Eight Steps To Becoming A Sound Engineer

As a Partner at Dalton Koss HQ (DKHQ), I regularly visit educational institutions around the world to give Master Classes and lectures on careers in the audio, music and creative industries. Over the past 36 years I’ve earned my living as a live sound engineer, tour manager, studio engineer, record producer, artist manager, A&R consultant, rehearsal/recording studio owner, record label executive and more recently as an educator. Discussions with early career professionals always trigger the question, how did I get started on my 36-year career in the music industry? What was my personal journey? One of my most frequently asked questions is, “how do I become an audio engineer?” It’s an interesting question as there is no standard route into the profession. It’s highly unlikely that you’ll ever see a mainstream advertisement in the jobs pages of a newspaper for an audio engineer. I maintain that working in the audio production/music industry is not a job or even a career, but it’s actually a lifestyle, which requires a huge amount of personal commitment. If you are looking for high pay, hedonism and fame then a career in music and audio production definitely won’t be for you.

The music industry does an incredibly clever smoke and mirrors trick where it tries to make itself appear revolutionary and anti-establishment. In reality the music industry is probably the world’s most compliant, conservative and least revolutionary art form on the planet. If you want to be creatively cutting edge and revolutionary then try fine art, fashion or architecture as an art form. To help re-align perceptions of both employers and students, I have organised a number of speed dating with industry events in the UK, USA and Australia. At these very popular events students meet music industry managers and owners and speak to them one-to-one. Results are always positive from both sides of the table. Students start to realize that the product may be music, but ultimately, they will experience a very similar working life to everyone else. The job description may include activities that might seem like social occasions e.g. going to shows, visits to the studio, riding on a tour bus, but being involved in these activities from a work perspective is very different from hanging out with your mates.

The music industry is first and foremost a business and a very serious financially focused one at that. Whether you end up working in the independent music world or for a major international music label, you will be expected to work very long hours in a highly competitive work environment to achieve measurable successes often under difficult circumstances. You may get to wear skinny black jeans and Converse to work, but this doesn’t mean that you are working any less then your friends who have to wear a suit and tie to work in their office jobs. There will be long hours, with the potential for advancement if you perform well, the potential for dismissal if you don’t, good bosses, bad bosses, troublesome clients, all the standard workplace related experiences will apply. There will definitely be some cool perks, but trust my 36 years of experience, they will be very few and far between and they’ll definitely be hard earned. Anyone who is hard working, creative, passionate and motivated will fair extremely well in a music industry career. Here is my personal eight-step guide to become an audio engineer: –

  1. Start working with sound equipment: Audio equipment has never been so cheap and much of it these days is software based. Get your hands on as much equipment as possible and practice your skills. If you believe Malcolm Gladwell’s theory (I do) then 10,000 hours is the magic number. Start clocking up those hours now. Audition microphones, recorders, effects, plug-ins; work out what they do and how they can be used creatively and correctively. Spend all day mucking about with audio equipment, discuss audio equipment with like-minded folk when you’re not mucking about with audio equipment and then when you go to sleep dream about audio equipment – it’s a lifestyle remember?
  2. Enrol on an appropriate audio degree:There are a plethora of different degree options out there so find one that suits you. The role of audio engineer is a diverse one e.g. live audio, post-production, programming, maintenance, design installation, broadcast, mastering, music production, etc. Go and visit the different institutions, that’s what open days are for, and see what they have to offer in terms of degrees/diplomas structure, equipment, exit qualification and consider teaching staff experience. Ideally the educational institution that you choose will have lots and lots of project work (remember that 10,000 hour rule?) so you’ll get plenty of hands on time. A degree in audio production on its own will not be enough to secure you some work so in addition go to a recording studio, rehearsal room, music venue or local theatre and try to make friends with the sound crew. Tell them you’re interested in what they do, and ask if you can hang out and watch them work. Find out about the job and then work out what you want to do and start doing it.
  3. Read some books:There are lots of books (I’m currently writing my third one), magazines and web sites out there. Read as much as possible about audio engineering, music production, mastering, equipment and everything connected to audio and music production. Audio engineering is an incredibly complex industry but the information is out there but it will require you to actively research the industry. By reading you’ll understand the history and context of the industry and that will make you a much better and more employable engineer. Become familiar with different kinds of sound equipment; do lots of research on the Internet, check out the websites of sound companies, studios, record companies, producers, etc.
  4. Learn to use different audio software: You probably already have a favourite piece of software, which you love to use. As a professional you need to be confident in using all of the tools available. Find out about the other software packages available that you don’t use including: ProTools, Cubase, Reason, Cakewalk, Sibelius, Digital Performer, Live, Ableton and Logic.Most of the manufacturers of these products have free demos available on the Internet. Go on the different forums and speak to the audio gurus about issues that you are having. Watch lots of Youtube videos that show you the shortcuts and hacks.
  5. Get familiar with lots of different types of music: As a music industry professional you’ll be working with music that may not be to your taste. It’s vital you critically listen to as many different types of music as possible. No one is asking you to like this music but you do need to understand the mechanics and how it operates. Spend lots of time critically analysing different musical genres that you wouldn’t normally listen too. This is probably the most single important skill you can train yourself to do. A good educational institution will have critical listening sessions as part of their program. When learning how to record, mix and edit music you should also know about the wide variety of music available in the world. Here are some of my learning principles:
    • Listen to different types of songs.
    • Analyse different types of sounds.
    • Try to catch each and every beat.
    • Think “how did they do that?
    • Learn to create your favourite music and even the music you don’t like.
  6. Be honest with your weaknesses and commit to improving yourself:
    After you have completed a project, look back and critically reflect on what went well and what didn’t. Critically discuss with your peers, employers, and teachers about what you have created and work out how you can make it better. Commit to being better next time by adjusting your workflow or being better prepared. Where necessary, make amends with the parties at the receiving end of your mistakes (e.g. musician, performers, a missed cue on stage or in the mix).
  7. Expose yourself to the ever-changing audio technologies:
    Chances are, there’s a better way or better tools to get your job done today than there were 6 months ago. However, whatever technology you are considering to use needs to be thought through in the context of what your project actually needs. Technology should always serve what you are trying to achieve in the project, not the other way around. Think of technology as the tools of the trade but do not become technology obsessed because it should be about the music and not the tech. If you apply a piece of tech to a project ask yourself is it helping the artists express whatever it is they are trying to express? If the answer is NO then you probably don’t need that side chained, frequency sensitive plug-in gate ducking the out-of-phase room microphone in the mix.
  8. Be entrepreneurial and become the CEO of your own brand. Just like Bonds sells upmarket underwear and JB HiFi sells electronics, you sell something that is unique — YOU.  This includes your identity, personality, work ethic, goals, aspirations, fears and much more. Think of yourself as a brand, as your own public relations, sales and marketing department all in one, and you need to be the CEO of that brand. In the creative industries, self employment and working on short term contracts is the norm so know how to sell the best version of yourself and position your image that will be favourable to all. Your digital footprint (Facebook, Instagram, LinkedIn, Twitter, Google+, YouTube, Wikipedia, etc.) may be a huge factor in you getting that vital paying gig, so actively manage your brand.

Tim will be hosting the following music industry sessions over the next three weeks:

Tim Dalton is a Partner at Dalton Koss HQ with over 38 years of international experience as an audio engineer, record producer, record company executive, A&R consultant and educator. Originally from the UK, Tim has worked internationally with David Bowie, Sir Paul McCartney, Simple Minds, Elvis Costello, Faith No More, The Beastie Boys, Run DMC, Transvision Vamp, Primus, De La Soul, and Atomic Kitten.

THE ART OF A&R

One of my most regular and popular Master Classes that I deliver to early career music industry professionals is ‘The Art of A&R’. A&R spelt out is Artist and Repertoire. The A&R department of a record company is responsible for:

A. working with the talent who are already under contract, and:

B. finding new talent; that is seeking out new material and acts to sign in an attempt to develop a roster of artists for the company.

The A&R department’s staff are frequently involved in all aspects of an artists’ relationship with the record company, including the initial negotiations and the signing of the recording contract, the rehearsal arrangements and production, and promotion divisions of the record company. The training of new creative, entrepreneurial forward thinking and business savvy A&R managers is, I would argue, central to the very survival of the music industry.

In a time of crisis and collapsing sales of recorded music in the music industry, creative and entrepreneurial A&R workers are more important than ever. Only by continuing to create new products and value can record companies compete in this rapidly changing market. The reorientation of A&R instruments and strategies are critical to meeting the consumer’s needs in the present climate. The relationship between the product/artist and the fan has to become closer through the use of new marketing and production instruments and strategies. New tools like. for example, fan community contests, new gatekeeping functions, new financial opportunities and new technologies afford record labels the chance to rally against falling turnovers. Even if record companies concentrate on buying and selling copyrights and catalogues in the future, A&R departments will be important as a gatekeeper to maintain the company’s A&R guiding principles and policies. In other words, A&R managers and departments are there to ensure the quality of artists and content associated with the record company.

