Many of Pulse Graduates go on to work with some of the top artists and multi media companies in the world. We will check in on our Pulse success stories and find out what life is like post Pulse.
Pulse Graduate and Award Nominated Sound Engineer Dominic Lawrence, talks to Pulse News
In this month's student success section, we profile Dominic Lawrence, a graduate of the Pulse College’s Sound Engineering Diploma course, who is currently working as a sound engineer for Brown Bag Films on many of their award winning projects. The highlight of his career to date is his credit for dialog recording on the Oscar nominated short film Granny O'Grimm's. We delve deep and find out what it takes to become a successful sound design engineer and what life is like working on such prestigious high profile projects.
Q1. Background: Who you are, where you’re from, where you are now?
My name is Dominic Lawrence, I'm from Cork and currently work as a Post Production Sound Engineer for Brown Bag Films, Dublin. I've been responsible for the sound design and mix of all the long form series produced by Brown Bag over the past 3 years, these include “Olivia” Season one (52x11 minute episodes, currently sold to over 120 territories worldwide), “Noddy” (52x11 minute episodes, currently airing: UK - Channel 5, France - France 5/TF1, and Germany - Nick Jr). Other credits include dialog recording for the Oscar nominated short film “Granny O'Grimm's, Sleeping Beauty”, Crap Rap special “Tidy Towns and Tangerines” (1x25min, RTE), Grabby Bag (12x5min, RTE) and dialog recording/sound design work on various commercials. I am currently mixing and designing sound for Olivia Series II (28x11 minute episodes) and Octonauts (50x11 minute episodes and 2x22 minute specials). Both series are currently in production in Brown Bag Films and due to air on Nickelodeon US and BBC respectively in the fall of 2011.
Q2. You initially studied Environmental Science in UCC, what made you to go on to study Pulse College’s audio course?
In 2004, I graduated from University College Cork (UCC) with an honours degree in Environmental Earth Science. By year 2 of it I had pretty much decided that this probably wasn't going to be something I could work at for the next 40 years so whilst I finished the 4 year course, I did not want to pursue a career in it! I had always loved music (played the drums for a few years and can rarely remember going to school without a walkman on...) and I really liked movies and games. I took a year out after the degree, looked at what I liked and then looked at what courses were available. After going to a few FAS and CAO career days, I came across Pulse and had a quick chat, liked what I heard, went to the open day and liked what I saw – the clincher was the Pro Tools mix for the trailer to the Matrix – loved the sounds in the film and seeing it channel by channel just caught my imagination. Superficial reasons aside, Pulse came out on top because of its practical based courses, Pro Tools certifications, they weren't just focused on the music business alone and the classes were small so you weren't going to get left behind if you didn't get something the first time. The equipment they had (and that you got to use) was amazing (I went in there knowing nothing about what it was or did mind you...) from Protools HD systems to classic analog gear, getting to know and use these things is something that has stood by me to this day.
Q3. What did you find the most challenging and beneficial part of the course?
Music Theory – I was a self taught drummer so I had no idea about reading music or chords etc so it took a lot to get my head around it. I liked the practical live sound parts but it’s something you have to do a lot of to be fast and confident. They were probably my only stumbling points really Looking back, there are probably 3 things that have stuck with me:Pro Tools Courses – I had never used it before coming to Pulse but I really liked it and found it easy enough to learn. Using it day-in, day-out on projects was great, I think they are well worth having – being able to walk into a studio and use Pro Tools fast and efficiently might just get your foot in the door. Overall broadness of the course – you come out (at least) knowing a bit about everything so while you won't know it all, you have a decent grounding in most aspects from which to build on, friendly people who are willing to teach, answer any and all questions and in general help you out where they can.
Q4. How have the skills translated into the work environment?
They've been a great help – from the technical side, like setting up a protocols system, to the personal side dealing with clients/artists. The obvious one would be working with Pro Tools everyday on very tight deadlines – knowing key commands can literally save you days over the course of a 52 part series! Knowing some basics on video technology and frame rates really helped me at the start. With nearly everything I do in Brown Bag Films, there is an outside party involved – could be producers, voice artists, advertising, outside studios etc – and having that bit of practical experience from Pulse was a helpful start. I also have to edit music quite a bit so even the dreaded music theory gets used to mix and match different cues!
