Just keep networking and try not to let this discourage you

Jessica:  Exposure gigs are for the artist, not tech people.

Christopher: This is the reason I discuss rates right out the gate so that we are on the same page

Leticia: If you are not local and are going to have to spend more than $10 bucks in gas well then, ahh bah! Pass it up.
Otherwise – Just Do It! If you do actually desire to mix at this venue and for this artist just freakin do it! Most musicians are broke too

Karrie: I always booked one-offs along these lines as best I could

Gigs needed to fill at least two of those.  If I were passionate about this gig and going to learn something, I would consider working for free. Otherwise, PAY ME!


 

Shadowing Opportunity w/ FOH Engineer Kevin Madigan

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Kevin Madigan.

The experience will focus on FOH Mixing. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD, and members will most likely be invited to stay for the show (TBD).

Kevin is currently on tour Santana.

Dates Available:

 

Shadowing Opportunity w/ ME Aaron Foye

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow Monitor Engineer Aaron Foye. Aaron is currently on tour with Willie Nelson.

The experience will focus on monitor mixing. This is open to SoundGirls members ages 18 and over. There are two spots available for each show. Most call times will be at 11 am (TBD) and members will most likely be invited to stay for the show (TBD).

Please fill out this application. If you are selected to attend, information will be emailed to you.

 

Shadow Beth O’Leary ME Tech on Kylie Minogue

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow monitor system tech Beth O’Leary on Kylie Minogue.

Beth O’Leary is a freelance live sound engineer and tech-based in Sheffield, England. Over the last ten years, she has done everything from pushing boxes in tiny clubs to touring arenas and spends a lot of her life in muddy fields working on most of the major festivals in the UK. She has a particular passion for flying PA, the black magic that is RF, travel, and good coffee. 

Read Beth’s Blog

The experience will focus on the monitor system set up and Beth’s responsibilities. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD. Unfortunately, members will not be able to stay for the show (unless you have a ticket).

Kylie Minogue – November European Dates

9th: La Seine Musicale, Paris, France
10th: Samsung Hall, Zurich, Switzerland
12th: Gran Teatro Geox, Padua, Italy
13th: Zenith, Die Kulturhalle, Munich, Germany
14th: Gasometer, Vienna, Austria
18th: Jahrhunderthalle, Frankfurt, Germany
19th: Tempodrome, Berlin, Germany
20th: Palladium, Cologne, Germany
22nd: AFAS Live, Amsterdam, The Netherlands
23rd: Royal Danish Theatre, Copenhagen, Denmark
24th: Mehr! Theatre Am Grossmarkt, Hamburg, Germany.

Please fill out this application and send a resume to soundgirls@soundgirls.org with Beth in the subject line. If you are selected to attend, information will be emailed to you.

 

Shadow Beth O’Leary ME Tech on Kylie Minogue

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow monitor system tech Beth O’Leary on Kylie Minogue.

Beth O’Leary is a freelance live sound engineer and tech-based in Sheffield, England. Over the last ten years, she has done everything from pushing boxes in tiny clubs to touring arenas and spends a lot of her life in muddy fields working on most of the major festivals in the UK. She has a particular passion for flying PA, the black magic that is RF, travel, and good coffee. 

Read Beth’s Blog

The experience will focus on the monitor system set up and Beth’s responsibilities. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD. Unfortunately, members will not be able to stay for the show (unless you have a ticket).

Kylie Minogue – European Dates

September:
18th: Metro Radio Arena Newcastle
20th: Motorpoint Arena Nottingham
21st: Genting Arena Birmingham
22nd: Bournemouth International Centre, Bournemouth
24th: Motorpoint Arena Cardiff
26th, 27th, 28th: O2 Arena London
30th: SSE Hydro Arena Glasgow

October:
1st: Manchester Arena Manchester
3rd: Echo Arena Liverpool
4th: First Direct Arena Leeds
7th: 3Arena Dublin
8th: SSE Arena Belfast

Please fill out this application and send a resume to soundgirls@soundgirls.org with Beth in the subject line. If you are selected to attend, information will be emailed to you.

 

Shadowing Opportunity w/ FOH Engineer Edgardo “Verta” Vertanessian

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Edgardo “Verta” Vertanessian.

Verta is currently FOH Engineer for Vance Joy. Verta has over 22 years of experience having mixed and system teched for a wide range of musical genres in venues ranging from clubs to stadiums. FOH Engineer for Vance Joy, Juanes, Lil Wayne (ME) and more. He has been the system tech/crew chief on tours ranging from Taylor Swift, The Who, Rihanna, Jay Z – Kayne West and more.

The experience will focus on FOH Mixing. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD and members will most likely be invited to stay for the show (TBD).

Vance Joy – European Dates

Vance Joy – Australian Dates

Additional Dates

Please fill out this application and send a resume to soundgirls@soundgirls.org with Verta in the subject line. If you are selected to attend, information will be emailed to you.

 

Shadowing Opportunity w/ FOH Engineer Sean “Sully” Sullivan

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Sean “Sully” Sullivan.

Sully has mixed FOH for everyone from Sheryl Crow, Thom Yorke,  Beck, Justin Timberlake, Rihanna & Red Hot Chili Peppers. He is currently mixing Shaina Twain.

The experience will focus on FOH Mixing. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD and members will most likely be invited to stay for the show (TBD).

Shaina Twain – European Dates

Shaina Twain – Australian and New Zealand Dates

Please fill out this application and send a resume to soundgirls@soundgirls.org with Sully in the subject line. If you are selected to attend, information will be emailed to you.

 

Shadowing Opportunity w/ FOH Engineer Kevin Madigan

SoundGirls Members who are actively pursuing a career in Live Sound or Concert Production are invited to shadow FOH Engineer Kevin Madigan.

The experience will focus on FOH Mixing. This is open to SoundGirls members ages 18 and over. There is one spot available for each show. Call times are TBD and members will most likely be invited to stay for the show (TBD).

Graham Nash

David Crosby

Please fill out this application and send a resume to soundgirls@soundgirls.org with Kevin Madigan in the subject line. If you are selected to attend, information will be emailed to you.

 

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