To be able to survive this crisis new challenges have to be conquered, new requirements fulfilled and new opportunities seized. As a result of collapsing sales in the music industry, recording labels have less capital at their disposal. Production and artist development budgets have been dramatically reduced. When I worked in A&R we had at our disposal lavish budgets. That said nothing stifles creativity more than wealth. As such, it has become harder for labels to invest in new artists and to develop their careers. However, the business of finding and recruiting new artists still operates as it has done for decades. There is no shortage of hard working, talented artists who want to become stars but it seems to have become harder for labels to earn money with the music they are producing, and as a result they have less budget for their development.

To withstand the drop in sales, new income streams have to be found to ensure the development of, and investment in, the careers of new artists. As long as record companies are developing, releasing and selling new artists, a turnover is guaranteed. A&R management not only involves the process of scouting for and finding new talent, but also acts as a gatekeeping tool allowing record labels to meet the company’s A&R guiding principles and policies, even if finished products are being signed to the label. Even if labels decide to concentrate more on buying, selling and monetizing copyrights rather than developing and producing new artists and/or products in the future, A&R management will remain one of the most important instruments. To be able to conquer the current crisis and to compete economically, record labels have to recalibrate the instruments of their A&R policy.

I recently gave my ‘The Art of A&R’ Master Class in Sydney, Australia at the Australian Institute of Music (AIM) to a bunch of highly creative and motivated undergraduate students. During this session I realized that I was lacking some ‘takeaways’, so in order to re-address this gap, here are some possibilities and ideas:

  1. Closer artist/fan relationship. Major labels in particular still have a very impersonal system of information distribution for fans and end-consumers. It has become more and more important to show ‘the person behind the star’. by revealing to fans and consumers the real lives of their idols and stars with all their strengths, weaknesses and mistakes, The product can gain an emotional value This personalisation evokes compassion (a Dalton Koss HQ key word). The fan feels bound to the star, both emotionally and personally. By being transparent about the recording process through daily or weekly updates, pictures and videos of the work in the studio on the artist’s website, blog, You Tube, Facebook, Twitter and Instagram accounts it is possible to show the fan how a record is made. Fans learn to appreciate the intrinsic value of music by seeing the intensive work required before a final product can be bought in the store. Its time to fully exploit social media and turn it into a powerful marketing tool.
  2. Product development process. Fans could be actively engaged in the production and development process of artists via demo listening, remix contests and artwork contests. Demo listening
 would allow various versions of song demos that had been uploaded to the artist’s Bandcamp or SoundCloud accounts and fans could vote which songs should be produced as part of the next album. Modern young audiences are familiar with this format because of the numerous TV talent shows that exist. Remix contests are already a very popular means of creating a more personal relationship between artist and fan. Fans could download the audio stems of a song for free, or even for a fee, allowing them to create their own version of their favorite artist’s new song. By selling these audio stems another source of income could be generated. Their creators could upload these finished remixes and the fan community could vote for their favorites. Within the scope of a digital or physical release the most popular remixes could be sold guaranteeing a further income stream. For the re-release of the 1976 David Bowie single ‘Golden Years’ an iPhone app was created which allowed fans to create their own remix. The app was made available the same day that the EP ‘Golden Days’ was released, with remixes by well-known producers. For artwork contests
, the fan community could be asked to upload pictures or graphics they associate with the artist or with the artist’s song. After a vote by the fan community, the most popular ones are then included in the booklet artwork or even as the cover.
  3. Improvement of product policy. With the introduction of the compact disc (CD) from 1986 onwards, sonic quality reached a new high with the added bonus that CDs had more ‘space’ than a 12” vinyl record. To boost the income of successful singles, subsequent albums were often filled with inferior songs, of live or rehearsal versions, just to fill the empty space. Some of this material was of rather dubious quality and I’ve heard a number of my own live mixing board recordings end up as a ‘bonus track’ on records. It is important that the quality of the whole product is high and sadly this just hasn’t being the case. My main problem with digital dissemination is the poor sonic quality of MP3 and MP4 files; they sound awful. All the other creative media have moved into High Definition (HD) or Ultra High Definition (UHD) e.g. TV, Cinema, photography, yet music’s sonic quality has gone down the quantity over quality route. If music production moved into HD or UHD mode then the process of developing the product may take a little longer and be more costly but the product would be greatly improved and have more customer appeal. Who knows there may be an end consumer who is willing to pay a premium for an album of near perfect production and of a super high sonic quality?
  4. A&R competence of imprints. To cover a lot of different music genres, major labels are forced to depend on the A&R competence of their imprints. Through imprints, which specialise in non-mainstream and niche music markets, major labels get the opportunity to uncover underground trends earlier and to develop them. As such, imprints are talent pools, experimental research and development laboratories for their parent companies. Not only do they develop the performing talent they also develop A&R management talent too. For this reason niche imprints need fostering and developing.
  5. New strategies of market cultivation. According to record company marketing guru, Marcel Engh, A&R policy has to be the basic element of modern music marketing because it provides and produces the value of the value chain in the recording industry, the content is the strategic factor of success. As the developer of true value, A&R policy has to remain the foundation of record labels. A company’s turnover has to grow not only through artist copyright but also through comprehensive use of the 360-degree contract. Very controversial but worth considering?
  6. The use of new technologies as instruments of A&R policy. With the rapid growth of the Internet, it has become easy for unknown artists and musicians to share their music over the World Wide Web. With Web 2.0 artists can present themselves with their biography, pictures, videos and their music. The challenge of using the Internet as an A&R instrument to find new talent is the access to vast numbers of new and unknown artists. Fan communities can act as gatekeepers to show A&R departments which artists are likely to appeal to potential customers. Relevant indications include the number of plays of uploaded songs, the number of profile views and the comments written on an artist’s wall, all very useful metrics. The popularity and media presence of casting shows helps record labels increase their income. But developing long-term careers with the winners doesn’t appear to work all the time. It is hard for the artists to compete against the following season’s participants and often the winners of one year disappear from the screen when the next show begins.
  7. Public Subsidy. During the global financial and economic crisis of 2008 and 2009, automobile companies had recourse to financial support in several countries in order to be able to survive and avoid bankruptcy. Keeping these unprofitable automobile companies afloat translated into decreased job loss and maintaining industry activity until post-financial crisis. It’s very controversial but maybe something similar could also occur in the music industry? In a postindustrial service based economy, the creative industries, in which the music industry resides, employs significant numbers of people. Increasingly, governments are recognising that public subsidy may be part of the business model for the the creative industries.

Through the reorientation of instruments and strategies of A&R policy, record companies can overcome the recent sales collapse. However, the industry needs fresh ideas and creativity when it comes to selling new products and artists. The days of sitting back and waiting for the big money to roll in are long gone. It has become difficult for record companies and artists to promote and sell their music. Only with good ideas, extraordinary marketing tools and instruments can companies maintain the consumer’s interest in buying music. Major labels, in particular, need to return to developing long-term artist careers instead of relying on one-hit wonders and TV talent shows, even if these do provide some short-term increases in turnover. Successful long-term careers are the key here; the re-imagination of past business models, such, as the three or five album deal is probably the solution. Sign talent with a view of developing and growing it along with its audience over a significant period of time. In order to do that we need new, creative, entrepreneurial and media savvy A&R managers and workers.

BEVERLY LUCAS IS A GLOBAL CEO

Beverly Lucas is the CEO for Knight Composites a global company designing and manufacturing high performance wheels for the cycling and triathlon industries. Originally hailing from Sheffield, Yorkshire, UK, Beverly is the true definition of a multinational company leader. Like many CEOs of international companies, Beverly’s hard working pragmatism and dedication has led her to global success.

Beverly explains to Dalton Koss HQ the importance of being politely pushy and why it is easier to run a global company when you are living and/or working in a number of countries across different time zones.

I started racing when I was 9 for my local club, the Rutland Cycling Club, the oldest UK cycling club. Riding and racing your bike against your twin sister instils an independent spirit. My mum still tells me today that she knew when I was 4 years old that I would be the one in the family to fly the nest and go abroad to become an amazing leader. My mother’s support has been the one constant in my career for which I am continuously thankful.

I like to think that I have my mum’s dedication. She has always pushed and encouraged me. If I am honest, my leadership journey has been relatively easy. I never experienced sexism in the cycling industry; I have only been treated with the upmost respect. I think this is because I always maintain my ground, fighting for what I believe in. It stems from having determination, fire and passion and making it clear that I will not be trodden on. I have never let my gender get in the way of what I wanted to do.

My leadership journey started at Felt bicycles. In addition to having a strong work ethic, I had a brilliant boss by the name of Bill Duehring. He always steered me in the right direction and is the great-uncle I never had. Bill shaped my career, giving me advice to become the great leader I am today. If I can be half the person Bill is, then I would be happy. Bill encourages his staff to succeed. He was and still is my mentor.

When I moved to Bend, USA, in 2005 I became one of their first telecommuters. Bill had faith in me to continue my job no matter where I travelled. It takes a certain individual to work from home in a management role for another company. It requires work life balance. Felt was a real success story for me. I was one of the few women in the cycling industry in a management position and I’m proud to say I helped put Felt on the map with its first Tour De France team. It was wonderful to do this for Bill and he still thanks me today.