Q5. You started your career as live sound engineer. Tell us a bit about the types of venues, gigs and work you did during that time.
Tiny venues, some make-shift PA's and a few egos characterised my start in live sound! It's one of those things where you learn a lot in a very short time - think I made every mistake in the book but it was a good (if not always enjoyable...) experience! I'll be the first to admit I was best working with software in a studio environment so it really was just something I wanted to try and do.
Q6. What was the most challenging live sound situation?
Probably dealing with a guitarist and a drummer (2 different nights) who thought they were rocking stadiums rather than 50 seater bars! One kept turning his amp up and up and the drummer 'didn't know how to play quiet' - either way there was no way I could match volumes with the rest of the band so it was a bit of a car crash really.
Q7. You have now changed direction and work in sound design, what prompted this move?
It was always a big interest but I'd never really found the opportunity to get into it. Sounds silly but to this day, the larger-than-life punch fx from Indiana Jones always jump out at me and I guess the older I got, the more I watched films with my ears. I love the variety of sound design - for every one sound, just by speeding it up, slowing it down, adding reverb, putting it through guitar pedals or filters you can come up with a whole host of different variants. In fact if you use stuff the wrong way, you often come up with the best sounds! Mixing a show is pretty different to mixing a song but some principals still apply.
Q8. Congratulations, you were involved in Oscar Nominated Granny Grimm’s. Tell us about your contribution?
Thanks, yeh Granny was a great project that was developed by Brown Bag Films from a comedy sketch performed by Kathleen O'Rourke. I had the pleasure of recording all Granny's voice over parts which was good fun - Kathleen and Director, Nicky Phelan, were coming up with new lines or adlibs mid record so it was always quite entertaining - and a little surreal hearing Kathleen jump from her own accent to that of an elderly Granny mid-sentence! Credit must go to composer Greg Magee and sound designers The Sound Butlers for their work on the rest of the soundtrack.
Q9. How did it feel when you heard the nomination?
Marginal shock, followed by big smiles and a long night of celebrations! It was mad to be honest and took a while to sink in. I only had a small part to play in it but it was great to be associated with something like this. The reactions the film received and seeing it on screen during the Oscar ceremony were the highlights for me. There was a certain satisfaction that we’d beaten Pixar to a nomination too which was a David vs Goliath moment.
Q10. You have now been involved in an Oscar Nominated Project which is a huge achievement, what are your future goals?
I guess we'll have to go one better and win an Oscar next year! I’m working on some really great TV projects in Brown Bag at the moment so a Bafta or an Emmy would be super. We’re being asked for more and more 5.1 surround sound for HD broadcasts and down the line, feature film stuff would be great to do – hearing great soundtracks like District 9, Transformers, Wall-E or Avatar really gets the imagination going and with surround there is a whole lot more ways to mix and design sound. But hey, if none of that works out I'd honestly be happy to just keep on doing what I'm doing now.
Q11. Did you find that the Pulse College qualification opened doors?
It is definitely good to have on your CV and helps to get your foot in the door which is the hardest thing to do in the industry - you have to be sure to impress from there! There is no replacement for getting proper work experience in the workplace as this is where you learn A LOT - I learn something new from every project I work on BUT Pulse provided me with a set of tools that lent itself to nearly everything I do today – If I’m asked “can you do x, y & z?”, I usually answer 'yep no problem'...
Thursday, May 27, 2010
Friday, May 21, 2010
Greg Magee: Guest Lecture Profile
Pulse has a renowned list of high profile experts, who regularly lecture on our courses. Many with interesting and varied careers, in this section of our newsletter we aim to delve into their background to get tips on how to succeed in the professional environment.
Greg Magee: Guest Lecture Profile
In this months guest lecture profile, we get a unique insight into the world of multi award winning sound producer Greg Magee. With an Irish Film & TV Award for Best Score under his belt for work in Winters End, he is also responsible for composing and producing all the music for The Fairytale. The Fairytale is a 26 part multi-award winning animation series, based on the stories of Hans Christian Anderson, which was broadcasted in more than 90 countries. We are delighted that he managed to find time to share his industry knowledge and his passion for all things music related with Pulse news.
Q1. You started your music training with the Royal Academy, was music always of interest to you from a young age?
