Artists are individuals who share important factors in common. 

Intelligence is not the only prevalent determining attribute in the work of an artist. 

Passion, sensitivity and proficiency all rein high in the priority of exceptional artists.

Conviction shouldn’t be confused with ones lack of ability to contribute when working with other artists. 

Conviction is the virtual point of arrow that propels the intended vision and expression. 

True artists can feel and appreciate the conviction of other artists when working together.

Dominance of a team is always a natural chemistry when the chemistry is strong.

It is an equal share of input, sometimes not even discussed or consented to, but always understood.

That is when the point of art is at its sharpest; 

when the chemistry is considered to be excellent; when all involved are performing as a successful team.

If asked which of the contributions weighs heavier than another the answer is always none. 

There is no more or less measure for a part of the total contribution. 

The success of the work in whole negates the importance of parts except that without their contribution 

there would be no success at all. 

Dennis Genovese January 17, 2010

Student Interview with Patrick Crane at Seminole State College April 2010

 What are the duties/functions/responsibilities of your job?

Between the ages of 13 and 24 my role was that of a first tenor and
vocal arranger with a number of groups. I also played guitar, adding bass
and keyboards in my early twenties. When I turned 24 I began a lifetime
songwriting partnership with Karen Mantero whom I also
produced for the next 15 years. My duties, functions and responsibilities
centered on writing, doing vocal and instrumental arrangements and
recording engineering.

What jobs, experiences and/or educational attainments
have led to your present position?

Actually there were no formal educational attainments in my past.
My experience recording with Columbia Records, Buddha Records and
Atlantic subsidiaries in many legendary recording studios such as Columbia,
Bell Sound and A & R led me to study engineering and eventually in 1980,
to open my first recording studio. The “Recording Studio Handbook” written
by John Worum and "Modern Recording Techniques" by Huber and Runstein, validated what I knew and learned while recording professionally.

It also taught me much of what I didn’t know.
I was also exposed to and worked with many great arrangers, engineers, singers and musicians.

What skills and talents are especially useful and necessary for this position?

Passion along with the ability to really listen and hear what it is that you are
working with are pre-requisite talents along with creativity and imagination.
Living up to your convictions as an artist while trying to be commercially
competitive is an individual saga which can be quite daunting.
Being a musician, arranger, songwriter, singer or even an engineer can be
extremely useful but does not guarantee the making of a good producer.
The knowledge necessary to put talented people together and
have everything unfold in the right direction requires a
basic understanding of all the players and the positions they play
on the field. (That sounds like Casey Stengel)

What sorts of changes are occurring in your occupation?

The era of digital audio has been accompanied by incredible audio reproduction and speaker performance.

Digital TV sets with sonic excellence, concerts that replicate
the artist’s studio recording quality and mobile mp3 devices that bring music
and film anywhere. The change, I feel is in the record business.
Everything is independent. Major labels have gone the way of
staff songwriters and dinosaurs.This inadvertently has opened up new
possibilities for those involved with film and documentary audio,
game audio, narration, folly recording and more.
The future will open the airwave bandwidth inviting even more
young artists to participate.
 
What are the major frustrations of this job?

There are many major frustrations related to this kind of work.
As I have expressed to my students, you must self-educate.
I am educating myself continually to keep abreast of the leading edge
of technologies involved with my work. That at times, can be tremendously
frustrating. Working without a good chemistry with others is a major
frustration. At this stage of my life I just refuse to.
I have had to in the past but it was never fruitful. 
I must say that I’ve been extremely fortunate to work with many
exceptional musicians, singers, writers and other media artists in my lifetime.
When you share that sense of teamwork it becomes nearly impossible
to work with egotistical people.

Are there "hidden benefits" or drawbacks in your job;

factors that may not be obvious at first glance?

 Artists suffer from a lack of working with other artists.
Younger artists suffer from a lack of recognition at times.
You have to be true to yourself if at all possible.
No one is successful all the time.
When you are successful it’s extremely gratifying.
                   
What advice would you give to someone just starting out in your line of work? 

Try to find a line of work that is similarly related to the profession you desire.
It may take years to establish yourself and waiting tables or driving a truck
to sustain yourself financially will cause you to live in two different worlds.
Subscribe to and read the trade magazines related to your profession.
Self-educate. Be patient and persistent. Sometimes understanding can take
a while. Be prepared to deal with the people involved in these fields.
They are not all genuine and encouraging. Competition is a great catalyst.
Be careful of those who are overly competitive. Criticize your own work
carefully and honestly for it will aid you in distinguishing criticism
that is positive and honest from others. I have revered many people in different
occupations. Be strong and true to your creative convictions.
And always remember, you have a license to create.