In 2007, I became pregnant with my second child Cameron and my husband and I decided to buy a bike shop in June/July of the same year. I just finished working for Felt, I was within three weeks of delivering and I was the volunteer coordinator for the Cascade Cycling Classic. Simultaneously, I was consulting for elite athletes, managing their contracts. It was at this time that Jim Pfeil came to me with (then) Edge Composites wheels and told me that the company needed some guidance. Jim called me and asked if I would consider speaking to Edge’s CEO about product globalisation.

I started to research Edge and I was impressed with their product considering they were a small company, but I uncovered that Edge didn’t own their own name or IP and a Chinese company was ripping them off, so I knew they needed help and I started to work for them from Bend. We then relaunched the company under a new name the following year at Eurobike and it was incredibly successful. I also took ENVE to their first wind tunnel tests using my connections at Felt. The results were less than spectacular and I recommended that they needed an aerodynamicist to assist their composites engineers with a much faster design.

At that time, the Australian cycling team, Fly Virgin Australia, was sponsored by, and using, ENVE composites. As an avid Formula 1 fan, it caught my attention whilst watching the Melbourne (Australia) Gran Prix back in 2009, that Jenson Button’s F1 team, then Brawn GP, were also sponsored by Branson’s outfit. I used this connection to basically blag my way into the Brawn GP compound in Brackley, UK, to discuss the potential of having Brawn GP aerodynamicists help with our wheel designs. An alliance with Brawn GP would have been massively expensive, but their Head of Trackside Aerodynamics told me about Simon Smart, who had an engineering background with Red Bull and was also a big cycling fan. At the time, he was already involved with a couple of brands in the bicycle frame industry and was rapidly becoming renowned as one of the top aerodynamicists. I had a beer with Simon and we got along like a couple of old mates.

We started working with Simon and before we knew it, we had the Smart ENVE System. It is about having the courage to believe in what you think is ground breaking and pursuing that thought. This courage sets you apart from others and is essential in being a leader. It was watching the Melbourne Grand Prix at 5am that I had the light bulb moment of gaining better aerodynamics via Formula 1 race engineering. It is about trusting your instincts. I went after the Brawn GP to work on wheel dynamics and a successful partnership was borne out of that. It was fun!

After working for ENVE and spending a couple of years – ironically – working in the bicycle industry in Melbourne, I was approached by Jim Pfeil and Kevin Quan and asked me to join their quest to create the world’s fastest bicycle wheel. I immediately responded with yes! Initially we didn’t have a brand name and tossed around some ideas. It was my partner Sean who approached me and suggested to call the brand Knight, my dad’s surname. Taking on this name was sentimental for me. My dad passed away when I was young. He introduced me to cycling, sharing his love and passion for the bike with me from a very young age.

Knight Composite 65 Custom Wheels
Knight Composite 65 Custom Wheels

I was asked to be the company’s CEO by our investors. This proposition took a little longer to agree to. Heading up a new company is a huge risk, especially as a parent with the responsibilities of two children. It takes a lot of courage and faith to move out of a regular job with a regular paycheque to owning your own manufacturing company. Unyielding hard work, devilishly long hours and very little sleep – it’s hardly a glamorous role and certainly not one for the faint hearted.

However, this risk has paid off with Knight Composites comprising of an amazing team of people creating fantastic results. Each person is 100% committed to our brand and products. The whole team works incredibly hard, but we all love what we do. Like any cycling team, to make it to the top you have to be prepared to sweat and work with your teammates; you’re in the race together. I’m incredibly proud of what we do, who we are, where we are going and how much fun we will have in getting there. Being the team leader – or CEO – is just the small print.

Knight Composite wheels are used extensively by  triathletes and cyclists.
Knight Composite wheels are used extensively by triathletes and cyclists.

Some key words I use to describe effective and successful leadership include:

  1. Dedication; a large quantity is needed.
  2. Courage; you have to have faith in your own ideas and courage to see them through.
  3. Face-to-face conversations and relationships; building trust, confidence and integrity across all your professional relationships is necessary to build a successful career.
  4. Confidence; it is important to believe in yourself and see any program of work through to the end.
  5. Humility; it is important to understand the perspective of others and what it is like in their shoes. I am lucky that I have worked at the global level with different cultures so I find it easier to get on with a diversity of people at multiple levels. I always love to help people, getting them where they need to be. I thrive on other people getting a kick out of what we do.
  6. Creativity; be creative in how you make things happen, identify the gaps and see the synergies.
  7. Build strong partnerships; each partner will bring something to the table. I have amazing staff here in Bend and you need to trust and empower your staff. I am not full of my own self-importance.

Face-to-face communication, whether on Skype or flying to meetings, is the best way to communicate. This is incredibly important in Europe and Asia, where discussions around a table are still far more respected than emails and phone calls. This human side to a working relationship is incredibly important, something that emails and phone calls cannot replace. Cycling is a business, but most of us are in this industry because we love it! There’s nothing better than getting to know your business partners in and out of the conference room by putting a ride together after work or going for a swift one down to the local pub! That’s the difference between business travel being a chore and actually becoming an opportunity to experience other ways of life. It was a lot easier to travel when I was young and single. It’s difficult to leave your kids when you have an important job to do but I have never missed Molly and Cam’s birthdays yet!. It is really hard to keep a work life balance of being a good mum and employee. Most of the time I think I am pretty good at this, but it does require hard work. 

I attribute a lot of my success to my mum. She taught me dedication and instilled a sense of just keep going; basically resilience and strength. I am fortunate to have amazing people in my life that I can count on. They provide a great support network and will be honest with me, calling me out when required. In essence, it’s actually easier to run a global company when you are experienced in living and/or working in a number of countries and across different time zones. I think you have to be prepared to put in the hard yards and make the effort to travel to other countries to really understand the mechanics of global business.

Azjer Airgas Pro Team with Knight Composite wheels at an international Pro Race.
Azjer Airgas Pro Team with Knight Composite wheels at an international Pro Race.

I don’t subscribe to the view that you can be a rounded leader by only ever working from one desk in one city – for example, how can you possibly head up global sales or global marketing if you only have a one-sided geographical and cultural perception of how industry and commerce work in other countries if you don’t actually live it? You can’t be parochial about business matters and equally you have to learn to empathise with the people you’re working with. I have such phenomenal friendships with past business partners because I spend time getting to know them.

My health and wellbeing is central to functioning across multiple time zones. I don’t do yoga because I can’t spend more than ten minutes in a group setting without laughing. My back yard comprises of 350miles of off-road trails. I don’t ride as much as I would like to, but I often choose to ride and run on my own, avoiding groups, so I can think and plan accordingly. My personal time is pretty haphazard anyhow and I can’t stick to a daily regime. The only constant in my life is school pick up and drop off. If I need to clear my head, I take a break and go for a run or ride.

I am totally dedicated to what I do. I am a research junkie. I am a tech geek. I am not a TV watcher as I don’t really have time for TV. This time researching keeps me ahead of the game and my competitors. I am lucky to have a lot of common sense and find the time to talk to a lot of people. I look at what other companies are doing. It is mind blowing as to what is out there. I love my job. I do have a sincere passion for what I do but I also care about what everyone is doing.

For those who want to create their own business or product within the cycling industry, my advice is to reach out to knowledgeable people even if you don’t know them. Ask people to help you. For the most part, 90% of people in the cycling industry are in it because they love it and they are happy to help you. Across any industry, there will be handfuls of people who don’t care and will not give you the time of day. You will quickly learn who they are. Don’t be afraid to reach out. LinkedIn has been an amazing tool for me that I use daily; ultimately you need to learn how to communicate yourself to the greater professional world. Don’t be afraid to be politely pushy.

To learn more about Beverly and Knight Composites, please click on the links below:

LinkedIn: https://www.linkedin.com/in/beverlylucas

Knight Composites: http://knightcomposites.com

Beverly looks after her health and wellbeing through a number of sporting activities including skiing.
Beverly looks after her health and wellbeing through a number of sporting activities including skiing.

EMMA GRELLA, KATE PALETHORPE and ANNA THOMSON ARE THE CREATIVE ENTREPRENEURS BEHIND FONDO

Emma Grella, Kate Palethorpe and Anna Thomson are the co-founders of Fondo. What started as a creative passion project to address the current market gap for modern and trendy women’s cycling kit, has metamorphosed into an entrepreneurial business that supports women cycling at all levels.

Dalton Koss HQ talks to Emma, Kate and Anna about their desire to grow Fondo while simultaneously improving women’s cycling across the globe.

We all met while working for a food company. Anna and Emma were in the marketing team, while Kate was in product development. Someone came up with the idea to enter Around the Bay in a Day as a team. Coincidently the three of us had just started riding bikes. We entered the event and bonded over the riding learning curve, laughing at our first attempts of riding in cleats.

Our first cycling kit purchases consisted mostly of drab patterns and heavy text logos. As we continued riding we noticed there wasn’t any fashionable cycling kit for ladies that wasn’t pink. This is how Fondo started. Instead of lamenting the lack of fashionable, fun and sexy women’s kit we created a new line that moved beyond pink lycra and florals. We discussed the concept for about 12 months before we actually took the jump into manufacturing.