I guess I've always had a huge interest in music. I didn't start formal lessons until I was ten, because it wasn't practical to start flute lessons until that age!
Q2. Was music a big influence in your house growing up?
Neither of my parents were professional musicians, but my father liked to play violin and to this day he has a deep love of classical music. I don't think I listened to anything more contemporary than Tchaikovsky until I got my first walkman at the age of 14, but I sure made up for lost time!
Q3. You then went on to study a Music Degree in Trinity, what made you go down the academic route?
I initially started computer science at TCD, but after two years of writing, arranging and performing music when I should have been building computer circuits and writing software I decided to go back to the beginning and enrol in their Music & Composition Degree.
Q4.Why did you decide to go down the producing path?
With a passion for all things technological I really didn't see it initially as anything more than justifying my appetite for tech. After my initial attempts at recording my own music and being called on as a session musician in various studios I started to realise that it wasn't just about writing / performing great music but that the actual recording process and balancing of sound was something that could radically affect what everyone would hear as the end result. Over the course of months working on an album or film score I think it's really easy to deceive yourself into thinking that your vision or concept translates accurately from your brain to the outside world in the form of a CD or DVD. I've learnt that in my case it's really important to have the knowledge and control over production tools so that whatever crazy idea I come up with sounds just as crazy or sane to you as it did to me the first time I thought of it.
Q5. You then went on to receive a scholarship in film music studies in LA, which must have been exciting, what influenced your interest in film music?
I received a bursary award to take part in a work training programme in LA. I was fortunate enough in the two years after my degree to take part in the Screen Training Ireland programme which brought the UCLA Film Scoring Programme to Ireland where such Hollywood legends as Don Ray, Bob Drasnin and Conrad Pope gave of their time and experience through their teaching, mentoring, supervising and recording sessions. The most exciting aspect of the industry in LA is that everybody takes it seriously and has a professional ethic which really does inspire you to be the best you can be and to take yourself seriously as a professional who has a contribution to make in the world of movie and music making.
Q6. What is your favourite and most inspirational film score to date?
It's an extremely difficult question to answer - it changes quite a lot. The two scores that made me want to be a composer were by John Williams and Ennio Morricone. ET and The Mission. Music has such a huge part to play in these films and really do take the viewer on an emotional journey. I saw Ennio Morricone in concert in Belfast last year and I'd have to say that the Theme from Cinema Paradiso moved me to tears!
Q7.You have had a very diverse career from starting off as sound supervisor on “The Last Word” to working on “A Love Divided” amongst others, has this diversity help your career path?
Despite the fact that so many of our jobs today are highly specialized it still comes down to people working alone and working in teams to get work significantly larger than themselves completed. In most cases the jobs I have done to date have simply been a case of being in a position to complete one piece of a jigsaw puzzle. Most of our skills do translate in other jobs or facets of production. I had a background working for a music publisher at one stage and this really did help me in the role of music supervisor on one feature. I played in orchestras and learned to read orchestral score in school and college. This helped me in my role as score supervisor. Who knows? My experience as a film composer may make me a better teacher or vice versa.
Q8. You been involved in many award winning productions such as “The Fairy Tale” and recently won best score for IFTN for “Winters End”. What did it fee like for you work to be so highly regarded by your peers?
It is certainly great to receive recognition for your work. It's not often that people working behind the camera or in post production get to be acknowledged for their work. For the vast majority of us it's not really the driving force behind the work, but it's great to see the fruits of your struggle rewarded with some deserved attention from time to time.
Q9. With so many awards behind you, what is the secret to your success?
If I seem to have had success in my career so far it's not always immediately obvious to me. Seriously, I think that it's not something that you can always work towards. It's like trying to become a millionaire by working in entertainment. Success, money or whatever markers you use to measure success are just that. They're indications of how well people think you performed at a particular job at one time or other. I don't view myself as successful, but I do take pride in trying to be as good as I can be for every job I do. It doesn't always turn out how you planned it, but it's the sincerity of your efforts that people come to respect.
Q10. You are currently guest lecture for Pulse College how did you get involved with the college?
I think I first met Aidan and Tony around twelve years ago while recording some film cues on the Film Music Course. I taught a few classes on music technology for film composers just after I completed the programme and Aidan approached me to guest lecture on Pulse’s Sound Engineering courses. Over the past few years Aidan and Tony have recorded my music and I have worked for them.
