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Recording Artists - Working Conditions - Illinois workNet

    https://apps.illinoisworknet.com/cis/clusters/OccupationDetails/100453?parentId=110300&section=conditions
    Sometimes work with a singing group. Physical Work Conditions. Often work indoors, but may on rare occasions perform outdoors. May stand or sit physically near others, especially during rehearsals and performances. May be exposed to loud noises and bright lights during certain performances. Work Performance. Must be very exact when performing.

The status and working conditions of artists and cultural ...

    http://www.eenca.com/index.cfm/publications/the-status-and-working-conditions-of-artists-and-cultural-and-creative-professionals/
    Working conditions of artists and CCS professionals is understood in a larger sense, including artistic freedom/restrictions to creation, the aspect of working conditions of disadvantaged groups, and the specific working conditions of young people (in particular with view to the gig/platform economy, precariousness due to project-oriented jobs and self-employment).

Record Producer Job Description: Salary, Skills, & More

    https://www.thebalancecareers.com/record-producer-music-industry-career-2460641
    Nov 18, 2019 · Record producers work with bands, session musicians, and the studio engineers to "produce" the sound of the recordings.A producer's job often involves providing an extra set of ears to aid in the creation of a certain sound or to provide the perspective that comes with experience.

Working Conditions for Artists

    https://books.mongabay.com/labor/working_conditions/092.html
    Working Conditions for Artists. Many artists work in fine- or commercial-art studios located in office buildings, warehouses, or lofts. Others work in private studios in their homes. Some fine artists share studio space, where they also may exhibit their work. Studio surroundings usually are well lighted and ventilated; however, fine artists may be exposed to fumes from glue, paint, ink, and …

Artist Management 101: The Role of Music Talent Managers

    https://soundcharts.com/blog/the-mechanics-of-management
    Feb 18, 2019 · 2. Team architect. The second responsibility of the manager is to build and coordinate the artist's team, made up of separate partners working on different sides of the industry. Each time the artists progress to the next step in their music career, management has to …

How Recording Engineers Work HowStuffWorks

    https://entertainment.howstuffworks.com/recording-engineer.htm
    The job of a recording engineer is not only to record audio, but to edit and mix it in such a way as to make the audio sound the best it possibly can. During a recording session, he must listen to audio from both a musical and a technical perspective, looking for ways to adjust the equipment, recording levels and even the performance of the artist in such a way that the recorded product sounds ...

Craft and Fine Artists : Occupational Outlook Handbook ...

    https://www.bls.gov/ooh/arts-and-design/craft-and-fine-artists.htm
    Sep 16, 2020 · Work Schedules. Most craft and fine artists work full time, although part-time and variable schedules are also common. Many hold another job in addition to their work as an artist. During busy periods, artists may work additional hours to meet deadlines. Those who are self-employed usually determine their own schedules.

Musicians and Singers: Jobs, Career, Salary and Education ...

    https://collegegrad.com/careers/musicians-and-singers
    Musician and Singer Work Schedules. Rehearsals and recording sessions are commonly held during business hours, but live performances are most often at night and on weekends. Many musicians and singers find only part-time or intermittent work and may have …

From Artist to Manager—Working Conditions, Career ...

    https://www.tandfonline.com/doi/abs/10.1080/10632921.2020.1746717
    (2020). From Artist to Manager—Working Conditions, Career Satisfaction, and Professional Identity among Graduated Arts Management Students. The Journal of Arts Management, Law, and Society: Vol. 50, No. 3, pp. 184-198.

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