When we started Fondo it was almost by accident. The three of us were at a crossroad with our careers. We were, and still are, working full time day jobs while we manage and grow Fondo in our spare time. When we initiated Fondo it was as simple as lets just do this. We became creative entrepreneurs overnight. Moving from the conceptual design of the kit to manufacturing has been the hardest part in realising Fondo. A lot of time went into researching cycling clothes manufacturing. We found that many of the companies that manufactured cycling kit were not flexible, preferring to stick with their designs rather then meet the needs of a new customer. As Fondo, we wanted flexibility to design our own kit and not rely on other designs. That was the whole point of Fondo, to design something new, fresh and appealing to women across all age groups.

Anna, Kate and Emma in the stylish and sexy Fondo kit.
Anna, Kate and Emma in the stylish and sexy Fondo kit.

We eventually found a manufacturer that was willing to design our kit but unfortunately this company didn’t take us seriously. There was the usual discrimination that women’s cycling constitutes a small market. The manufacturer wanted to use their own branding and had different ideas as to what our product should look like. It was a difficult 6 months; we knew what we wanted but didn’t know how to get there.

Using our networks, we eventually found another manufacturer who was based in Italy, one who produced good quality products and had an excellent reputation. Our account manager was also a woman and she understood what Fondo was trying to do and supported us in realising our company. She was very patient and explained all the manufacturing nuances that one doesn’t know if you are not in the manufacturing industry. By being flexible, our designer was open to our ideas and most importantly provided us with an excellent chamois for our kit (a must for anyone who wants to be comfortable in the saddle!). All of the sudden our concept became tangible.

When we received our first prototype, we were very excited – it was amazing! Emma made a trip to Italy to oversee the manufacturing process. It was a wonderful experience and was very reassuring for Fondo being a small and new business. The owner of the company, a wonderful older Italian man, spoke to Emma during her visit. Keeping in mind that this company makes kit for pro peloton teams, the owner was highly supportive and encouraging of our work emphasising that we are the new and young generation filled with fantastic ideas that need to be realised. Receiving these words made us realise that Fondo was at the right manufacturing company.

Having a go is the key; we would not have done this as individuals. We had to put our own time and capital into Fondo. Since we started Fondo, we have received a lot of support. Fondo has also reciprocated by giving a lot of support to women’s cycling. To hear our customers and networks confirming how well Fondo is doing is really nice and satisfying. As we continue to ride we know what we like and want for Fondo. We listen to women and our customers and tailor our designs to address the issues they raise. Fondo injects fashion for women who are into cycling and are fashion conscience. Although Fondo took time to develop, we are doing what we love and delivering a product to fill this large gap in the market place.

Don’t worry about what everyone else is doing; just keep going. Don’t let your fears stop you.

Developing Fondo from a passion project into a successful business taught us some key lessons including:

  1. Communication: with three co-founders of Fondo we have to make decisions collaboratively. Everyone needs to be kept in the loop across all decision-making.
  2. Honesty, Integrity and Trust: You need to trust in each other and have the confidence to make decisions.
  3. Courage: move beyond your fear by just doing it. Two sayings we apply at Fondo are: “This time next year you wish you started today” and “It is always to beg for forgiveness then permission”.
  4. Inquisitive: always be inquisitive, ask questions. It is the only way to become knowledgeable.
  5. Respect: be respectful to everyone around you no matter if they are your customer, colleague, family member or friend.
  6. Passion: love what you do. Being passionate moves beyond fun as it gives you that edge. Fondo doesn’t feel like a job. It is fun. We never thought we would be those people who love their work.
Fondo supports women's riding at all levels, from sponsoring women's racing to hosting a monthly women ride in Melbourne, Australia.
Fondo supports women’s cycling at all levels, from sponsoring women’s racing to hosting a monthly women’s ride in Melbourne, Australia.

There have been a few challenges growing Fondo from a passion project into a business. When we started to design the Fondo kit, we wanted women to freely mix and match tops and bottoms, a bit like finding the right bikini for your body shape. However this makes ordering challenging – it can be difficult to know what sizes to order when we haven’t been in business long enough to experience any trends.

Overseas manufacturing is also a challenge. Waiting for designs and stock can be stressful at times, specifically where there is high customer demand and no product to fulfil that need. Additionally, we have to be mindful of northern hemisphere holidays, for example, the whole of Italy shuts down in August, meaning Fondo has to timetable and organise production and manufacturing to avoid being caught out. As mentioned earlier, finding a reputable and good quality manufacturer took time.

All of Fondo’s co-founders work full time in day jobs, so we need to be organised and ensure we meet at least once a week to make decisions and discuss our next steps. Fondo’s success has come from networking, both face-to-face and online. We have learnt to be open. There is always someone who has a connection and can assist. Never underestimate the power of a conversation. Fondo receives a lot of support from the local community especially from the many wonderful female cyclists. The women’s cycling market in Australia continues to grow. Fondo has opportunities in this market place and being a business led by women for women strengthens our brand in this space.

Two years ago, we joined a ride at Tour Down Under. Most of the women were left behind as the men sped off into the distance. We learnt a lot from this experience so when Fondo hosted a ride to Wilunga Hill for the 2015 Tour Down Under, we ensured no one was dropped whether they were female or male. Fondo’s customers came from across Australia, totalling around 75 riders. It was wonderful to meet our customers. There was a steep hill, but we all made it shouting and encouraging each other along the way. There is nothing more powerful then getting a group of women together to egg each other along. We all rejoiced and connected through the love of cycling.

Fondo kit is sexy and fun simultaneously and beautifully manufactured in Italy.
Fondo women’s cycling kit is simultaneously sexy and fun and beautifully manufactured in Italy.

Our next greatest challenge will be moving Fondo into the international market space. We have just launched a Fondo Ambassador program to advocate and promote our business internationally. Catching up once a week to discuss these initiatives is important for growing Fondo beyond our Australian shores. These weekly meetings form part of our business discipline; it is our Board Meeting. It can be risky going into business with your friends but we put our friendship before Fondo. We all have different skills sets. It helps to cover all aspects of the business. Emma is Fondo’s self appointed Chief Financial Officer, Kate is Fondo’s legal team and Anna leads and manages Fondo’s marketing, PR, networking and brand ambassador. We believe that women and physical activity will receive investment in the long term.

At Fondo, we all believe in looking after our health and wellbeing. We do a lot of cycling, practice yoga and meditation and support exercise in general. This keeps Fondo going. All of us need to have reflection time in a relaxing environment. Creating the second Fondo range was draining and hard. There was a lot of pressure, high expectation and we didn’t want to release something poor or second rate. We did a whole range and then scrapped it because we weren’t happy with the idea. We are releasing a new Fondo range very soon; we are incredibly excited.

We keep an eye on fashion trends and work with people who can help achieve Fondo’s vision. We stay true to Fondo’s philosophy and founding principles. There has been a conversation about designing a men’s range, based on feedback from male cyclists, but at the moment we really want to focus on women.

We need to create new visions for Fondo’s product line. What is next and how do we achieve this? If we don’t continue to create, we run the risk of doing the same thing. Once you are in a business there are always new opportunities. It is important for all of us to step out, carefully address each opportunity and then focus on delivering just one creative idea. It is important for us to keep having a go until one of the ideas is successful.

To learn more about Fondo and how to be part of their monthly women’s rides, please click on the links below:

Fondo website: http://fondo.com.au

Instagram, Twitter and Facebook: FondoCycling

Fondo-4

Octocorals

The title of this week’s DKHQ Marine Fact sounds like a sci-fi animal; the visual being half coral, half octopus. Although not a sci-fi creature, this animal is a coral.

When I use the word coral in conversation it often elicits responses such as, “Oh, you mean the coral in the Great Barrier Reef?” Yes, the Great Barrier Reef does have a diversity of beautiful corals, but you don’t have to travel to the tropics to see corals. The corals I am discussing today are found in the cooler temperate waters of Southern Australia. You may need to put on a thicker wetsuit to view them, but they are just as beautiful and colourful as their tropical cousins.

Here are some incredibly interesting facts about octocorals:

Fact 1: The ‘octo’ in octocoral represents the eight feathery tentacles found on each polyp that form the coral. The feathery tentacles are attached to the stomach.

Octocorals are beautifully colourful.
Octocorals are beautifully colourful.

Fact 2: Octocorals are filter feeders, meaning they eat microscopic organisms floating in the water column. The feathery tentacles, as described above, act like fingers swaying in the water current, capturing organisms such as plankton (microscopic animals) and phytoplankton (microscopic algae). Each tentacle is hollow, allowing the organisms to travel from the feathery tips down to the stomach.

Fact 3: Octocorals form colonies that are attached to the seabed or other hard structures such as large rocks.

Fact 4: To see octocorals you will need to SCUBA as they prefer to live at depths between 4-50m.

Fact 5: Octocorals are in the scientific Order Alcyonacea and consist of soft corals, gorgonians and sea whips.