Q11. How do find the challenge of teaching?
It's a rewarding one. The real difficulty is assessing what's needed. There's only a finite amount of time and you need to make it as practical as possible. It's easy to stand up and talk about subjects that interest me personally, but it's really all about what the student needs not the teacher.
Q12. You are now based mainly in you studios in Dublin how do you find the music industry in Dublin in comparison to the other cities you have worked in?
I think there is a prodigious amount of talent and some great music being created here. I do still think we have a very young film and music industry. While there is definitely talent I think we could take a leaf out of other's books and concentrate more on our professionalism and less on what people think of us. If you genuinely work hard at creating something and spend less time judging the efforts of others I think you feel better about your own worth.
Q13. Any advice for our Pulse College Graduates starting out their career?
What's that old saying - Knowledge doesn't weigh anything. I think working in as many aspects of the business as possible will do nothing but improve your prospects. I think it helps to have a real interest in everything around your own main discipline. I love learning more about film making, talking with people who are in the thick of it, thinking about why a composer chooses particular entry and exit points in a scene. I'm a composer, but that doesn't stop me from learning or seeking to understand how other creative minds in different disciplines find solutions.
Q14. What do you see as the future of music production?
Firewire or Fibrechannel to Neuron interface... Less people playing more or more people playing less. I'd like to think we will move forward towards great music where its inception is artistically or creatively driven rather than an average of market surveys. There are more tools now for fixing less talented musicians than there are for elevating good ones to greatness. Maybe that's something to think about.
Q15. In between lecturing in Pulse College, what other exciting projects have you got lined up?
The most exciting project that I have lined up right now is tidying up and perhaps redesigning my studio after a house move. There are a few interesting film projects coming up, but their NDA's are so tight that if I told you I would have to shoot you.
Greg Magee: Guest Lecture Profile
In this months guest lecture profile, we get a unique insight into the world of multi award winning sound producer Greg Magee. With an Irish Film & TV Award for Best Score under his belt for work in Winters End, he is also responsible for composing and producing all the music for The Fairytale. The Fairytale is a 26 part multi-award winning animation series, based on the stories of Hans Christian Anderson, which was broadcasted in more than 90 countries. We are delighted that he managed to find time to share his industry knowledge and his passion for all things music related with Pulse news.
Q1. You started your music training with the Royal Academy, was music always of interest to you from a young age?
I guess I've always had a huge interest in music. I didn't start formal lessons until I was ten, because it wasn't practical to start flute lessons until that age!
Q2. Was music a big influence in your house growing up?
Neither of my parents were professional musicians, but my father liked to play violin and to this day he has a deep love of classical music. I don't think I listened to anything more contemporary than Tchaikovsky until I got my first walkman at the age of 14, but I sure made up for lost time!
Q3. You then went on to study a Music Degree in Trinity, what made you go down the academic route?
I initially started computer science at TCD, but after two years of writing, arranging and performing music when I should have been building computer circuits and writing software I decided to go back to the beginning and enrol in their Music & Composition Degree.
Q4.Why did you decide to go down the producing path?
With a passion for all things technological I really didn't see it initially as anything more than justifying my appetite for tech. After my initial attempts at recording my own music and being called on as a session musician in various studios I started to realise that it wasn't just about writing / performing great music but that the actual recording process and balancing of sound was something that could radically affect what everyone would hear as the end result. Over the course of months working on an album or film score I think it's really easy to deceive yourself into thinking that your vision or concept translates accurately from your brain to the outside world in the form of a CD or DVD. I've learnt that in my case it's really important to have the knowledge and control over production tools so that whatever crazy idea I come up with sounds just as crazy or sane to you as it did to me the first time I thought of it.
Q5. You then went on to receive a scholarship in film music studies in LA, which must have been exciting, what influenced your interest in film music?
I received a bursary award to take part in a work training programme in LA. I was fortunate enough in the two years after my degree to take part in the Screen Training Ireland programme which brought the UCLA Film Scoring Programme to Ireland where such Hollywood legends as Don Ray, Bob Drasnin and Conrad Pope gave of their time and experience through their teaching, mentoring, supervising and recording sessions. The most exciting aspect of the industry in LA is that everybody takes it seriously and has a professional ethic which really does inspire you to be the best you can be and to take yourself seriously as a professional who has a contribution to make in the world of movie and music making.
