Rap Sheet Records: Week 1 EOC: Great Customer Service

Wednesday, July 10, 2013

Week 1 EOC: Great Customer Service

Recently, I was in need of a replacement tire for my vehicle. Having that my tire exploded on the freeway on a Friday night made it somewhat difficult finding a tire shop open that late. The following morning I began my search for a replacement, my concern was being able to locate a shop open on a weekend. My first stop was Wal-Mart, as I approached the tire and lube center behind the building, I noticed a line of cars and the people occupying them. Dreading the long wait, I turned my car around and continued my search. Eventually, I drove past a Tire Works. To my surprise, this location was open and seemed to be void of customers. I quickly ran inside to ask for assistance. Upon entering the waiting area, I was greeted by both of the service clerks behind the desk. Automatically, I felt I had made the right choice by stopping by. Soon after, the attendant began helping me with my dilemma. Unfortunately for me, the tire needed for my vehicle was out of stock at that particular tire shop. The employee, Chris, reassured me by calling other Tire Works locations around the valley to see if anyone else stocked this part. To no avail, I was stuck once again without a proper tire. Sensing my frustration, Chris once again reassured me. This time, calling suppliers in other states. Luckily for me, Chris was able to find one in Salt Lake City, Utah. He informed me that it might take a week or so to receive the tire. As he took all my information, Chris offered to call me throughout the week to keep me in the loop. As a few days passed, Chris kept his word and kept me informed. Appreciative of his effort and caring attitude, I made sure to tip Chris accordingly.

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About Me

As an audio professional it is in my best interest to observe the world around me in relation to sound. Whether it be the melody of birds chirping, the intensity of screeching tires in traffic, or the serenity of raindrops tapping on the window pane. Each day presents unique opportunities to capture audible images. Sound is everywhere, and it helps to paint the picture. For example; if you watch TV without sound, it is difficult to understand what it is you are watching. But if you listen to the TV without watching, you can visualize what you are hearing. By listening to my surroundings, I can have a clearer idea of what is needed to bring a scene to life, or which sound effects can be used together to make a more realistic sounding car accident, or even matching the sound of a gun shooting a metal target. Similar to anyone's fingerprints, no two sounds should be exactly alike. Meaning, two dogs barking in a quiet neighborhood should have variety in tone, rhythm, consistency, and even pitch. One dog may be older and have a wheezy sounding bark, while the other could be a smaller dog with a higher pitched yapping bark. In this line of work, one can never have too many “dog barking” or “bird chirping” sound bytes in their personal sound effects catalogue. A sound recorder should be attached to the sound designer’s hip at all times. With more variety brings a deeper sense of realism. How many times have you heard the same sound byte of a woman screaming in more than one horror movie? Or the sound of children’s laughter in a diaper commercial and a Chuck E. Cheese ad. Reality shows are infamous for recycling sounds bytes. In my opinion, it is because the sound editor lacks range in his sound effects library. Just as no two sound bytes should be alike, no sound is too distinct. If I needed the sound of someone getting stabbed, for a Foley project. I can always improvise. Maybe try cutting into a watermelon or raw meat, the fun comes with experimenting. Along with being able to capture sounds, one in the audio industry should be able to describe and communicate the type of sound required for each project. In the field, it is common to work with other people. Whether it be talent or director, either of these will be depending on me as the professional to convey what is needed to add color to a certain scene or act. Or even when recording music, deciding which effects to use to make the talent sound even more talented. Maybe a delay here? A little reverb after the chorus? With so many effects to choose from, even the worst singer can make a hit record. That's the beauty of it, to be able create an audible masterpiece from scratch. The behind the scenes work which goes un-noticed to the untrained ear (if done correctly), is what motivates those in this creative field. To be sound Gods and being a part of history by creating beauty for others to enjoy. This is why we spend countless hours staring at computer screens, listening to the same audio loop until it loses it's meaning. To show off our passion and share that same passion with millions of others just like us. Because every project you work on will have your name on it, it is another opportunity to showcase some skills of your own. Skills ranging from A.D.R. (added dialogue recording) to mastering. Because one in this profession usually has his or her hand in every aspect of the industry. One will never go hungry in the audio industry if they are jack of all trades and master of them as well. An audio professional can always jump around in the field if there's ever a need for something new and refreshing. Movies, live sound, voice acting, broadcasting, and even audio books. the possibilities are endless! In addition to recording sounds, being aware of acoustics of a recording area, proper microphone placement and handling is key to capturing optimum sound quality. A great orchestra can sound dull if the acoustics of a room aren't suitable for recording and or proper recording techniques are not practiced. Techniques such as placing a microphone at a 45 degree angle above or below the speakers' mouth to avoid any unwanted popping sounds. Proper handling of microphones is just as important, blowing into a ribbon microphone can cause damage and be quite costly. Knowledge of audio equipment is also a requirement in this advancing field. Staying up to date with the latest consoles, microphones, and even software as well as the more traditional resources to recording, as some artists prefer using the "old school" method. Digital or analog, Pro-Tools or Logic, to be familiar and confident in one's abilities to perform in the industry might be the edge needed to gain the upper-hand in this very competitive market. As a professor once advised me, "If you want to work for Cirque du Soleil, learn to speak French". The slightest advantage could mean getting hired or getting passed up. Even something as minor as wrapping cables correctly can be the determining factor which bends in your favor. Never stop learning! And don't get too comfortable or too set in your ways. Try new techniques, play with different microphones and different pickup patterns to achieve your audio signature. The same way a movie director uses unique camera angles to depict a shot, an audio engineer should use unique and distinctive audio techniques to portray the desired effect. Instead of resorting to the generic sound bytes, why not think outside the box and create something fresh? Bringing creativeness to the table appeals to artists who feel their art is "restricted" when working with someone they can't relate to artistically. They say if you work at doing something you love, you will never work a day of your life. Working in an artistic environment doing what you love is the ultimate payout.