OLYMPUS DIGITAL CAMERA

ALBUM RESCUE SERIES: THE CLASH ‘GIVE ‘EM ENOUGH ROPE’

Some albums are born classics while others need a more revisionist approach. The Clash’s second album ‘Give ‘Em Enough Rope’ is definitely in the latter category. If any album was in need of a critical rescue 37 years after its release then it’s this one. Back when this album was released I was 15, just about to turn 16, and I’d played their eponymous 1977 debut album, The Clash, to death. Every single track on the first album, according to my young ears, was amazing. At the time I’d worked hard to earn the money to buy this album by having two paper rounds, one early morning and another one in the evening. In compete contrast to today; music back then was an expensive commodity. I worked hard, saved my money and rushed out to my local record store to buy this record. When I got it home and first played this record I was pretty disappointed. Where was the anger, where was the aggression and where was the confrontation? In fact, where was the punk rock? This record sounded like some mid Atlantic over-produced pro-rock band?

Retrospectively there seems to be some social and economic parallels between the UK today and the late seventies. It was a time of economic depression, the working class were still down trodden by the conscienceless political rulers and moneyed elite, racial tensions simmered and a generation of disenfranchised young people with no future prospects were ready to lash out a wave of destruction in the form of riots in protest at the injustices of the world they find themselves in. We’re not quite there with the youth riots yet, Brixton and Toxteth style, but they are definitely on the horizon if things don’t change.

It was during this period that The Clash released their second eagerly awaited album ‘Give ‘Em Enough Rope’ on 10th November 1978. When all the other major British punk bands died in 1978 and were replaced by tepid New Wave acts, CBS (the Clash’s label) tried to push the band into the US market whether they liked it or not. In preparation for the recording of this album the band undertook a ‘secret’ mini tour of the UK Midlands. Bernie Rhodes, the band’s manager, and the record company had settled on Sandy Pearlman, a heavy metal producer with a commercial track record with bands like Blue Öyster Cult, to produce their second album. He was described as the “Hunter S. Thompson of rock, a gonzo producer of searing intellect and vast vision” in the Billboard Producer Directory.

Between 24th and 26th January 1978 The Clash played in Birmingham (Barbarellas), Luton (Queensway Hall) and Coventry (Lanchester Polytechnic). According to Paul Simonon (2008) “The record company had this idea that they wanted a big name American producer for the second album”. The record company felt that the band’s first album was just too raw and not radio friendly enough for American audience’s refined taste. Pearlman attended all three shows to audition the proposed material for the album. At the last show at Lanchester Polytechnic in Coventry (26/1/78) Perlman tried to get backstage just before the show to meet the band. Mick Jones’s old school friend, Robin Crocker (AKA Robin Banks), was taking care of backstage security and he didn’t know who Pearlman was. Crocker wasn’t a man you messed with. Some heavy duty manners were employed to keep Pearlman from going backstage resulting in the longhaired American record producer lying prostrate on the floor blood pouring from his nose as the band stepped over him to take to the stage. As normal The Clash don’t play by the rules, what a great introduction to your new record producer. Pearlman must have been keen because this incident did not dampen his enthusiasm to make their second record.

As 1978 wore on an exasperated record company desperately wanted a follow up album to capitalize on the quick and cheap first album. CBS did not release the first album in the USA; it was only available via import, as they thought the quality was not high enough for American audiences. To compound matters, the once wholly supportive music press where also starting to view The Clash with suspicion amid claims that they were lazy and not pulling their weight. Strummer and Jones de-camped to Jamaica for two weeks to write new material prior to recording. The whole band reconvened and undertook an initial multi-track recording at Wessex Sound Studios, and Basing Street Studios in London.

Wessex Sound Studios would become The Clash’s studio of choice for future recordings while Basing Street would see Mick Jones return there with Big Audio Dynamite. The Clash, Sandy Pearlman and engineer Corky Stasiak spent many weeks recording the tracks for Rope. This was in complete contrast to the first album, which was recorded and mixed in CBS’s own basic Whitfield Street Studios, London. The first album had urgency to it; it was recorded and mixed over a three-week period working Thursday to Sunday each week. The band, and in particular drummer Nicky ‘Topper’ Headon and bass player Paul Simonon, complained about the nick picking way that Perlman recorded. Both complained bitterly about the lack of spontaneity during these recording sessions. Once recording was complete Mick Jones and Joe Strummer claimed to have been virtually kidnapped and taken to San Francisco for overdubs and mixing. Jones and Strummer probably went to San Francisco without Headon and Simonon quite willingly but their claims aid the myth and legend of The Clash. What is known is that Headon and Simonon where very pissed off about not being involved in the USA overdub and mixing sessions.

CBS Records, The Clash’s record company, initially owned The Automatt studios in San Francisco but by 1978 it was sub leased to ex-CBS employee David Rubinson. The studio complex was known for its top-notch equipment and for the radio friendly hit records it produced. Between September and October 1978, singer Joe Strummer and guitarist Mick Jones worked with Pearlman at The Automatt to record overdubs for the album. Flying in from the UK, Jones and Strummer stayed at the Holiday Inn in Chinatown, and almost every night they went to see punk bands play at the Mabuhay Gardens, known locally in the punk scene as ‘The Mab’. Between takes at The Automatt, Strummer and Jones listened for the first time to the Bobby Fuller Four version of I Fought the Law on one of Rubinson’s studio lobby jukeboxes. When they returned to England this song was re-made into a Clash classic which would make its first appearance in March 1979 on their short, five date, London Calling Tour. Then in May 1976 it would become the stand out track on The Cost Of Living.

The results of the Rope are not nearly as good as they could have been and there are perceived to be three major flaws. First of all, Pearlman hated Strummer’s voice and buried it disastrously low in the mix. Secondly, he packed the sound with distortion, booming drums, and overdubbing, making all the songs sound similar and muddying the impact of The Clash’s considerable guitar fury. Thirdly, the lyrics Strummer wrote came under attack because they were considered histrionic, esoteric and soaked in melodrama: they look unkindly on British punk. What the public didn’t understand was that Strummer’s lyrics were self critical of the band, his own career and the world at large.

Mixing the drums so loud on this record is probably a testament to the abilities of Topper Headon. This is one of the few albums in the DKHQ Album Rescue Series where I largely blame the production on the album needing a rescue. In this instance I would opinion that Pearlman was a bad choice as producer for this record. It could have been much worse though. At the time there was no digital audio workstations (DAW) or software, which allows for the manipulation of audio. If this DAW software and technology had been around at the time of recording, and had Pearlman used it as un-compassionately as he did of analogue recording technology available at the time, then this album would probably be un-savable.

The Clash were not in a pleasant situation during 1978. They were being accused by the music press of selling out, of being phonies and being pushed by their record company for a more commercial, clean, mainstream, sound which they apparently loathed. The music falls apart under the war between producer and band; commerciality and creativity never sit well together. In abstract form the songs written by Joe Strummer are fantastic, and would have been truly world-class had a more sympathetic production been employed. Safe European Home is a great mixed paean to Kingston Jamaica, Tommy Gun is a chilling take on terrorism, Drug Stabbing Time has an undeniable rock groove. Stay Free is a world-class romantic history of the band, written in true Mott The Hoople style by Mick Jones about his childhood mate Robin ‘Banks’ Crocker (he of the Pearlman punching incident pre recording of Rope). I would agree that these songs aren’t punk songs; correct they aren’t. This is Strummer developing as a lyricist, in the same way that Jones was developing as a superb studio arranger. This is the sound of The Clash leaving punk behind and moving into much more interesting territory. Rope is a transitional album. These facts should be celebrated because without Rope we would not have the undeniable classic London Calling or the equally impressive Sandinista. Rope is The Clash and in particular the creative talent of Strummer/Jones developing and serving notice on what’s to come.

The album cover features a painting in stark flat colors of a Chinese horseman looking down at an American cowboy’s body being picked at by vultures. The album art was designed by Gene Greif and is based on a 1953 postcard titled End of the Trail. The original postcard was photographed by Adrian Atwater, and featured the dead cowboy Wallace Irving Robertson. Joe Strummer and Mick Jones had come across a painting titled End of the Trail for Capitalism by Berkeley artist Hugh Brown that was on display at San Francisco’s punk rock hangout the Mabuhay Gardens. Strummer and Jones would have seen this picture many times during their three-week stay in San Francisco while attending gigs at ‘The Mab’. It obviously made a lasting impression as the album cover and picture have a striking resemblance.

The original postcard titled End of the Trail (1953) by Adrian Atwater depicts the dead cowboy Wallace Irving Robertson.
The original postcard titled End of the Trail (1953) by Adrian Atwater depicts the dead cowboy Wallace Irving Robertson.

Maybe 37 years is enough time for us to re-evaluate this largely ignored album and accept it into the cannon of The Clash’s work? In many ways this album is like a set of rough sketches of ideas and concepts, which would be employed on further work. On the first album, The Clash stuck to their guns and insisted on Mickey Foote mixing it despite opposition from the record company. On Rope they caved in to CBS and their decision led them to having Sandy Pearlman as producer. In actual fact this gave them a good position to bargain from, insisting that Guy Stevens produce London Calling. The other noticeable fact is that the last gang in town were split into two factions, Strummer/Jones and Simonon/Headon, during the writing, recording and mixing of Rope. Strummer/Jones are probably the beating creative heart of the band but they needed the Simonon/Headon lungs to function. I’d love to hear a Mick Jones re-mixed and re-mastered version of this album from the original multi track tapes (if they still exist). Maybe we should think of this album not for what it is but for what it could have been? Despite the inappropriate and unsympathetic production, this is a great album and is well worthy of rescuing.