Q6. What is your favourite and most inspirational film score to date?
It's an extremely difficult question to answer - it changes quite a lot. The two scores that made me want to be a composer were by John Williams and Ennio Morricone. ET and The Mission. Music has such a huge part to play in these films and really do take the viewer on an emotional journey. I saw Ennio Morricone in concert in Belfast last year and I'd have to say that the Theme from Cinema Paradiso moved me to tears!
Q7.You have had a very diverse career from starting off as sound supervisor on “The Last Word” to working on “A Love Divided” amongst others, has this diversity help your career path?
Despite the fact that so many of our jobs today are highly specialized it still comes down to people working alone and working in teams to get work significantly larger than themselves completed. In most cases the jobs I have done to date have simply been a case of being in a position to complete one piece of a jigsaw puzzle. Most of our skills do translate in other jobs or facets of production. I had a background working for a music publisher at one stage and this really did help me in the role of music supervisor on one feature. I played in orchestras and learned to read orchestral score in school and college. This helped me in my role as score supervisor. Who knows? My experience as a film composer may make me a better teacher or vice versa.
Q8. You been involved in many award winning productions such as “The Fairy Tale” and recently won best score for IFTN for “Winters End”. What did it fee like for you work to be so highly regarded by your peers?
It is certainly great to receive recognition for your work. It's not often that people working behind the camera or in post production get to be acknowledged for their work. For the vast majority of us it's not really the driving force behind the work, but it's great to see the fruits of your struggle rewarded with some deserved attention from time to time.
Q9. With so many awards behind you, what is the secret to your success?
If I seem to have had success in my career so far it's not always immediately obvious to me. Seriously, I think that it's not something that you can always work towards. It's like trying to become a millionaire by working in entertainment. Success, money or whatever markers you use to measure success are just that. They're indications of how well people think you performed at a particular job at one time or other. I don't view myself as successful, but I do take pride in trying to be as good as I can be for every job I do. It doesn't always turn out how you planned it, but it's the sincerity of your efforts that people come to respect.
Q10. You are currently guest lecture for Pulse College how did you get involved with the college?
I think I first met Aidan and Tony around twelve years ago while recording some film cues on the Film Music Course. I taught a few classes on music technology for film composers just after I completed the programme and Aidan approached me to guest lecture on Pulse’s Sound Engineering courses. Over the past few years Aidan and Tony have recorded my music and I have worked for them.
Q11. How do find the challenge of teaching?
It's a rewarding one. The real difficulty is assessing what's needed. There's only a finite amount of time and you need to make it as practical as possible. It's easy to stand up and talk about subjects that interest me personally, but it's really all about what the student needs not the teacher.
Q12. You are now based mainly in you studios in Dublin how do you find the music industry in Dublin in comparison to the other cities you have worked in?
I think there is a prodigious amount of talent and some great music being created here. I do still think we have a very young film and music industry. While there is definitely talent I think we could take a leaf out of other's books and concentrate more on our professionalism and less on what people think of us. If you genuinely work hard at creating something and spend less time judging the efforts of others I think you feel better about your own worth.
Q13. Any advice for our Pulse College Graduates starting out their career?
What's that old saying - Knowledge doesn't weigh anything. I think working in as many aspects of the business as possible will do nothing but improve your prospects. I think it helps to have a real interest in everything around your own main discipline. I love learning more about film making, talking with people who are in the thick of it, thinking about why a composer chooses particular entry and exit points in a scene. I'm a composer, but that doesn't stop me from learning or seeking to understand how other creative minds in different disciplines find solutions.
Q14. What do you see as the future of music production?
Firewire or Fibrechannel to Neuron interface... Less people playing more or more people playing less. I'd like to think we will move forward towards great music where its inception is artistically or creatively driven rather than an average of market surveys. There are more tools now for fixing less talented musicians than there are for elevating good ones to greatness. Maybe that's something to think about.
Q15. In between lecturing in Pulse College, what other exciting projects have you got lined up?
The most exciting project that I have lined up right now is tidying up and perhaps redesigning my studio after a house move. There are a few interesting film projects coming up, but their NDA's are so tight that if I told you I would have to shoot you.