Rope1

Warren Kennaugh Helps Others Find the Right Fit

Warren Kennaugh is a Behavioural Strategist with WK Global and works closely with senior executives, elite athletes and sporting organisations to develop and further enhance their capability. Warren’s leadership in behavioural change has seen him deliver development programs that include: Senior Executive Coaching & Development, Advanced Leadership, Human Capital Due Diligence, Strategic Planning, Team Building, Sales Strategy Development, BPR and Generation Y.

Warren discusses with Dalton Koss HQ the importance of understanding your values and behaviours to ensure best fit within your chosen career.

I started my career as a mechanical engineer. Arguably it served me the most compared to other work I have done over my career. I take an engineering approach to understand people. For example, when building a bridge you need to understand its construction from the detail to the big picture. It is the same with people. You need to understand their underlying values, motivations and expectations to the bigger picture of what they want to achieve in life. After a few years in the engineering sector, I decided that I wanted to expand my knowledge and opportunities beyond practical engineering application.

I made a move into the banking and finance sector by taking up a sales role. I was in this industry for 5-6 years and worked my way up into leadership roles. During 1995, my organisation went through a restructure and I saw it as an opportunity to start my own coaching and facilitation company. On reflection 25 years later, I was happy that I made this choice when I did.

Since 1995, I have worked with 50-60 major organisations, specifically with senior executives. In early 2006, I was approached to work with elite athletes in national sporting teams. I was asked to build their emotional and behavioural capabilities. My first role was working with the Wallabies in the lead up to the 2007 World Cup. This experience created further opportunities in the sports industry. I have now worked with ARU, SANZAR, World Rugby Referees, World Rugby Teams, Cricket Teams, Australian and International Umpires, Elite Equestrians and World Golfers.

These experiences taught me that there isn’t a lot of difference between elite athletes and high-level professionals. There are many similarities in the skills they value or undervalue, judgements that are made, and their goal oriented drive. I seek to understand these polarities and how they are applied in daily approaches to work. These two major groups of professionals also face similar dilemmas, for example, where and what are their blind spots and how will these cost them? For five years, I served on the Board of a NRL Team and held a number of advisory roles on banking and financing boards and financial services.

One key word that I use to describe successful and effective leadership is fit. You need to find a role that fits your values and behaviours. This role needs to be in an organisation where the team and other leaders value what you value otherwise you will not engage and will feel disconnected. You need to understand how you operate. Those who are technically good at what they do will often move to other organisations until they find a better fit based on their values. By not discovering our values the daily bump and grind of our role is more articulated compared to the enjoyment of a role when our values and skills are the right fit. As a consequence of not understanding these values there is lot of wasted energy in the workplace. Philosophically, I understand the need to earn money in a role that is not satisfying to ensure personal financial responsibilities are met. However, there comes a point in time when this lack of satisfaction becomes too hard and it will be apparent whether you are the employer or the employee.

The key to my success is to always follow my nose. I believe in myself even in the face of detractors. I tend to be a little on the edge, different and so far it has worked for me. I push my boundaries and find my own path. Often, I had wished that I had done things faster. I see this as my failure; I wasn’t quick enough to take action. These situations were always associated with self-doubt. There were opportunities I missed because of my self-doubt and this is how I learnt to always believe in myself.

A professional life is not simple anymore; the rate of thinking has changed. We are more connected and the lines of authority are somewhat blurred. There is whole series of disruptors in our world that creates complexities where as 30-40 years ago professional life was a lot clearer. There were direct lines of professional responsibility. Now there are more options, which can be viewed positively but it comes as a cost due to increased complexities.

My success is attributed to the combination of having an idea and running with it. I work hard and I am very blessed to bump into the right people at the right time. There seems to be a general aligning of the planets. I am strongly supported by my family, which is critically important for me. I am lucky that I can follow any train of thought across any occupation, which is important in my role. I am easy to get along with and I am humble. No matter what I do, I always apply integrity and honesty. It is important to work out what you are good at and how to grow in this area so you can become the best you can be.

Live life and be observant is the number one rule to learning about yourself. Build yourself a strong support network and have trusted advisors who can be honest with you and you with them. Take nothing personally and challenge yourself. Take on a big project, we don’t learn in our comfort zones. If you are not drowning at times, you are probably not where you want to be. Learn and practice the art of self-reflection and self-awareness.

I use the McKenzie Three Horizon model to plan ahead. This approach allows me to identify what I need to be doing to be effective for the next 12-18 months, what opportunities can manifest in the next 3-5 years and what wild and crazy ideas can I seed for fruition in 5 years and beyond. It is important that I think creatively and I am innovative in my approach. It is important for me to be continuously learning so that I can assist people across all their challenges. I am lucky that I am ambitious and inquisitive about how things work. I am curious. These personal attributes are critical for my success. I think we are in an age where we need to think like a consultant no matter your role. Unless you are better than the next person, you get passed over. To be a good leader it requires emotional intelligence to understand yourself and others. Some people are too self aware and others are not aware at all.

It is important to find a good mentor. Learn from the best in the world. This person has most likely covered the majority of the territory you are interested in, even looking under and between the rocks. Find a philosophy or a person you align with. If it is a person, contact them, if it is a philosophy apply it to all that you do.

To learn more about Warren and his work as a Behavioural Strategist, please click on the links below:

Website: http://www.warrenkennaugh.com

Connect with Warren on Linked In: https://au.linkedin.com/in/warrenkennaugh

Follow Warren on Twitter: @Warren_Kennaugh and @WKGlobal

Seaweeds

Seaweeds are the plants of our oceans. Similar to land plants, seaweeds play an important role in absorbing large amounts of carbon dioxide and turning it into oxygen we all need in order to live.

Most of us view seaweed as that smelly stuff that washes up on the shore, frequently thrown around by rowdy kids and teenagers. A storm or human extractive activities are the root cause for seaweeds to be washed up on the shore. When washed up, seaweeds are dead and decomposing which is why you crinkle your nose to that funny smell.

Dalton Koss HQ Partner, Rebecca Koss, doing underwater monitoring and surrounded by the brown seaweed Cystophora subfarcinata.
Dalton Koss HQ Partner, Rebecca Koss, doing underwater monitoring and surrounded by the brown seaweed Cystophora subfarcinata.

Seaweeds are beautiful and come in a range of colours, shapes and sizes. They provide homes and protection for many ocean animals. Some seaweeds provide food for animals and are the basis for many food webs. Even humans harvest seaweed for food and other products. Here are some more interesting facts about seaweeds.

Fact 1: Seaweeds are plants, scientifically termed macro(large) algae. They are simple plants without roots, stems, leaves or flowers.

Fact 2: Seaweeds grow on the intertidal shore and in subtidal areas. Like land-based plants, seaweeds harvest sunlight for photosynthesis and will only grow at depths where sunlight can penetrate the water column.

Fact 3: There are three major seaweed groups and they are based on their colour: red seaweeds (Rhodophyta), brown seaweeds (Phaeophyta) and green seaweeds (Chlorophyta).

Fact 4: There is a fourth group of seaweed that is often contested to being a true seaweed amongst marine algae biologists (scientists who study seaweeds). This is the blue-green algae (Cyanophyta).

Fact 5: Some seaweeds are very small and grow on other seaweeds when environmental conditions are opportune. These seaweeds are known as epiphytes.

Fact 6: Some seaweeds have long fronds and can grow up to 10 meters in height creating underwater forests, for example, the large brown kelp Macrocystis angustifolia that grows in southern Australia. Other seaweeds are small, encrust hard structures and often look like lichen.

Red seaweed encrusting a snail's shell.
In the above picture, there are different growth formations of red seaweed. One growth form encrusts the snail’s shell (middle of the photo) while another growth form has fronds (top of the picture).

Fact 7: Seaweeds attach themselves to solid structures such as rock and wood pylons using their holdfasts. Holdfasts are like a whole bunch of fingers tightly gripping onto a solid item. However, seaweeds  are smart and go one step further. Holdfasts secrete a chemical that is similar to superglue to ensure the seaweed is permanently stuck to that structure. This allows the seaweed to withstand strong currents, tides, swells and stormy conditions. This super glue like chemical is being researched by chemists as a natural product to be used in human products, e.g. glues that can be used for building houses.

Fact 8: Some seaweeds are harvested globally as food, medicine and as a product for other applications such as toothpaste, ice-cream, soil fertiliser and shampoo.

Fact 9: Port Phillip Bay located in Victoria, Australia has over 200 different types of seaweeds and is one of the most diverse seaweed locations in the world.

While seaweeds might be pretty stinky while decomposing on the shoreline, without them our oceans would be pretty dull and devoid of life.

The brown seaweed Hormosira banksii growing on the rocky intertidal shore.
The brown seaweed Hormosira banksii growing on the rocky intertidal shore.

Album Rescue Series: Ultravox ‘Ultravox!’

Some people know about my two-part life but most don’t. The two halves are cycling and music which are similar to oil and water; its very rare that the two mix. In early 2015 bicycle company Swift Carbon, who named their top of the range racing bicycle Ultravox, invited me to the launch of their new carbon fiber racing bikes. It was an interesting event held in a posh, spotless, boutique style bicycle shop in St Kilda, an über hip and trendy suburb of Melbourne. At this launch I met South African company owner Mark Blewett and I asked him why he hadn’t named these bicycles something more cycling orientated e.g. Mistral or Sirocco (both hot winds that blow across the Mediterranean from the North African desert). It turned out that Mark was a big fan of 80s synth-pop and in particular the UK band Ultravox, what he didn’t know was there were two very different versions of this band.

The lessor known but more adventurous Ultravox (version one) ran from 1974 to 1979 and then the more commercially successful Midge Ure fronted version two ran from 1980 onwards. Most people are familiar with version two due to mega hits like Vienna and Dancing With Tears In My Eyes. For me this is a problem as the latter more commercial and insipid work throws a long shadow over version one.

It’s the version one February 1977 debut album, Ultravox! that I am rescuing here. The exclamation mark is a sign of their origins. When the band formed in 1974 the Krautrock band Neu! was a heavy influence. Originally the band went by the name Tiger Lilly and drew their influences from The Velvet Underground, Roxy Music, Bowie, Steve Harley and The New York Dolls. Though not really a performing unit at this stage, other than the odd pub gig, they did write a lot of material some of which makes it onto this album. This album was recorded cheaply at Island Record’s studio in Hammersmith, west London in only 17 days. Production work was undertaken by up and coming producer Steve Lillywhite, who would later find fame with U2, Simple Minds, and Roxy Music’s Brian Eno.

On the 2003 compilation release, The Best Of Ultravox, there isn’t a single track from this debut album. I would argue that Ultravox were at their most vital, and did their best work, on this debut album. But why is this piece of excellent music largely ignored? Anyone expecting this album to be similar to the Midge Ure fronted Ultravox (version two) of the Vienna era is in for something of a shock. The Ultravox of the late 1970s were a much stranger, much more interesting and engaging outfit. The music on this album is as idiosyncratic as anything that made it onto vinyl during that era. The list of influences is long: Neu!, Berlin-era Bowie and Eno-era Roxy Music are perhaps the most obvious on this record. Forming in 1974 and signing to Chris Blackwell’s Island label in 1977 put the band into a liminal state, a bit too late for punk rock and a bit too early for the New Romantics. Their sound on this record is a combination of post punk, glam rock, electronica, new wave, classical and reggae, which is probably Chris Blackwell’s influence. Gary Numan, who was heavily influenced by Ultravox, said that they were “conventional but with another layer on top”. There’s a real sense of this music not belonging, it’s disconnected, doesn’t fit and not of its time. Looking back at it through a 38 year long telescope it all starts to make sense, it’s all about perspective. In the same way that cheap electric guitars defined the sound of the 1960s, cheap synthesizers defined the sound of the late 1970s and early 1980s, Ultravox were suspended in 1977 between the bold influences of Bowie and Roxy on one hand and a vision of new wave and early 1980s synth-pop on the other. Ultravox was a band out of sync with the times.

I first discovered this album when a schoolmate stole it from a local record shop and offered it to me for £5. As a 15 year old I was probably the only person in my whole school that the music thief could possibly sell this record too. In retrospect my schoolmate was probably thirty years ahead of the time by stealing music when everyone else was still paying for it. Some would call him a thief; I would call him a visionary. What initially attracted me to this album was the fabulous high quality gatefold cover. The five members of the band dressed predominantly in black PVC against a black brick wall with a vivid bright red neon sign spelling out Ultravox! This photograph is a pre-computer one, so there is no Photo Shop manipulation here. The huge neon sign was real and I’m guessing it’s languishing in a north London garage somewhere awaiting a TV makeover show when some heavily tattooed guy called Rick will bring it back to its former glory. When the gatefold opened staring out were Stevie Shears (guitar), Warren Cann (drums/vocals), Billy Currie (violin/keyboards) and Chris Cross (bass/vocals). The back cover is a backlight picture of John Foxx in a TV studio dressed in a black suite with his shirt collar and cuffs burnt off. It’s a powerful image, a kind of digital Jesus Christ like figure? The cover artwork and design is credited to Dennis Leigh, which I didn’t realize at the time is John Foxx’s real name. This was a piece of luxury design and packaging, Art Into Pop strikes again.

Ultravox1
The five members of Ultravox dressed in black PVC.

The music press of the day, yes we actually had a music press back in the late 1970s, did not treat this album kindly upon its release. Ultravox!‘s sales were disappointing, and neither the album nor the associated single Dangerous Rhythm managed to enter the UK charts. The band’s debut as Ultravox was after they had signed to Island Records and had made this album. The press found this problematic, as it seemed to contravene some un-written punk rock rule of the day. The band walked directly into the lion’s den by playing their first show as Ultravox at the Nashville Room, 171 North End Road, London, W6. At the time the Nashville Room was the home of the booming pub rock scene (101ers, Duck Deluxe, Dr Feelgood, Kilburn and The Highroads, etc.) and not somewhere a contrived alternative art school band complete with violin, synthesizer and newly signed record contract should be playing. The gig very quickly turned into a ‘hyped’ event, rammed to the rafters with self important gonzo music journalists determined to pull the band apart. In the 19th century, Charles Sanders Pierce defined the theory of semiotics as the “quasi-necessary, or formal doctrine of signs” and its quite feasible that one of the issues at the Nashville Room that night was one of semiotics. The red neon sign, from the album cover, caused the most offence when it was used as the backdrop on the stage. I wasn’t there but I’ll speculate it looked very impressive. However the journalists who were viewing this through the lens of punk rock interpreted it as a sign of arrogance. It’s very rare for a debut album to be damaged because the band had a strong visual image, which they wished to communicate to their audience. All high school media studies students would see this as a classic case of what Umberto Eco terms aberrant decoding.

What about the music on this album? There aren’t any bad tracks, it sounds much bigger than its environment. The joint production work between the technically savvy Lillywhite and the cerebral Eno is sonically top notch. I would propose that one of the issues the music press had with this album is that it did not adhere to the strict three minute, three chord, shouty aesthetics of punk that was popular at the time, it was all together a much more complex piece of work. During the 1970’s the music press wielded their immense power quite irresponsibly and to a large extent it was them that inflicted unwarranted damage on Ultravox! the album and the band. The sound of this album is unique and was just too different for most listeners at the time, which is possibly why it alienated the band from their potential following. At times the lyrics are a little overblown and art school pretentious e.g. track eight (The Wild, The Beautiful and The Dammed) “I’ll send you truckloads of flowers. From all the world that you stole from me. I’ll spin a coin in a madhouse. While I watch you drowning“. For me though this is all part of the fun.

The first track (Satday [sic] Night In The City Of The Dead) possesses the same no-nonsense attitude that The Clash would display. It also captures the edgy noir mood that pervades the entire album. Track two Life At Rainbow’s End is an upbeat future gazing tune about living the good life. This fascination with Futurism is the core theme of this album and it is most prominent on track four’s I Want To Be A Machine. Relations within the band were occasionally on a tenuous footing during this time as Foxx declared that he intended to live his life devoid of all emotions, a sentiment expressed explicitly here. This track excels because it culminates in a startling reverb laden violin-fest. Track five’s Wide Boys bares its influences openly when it kicks off with a Bowie-ish Rebel Rebel Mick Ronson sound-a-like guitar riff before settling down into a Spiders From Mars’ groove. On track six’s Dangerous Rhythm John Foxx starts aping Roxy Music’s Bryan Ferry but set against a catchy Island Records house style reggae beat. The anthemic track eight, The Wild The Beautiful And The Damned, with its experimental and avant-garde themes draws heavily on Bowie’s 1977 Low album, which was only released one month before Ultravox! The album closes with track nine’s haunting My Sex, a spares piano driven composition with bare disarming vocals overlaid with electronic heart beat and eerie distancing synth strings.

Ultravox! back cover featuring John Foxx.
Ultravox! back cover featuring John Foxx (AKA Dennis Leigh).

After this debut album two more albums followed, Ha!-Ha!-Ha! (1977) and Systems Of Romance (1978) neither of which sold well nor were particularly exciting. With three poorly selling albums under their belt Island Records pulled the plug and dropped the band in 1979. Despite being dropped by the record company the band undertook an un-successful self-financed USA tour the same year. By this point the writing was well and truly on the wall for Ultravox version one. Guitar player Stevie Shears was fired after the USA tour and John Foxx’s professional relationship with Billie Currie was well and truly broken. With the extra strain of financial bankruptcy facing the band, John Foxx left to pursue a solo career. Ultravox version one was well and truly terminated by the end of 1979.