Tuesday, May 18, 2010
Diary of a Leonardo Intern from Naomi Macleod
With Pulse College receiving Leonardo funding for the second year running, Pulse news jumped on the opportunity to get the inside story on what it is like to be an intern in some of the UK’s most exclusive recording studios. Naomi Macleod was placed in the Idyllic Leeders Farm Studio and tells us all about her experiences of late nights, Hungarian metal and tea making!
I am Naomi Macleod and I was lucky to get the opportunity to work in the breathtaking Leeders Farm Studios in Wymondham as part of my Leonardo placement. Norfolk is about 2 hours north of London. I flew to Stansted airport on the 28th of March, very excited, if a little nervous!
Leeders Farm is in a tiny village about 20 minutes from Norwich city. It is a residential studio on 4 acres, and runs two Pro Tools HD-equipped recording studios, as well as a large instrument hire company. They often record to tape, and have more vintage gear than you could shake a mic stand at. Needless to say, upon arriving I was fairly awestruck by the studio -built within the various barns and gable ends of a farmhouse dating back to the 1600s. The whole place has an instantly friendly and welcoming vibe, with the gold records and signed posters providing just enough of a reminder that it's all still rock 'n' roll! Nick showed me around the house and studios, and introduced me to the engineers and clients. As I would be mainly assisting in Studio One for the two weeks, in which a month-long session had just begun, I left my luggage at the nearby B&B and got straight to work in studio. The band I was assisting for was a Hungarian metal band called Heavenblade. Lucky for me, they provided some interesting challenges, in terms of sound engineering, including a 28-piece drumkit, which I helped Owen, the engineer, mic up.
As the band's album was very much in the operatic metal style, the music was sufficiently complex that I got to witness and help out with hours upon hours of editing - I picked up more than a few quick tips in Pro Tools! After a day or two of tiredness, I finally settled in to the working hours. We would start most days at 10 or 11am, and finish between midnight and 2am. As time went on, I progressed from making tea for the band and engineer, to sitting at the desk operating the talkback, then to operating Pro Tools. It was great to see that the studio had built up a trust in me as an assistant in the space of a few days. At the end of the first week, I began staying in the studio's residential accommodation, in the lovely oak-frame farmhouse. This made the late hours a lot more bearable.
One of the main things I enjoyed learning all about was the workings of Studio One and Studio Two. Owen was more than happy to talk me through it all as he went along, which was great. As both studios are made up of large amounts of very old equipment, I was keen to see how certain compromises were worked around. It was great to build on what I'd learnt in college already, and use it to understand the quirks of this particular studio!
Needless to say, throughout the experience it was not all work no play; there were several band outings to the local pub, which provided pleasant relief from the sometimes stressful environment in the control room. By the end of the two weeks, I felt I had both built on my college learning to date, and learnt a lot of new things in terms of recording, production techniques, general creative dynamics, and the general workflow of a residential studio. Heavenblade and Owen, as well as the various engineers I assisted, were all a joy to work with -I really didn't want to leave, and I'm hoping to someday return there to work.
I am Naomi Macleod and I was lucky to get the opportunity to work in the breathtaking Leeders Farm Studios in Wymondham as part of my Leonardo placement. Norfolk is about 2 hours north of London. I flew to Stansted airport on the 28th of March, very excited, if a little nervous!
Leeders Farm is in a tiny village about 20 minutes from Norwich city. It is a residential studio on 4 acres, and runs two Pro Tools HD-equipped recording studios, as well as a large instrument hire company. They often record to tape, and have more vintage gear than you could shake a mic stand at. Needless to say, upon arriving I was fairly awestruck by the studio -built within the various barns and gable ends of a farmhouse dating back to the 1600s. The whole place has an instantly friendly and welcoming vibe, with the gold records and signed posters providing just enough of a reminder that it's all still rock 'n' roll! Nick showed me around the house and studios, and introduced me to the engineers and clients. As I would be mainly assisting in Studio One for the two weeks, in which a month-long session had just begun, I left my luggage at the nearby B&B and got straight to work in studio. The band I was assisting for was a Hungarian metal band called Heavenblade. Lucky for me, they provided some interesting challenges, in terms of sound engineering, including a 28-piece drumkit, which I helped Owen, the engineer, mic up.