When I’m out on my bicycle and ride over a bridge in a river valley its virtually impossible to comprehend the structure’s engineering elegance and architectural beauty. As you ride along all you can see is the road ahead and it’s not until you put some distance between you and the structure that you can you look back and admire its beauty and elegance. Maybe this visual metaphor holds true when considering this album? Ultravox! was an album bridging the gorge between punk and new romantics/synth pop. At the time we couldn’t see this because we were right on top of it but in retrospect its becomes fairly obvious of the form and function that this album takes. Dave Thompson, writing for AllMusic, opinioned, “It was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents – Hawkwind, Roxy Music and Kraftwerk to name but a few, but still it was the group’s 1977 eponymous debut’s grandeur, wrapped in the ravaged moods and lyrical themes of collapse and decay that transported ’70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk”. This CD makes me grateful and proud that when I was young, my youth was not wasted, in fact it was rocked by this album.

Why Study For A Music Degree?

Choose a job you love, and you will never have to work a day in your life.” (Confucius)

Over the last couple of months I’ve spoken at a number of careers fairs around Australia, where I’m described as a “music industry veteran”. This is actually quite an accurate description because over the last 36 years I’ve had a number of different international roles in the music industry ranging from stage hand, live sound engineer, studio engineer, record producer, tour manager, artist manager, entrepreneur,  music company owner and operator, A&R consultant and record company executive. As well as all this hands-on international industry experience I’ve spent a lot of time as an academic studying and teaching about the music industry. So I must be some kind of expert?

At these careers fairs I’ve really enjoyed talking to potential degree students and their parents. It’s an interesting conversation because there are two completely different narratives being discussed simultaneously. Firstly, there’s the conversation with the potential teenage student and secondly there’s the conversation with the accompanying parent(s). In most cases it’s the teenager that’s desperate to work in the music industry and it’s the parent putting on the brakes. The big problem here is that many parents would prefer their offspring to have a “real job”. A degree in any music industry subject e.g. audio production, performance, music business, etc. is probably going to be the second most expensive item bought during anyone’s life time, second only to property. At around +$40,000 (Aus) it’s a tough decision on how best to invest this money so early on in a career.

The music industry is a viable career option for many people, but only for those that are educated and trained to work in the industry. The modern music industry is a complex and multi-faceted operation with a need for a wide variety of skill-sets. For example, the Australian venue based live music industry entertains over 41 million patrons, contributes $1.21 billion to the national economy and employs almost 15,000 full time jobs (Music Victoria and City of Melbourne, Live Music Censure, 2012). On top of the live music venue-based industry there are other very vibrant sectors within the cultural industries such as audio production, events management, theatre, arts management, broadcasting management, content management and intellectual property management. As with any modern industry the correct education and training is vital if you want a career within these sectors. Various educational institutions provide high-quality, professional arts and entertainment education combined with training in an integrated, socially inclusive environment that allows for a diversity of voices and collaboration between individuals. Students should be encouraged to pursue excellence and innovation through creativity, critical reflection, individual endeavour, exploration and experimentation, unconstrained by style or genre and informed by scholarship and best practice. Any worthwhile educational institution should value its artistic and academic integrity, as well as its engagement with the entertainment industry to ensure currency of its programs. My advice would be to undertake some research and visit the institutions that appeal on open days. All their programs differ; as do their campuses and their staff.

Tim Dalton backstage and on stage with students at 5 Seconds of Summer.
Tim Dalton backstage and on stage with students and industry practioners learning about tour logistics, audio and lighting for 5 Seconds of Summer.

There are two educational routes that can be taken here. The traditional ‘sandstone’ universities and TAFEs where initially uptake was fairly slow but now a significant number of three-year degrees are on offer. The other route is via the plethora of private institutions. The private institutions tend to condense a degree into two years and are slightly more expensive than the traditional institutions. I’ve worked in both types of institutions and there are pros and cons to both. Whatever institution is chosen the teaching staff involved in the delivery of music industry degrees should ideally be a combination of industry practitioners, professional qualified educators and to a certain extent academics.

While traditional manufacturing industries in Australia and throughout the western world are in rapid decline, the music industry is a viable career choice. The job description may include activities that might seem like social occasions e.g. going to shows, visits to the studio, riding on a tour bus, but being involved in these activities from a work perspective is very different from hanging out with your mates. The music industry is first and foremost a business and a very serious financially focused one at that. Whether you end up working in the independent music world or for a major international music label, you will be expected to work long hours in a highly competitive work environment to achieve measurable successes often under difficult circumstances. You may get to wear skinny black jeans and Converse to work, but this doesn’t mean that you are working any less then your friends who have to wear a suit and tie to their office.

Music industry degrees, as we know them today, have only being available for the past 20 years. Prior to this, particularly in the UK, education in the music industry came indirectly from various art school degrees. This non-direct form of music industry education worked very well if we look at the evidence; The Beatles, The Rolling Stones, The Who, Roxy Music, Pink Floyd, Cream, The Clash, etc. Simon Frith in his 1988 book Art Into Pop tells the intriguing and culturally complex story of the art school influence on post-war British popular music. Art Into Pop tells the story of how artists went from life drawing classes to the recording studio and to the top of the charts all over the world. It’s a story of how rock and blues infected youth music with Bohemian dreams. The late 1970’s was a unique time when punk musicians emerged from graphic design, fine art courses and fashion departments to disrupt what were, by then, art-rock routines. I know because I was there. The other way into the music industry was by accident e.g. brother of drummer becomes drum tech etc. In the very early stage of the developing music industry this route was viable, but definitely not any more.

Tim Dalton teaching music students how to create fantastic mixes.
Tim Dalton teaching music students how to create fantastic mixes.

Much of my work is what I call ‘stakeholder engagement’, ‘knowledge brokering’ and ‘thought architecture’. This involves engaging in active dialogue with music industry employers and connecting them to the higher education institutions where I work. The industry tells me what type of people they want and I tell industry what types of people we are outputting. Ideally we meet in the middle somewhere. This can be difficult as it takes 2 to 3 years for institutions to educate a student. On top of this we need to be mindful that the students we are currently producing will be in the job pool until 2065 and onwards. With this type of time frame it’s virtually impossible to guess what skills will be needed in the music industry 30 or 40 years from now. What is known is that students that have developed skills such as: Learning to Learn (L2L), independent research and critical analysis, oral and written communication, time management and are creatively entrepreneurial will always be in demand. These are pretty much the skills that the music industry has always wanted and are the skills of those traditionally exiting from the art into pop route.

A number of employers are sceptical of degrees in this field and I’m often confronted by CEO’s telling me that they don’t have a degree and that they don’t see the need for them. This happened to me at one of Europe’s largest audio hire companies. The managing director told me that he thought the best route into the industry was through mentoring and working your way up through the ranks “just like we did”. I did point out to him that 90% of his employees had degrees and that while I had worked my way through the ranks I also had a good first degree and a number of postgraduate degrees. I made my point by walking around his very large warehouse with him pointing out the ex-students that I had taught. A degree is a starting point to an accelerated career in any given field.

The above-mentioned audio company starts all of their new employees on the bottom rung of the ladder, but their assent is much more rapid than those without degrees. I once popped into this same company after a Glastonbury festival to find all the ‘newbies’ in the car park with buckets of hot soapy water and sponges cleaning the mud off 100 metre long multi-cores. One ex-student made it clear to me his disdain for this type of job stating “I didn’t spend three years at university to end up doing this”. A few years later I met the same ex-student mixing front of house sound for an international mega star band playing at the local enormo-dome gig in Melbourne. I reminded him of how his BA Honours Audio Technology and his practical experience had landed him this top job. He rather bashfully agreed.

Music students jamming in a creative and supported music environment.
Music students jamming in a creative and supported music environment.

One issue confronting high school students contemplating undertaking a degree in the music industry is their perception of the music industry. Often this is solely grounded in media representations of the music industry and as such is an inaccurate one. The music industry does a clever smoke and mirrors trick where it tries to make itself appear all revolutionary and anti-establishment. In reality the music industry is probably the worlds most compliant, conservative and least revolutionary art form on the planet. If you want to be cutting edge and revolutionary then try fine art, fashion or architecture as an art form.

To help re-align perceptions of both employers and students, Dalton Koss HQ has organised a number speed dating events with industry in the UK and Australia. At these very popular events students get to meet music industry managers and owners and speak to them one-on-one. Results are always positive from both sides of the table. Students start to realize that the product may be music, but ultimately, they will experience a very similar working life to everyone else. They’ll have long hours, with the potential for advancement if they perform well, the potential for dismissal if you don’t, good bosses, bad bosses, troublesome clients, all the standard workplace related experiences. There will definitely be some cool perks, but trust my 36 years of experience when I state that they’ll definitely be earned. Anyone who is hard working, creative, passionate and motivated will fair very well in a music industry career.

Working in the music industry is not a job, it’s probably not a career, rather it’s a lifestyle and as such you can’t measure it with the standard metrics. Many of the young adults I meet at career fairs aren’t sure what they want to do. Indeed I’d be very skeptical of any 15 year old that has a clear life and career plan. If you are planning to spend/invest a heap of money on a degree then my advice would be “Do what you love and love what you do”. It doesn’t really matter if that degree doesn’t become your final career. Use the time to indulge your passion; it’s probably the only time in your life when you can do this. How many English literature students become famous poets? Not many but any degree is always going to open doors in the future. Over the course of your professional life that investment/spend will be repaid many times over.