As the band's album was very much in the operatic metal style, the music was sufficiently complex that I got to witness and help out with hours upon hours of editing - I picked up more than a few quick tips in Pro Tools! After a day or two of tiredness, I finally settled in to the working hours. We would start most days at 10 or 11am, and finish between midnight and 2am. As time went on, I progressed from making tea for the band and engineer, to sitting at the desk operating the talkback, then to operating Pro Tools. It was great to see that the studio had built up a trust in me as an assistant in the space of a few days. At the end of the first week, I began staying in the studio's residential accommodation, in the lovely oak-frame farmhouse. This made the late hours a lot more bearable.
One of the main things I enjoyed learning all about was the workings of Studio One and Studio Two. Owen was more than happy to talk me through it all as he went along, which was great. As both studios are made up of large amounts of very old equipment, I was keen to see how certain compromises were worked around. It was great to build on what I'd learnt in college already, and use it to understand the quirks of this particular studio!
Needless to say, throughout the experience it was not all work no play; there were several band outings to the local pub, which provided pleasant relief from the sometimes stressful environment in the control room. By the end of the two weeks, I felt I had both built on my college learning to date, and learnt a lot of new things in terms of recording, production techniques, general creative dynamics, and the general workflow of a residential studio. Heavenblade and Owen, as well as the various engineers I assisted, were all a joy to work with -I really didn't want to leave, and I'm hoping to someday return there to work.
Friday, May 14, 2010
Ger McDonnell Guest Lecturer Profile
This month's guest lecture profile we look into career the of Ger McDonnell, music producer/mixer/engineer with credits including U2, Manic Street Preachers, Dido, Texas, Def Leppard, Kasabian to name a few. Dublin born and bred, at the age of eight, he began to study orchestral percussion at the College of Music. Having studied there for eight years, poised for a career in teaching, he decided to follow his long-harboured desire to be involved in the world of "making records". Having served his time working as an assistant/trainee recording engineer In various studios around Dublin he had a chance meeting with producer Mike Hedge. Ger went on to work extensively with Mike and various high profile artists such as U2. Working in many of the best recording studios in the UK Ireland and France Ger gained invaluable experience along the way.
Q1. You started your music career at the tender age of eight. Where did this love of music come from?
I would have to say that my love of music comes from my parents, really, you could argue that it's in the genes! Neither of them played an instrument, but are great singers. When growing up there was always music on in our house, be it on the radio or on the turntable. My Mum loves The Beatles and a lot of pop music, my Dad is a fan of Buddy Holly and Johnny Cash, so we had a bit of a mixed bag of tastes in there. I tried to get them into some classical music and Joy Division in my teens, but to no avail. Can't think why!
Q2. You were set for a career in teaching, what changed your mind?
I guess I was probably on a path towards teaching orchestral percussion, as I enrolled at the College Of Music in Dublin when I was eight. I was driving my folks crazy whacking the living daylights out of biscuit tins, so they were advised to help me get it out of my system. So, parallel to secondary school, I went through the grades studying music, but I'd always had this fascination with the mystery of recorded music, and I'd been dabbling with four-track cassette recorders. So when it came time to leave school and make my choice for adulthood, so to speak, all of this combined and sound engineering seemed like an obvious choice.
Q4. How did you manage to break into the industry, was it hard?
Well, I wouldn't call it breaking into the industry as such, more like 'burrowing' into it... around the time I left school in 1990, there weren't really any training courses available in Dublin, so it was a case of trotting around the various studios I knew about with my C.V. under my arm, and from there managed to get in on work experience. And the rest, as they say...
Q5. Tell us about your career background, you have worked with some of the top artists in the world from The Cure to The Manics and most famously U2.
I have been quite lucky and stuck with it, I guess it pays off in the end. I basically studio-hopped for a few years, assisting and making tea/getting experience at various studios around Dublin, Westland, Sun, Windmill, Sonic Studios, plus I did manage to get some experience with live sound and rigging PA systems, but I realised I much preferred the safe cocoon of studio life! Doing live sound at a local level I found quite unrewarding. Good front-of-house sound is a proper skill, but it just bored me, really. I ended up settling in as assistant engineer at the wonderful Bow Lane Studios, that was where I really started to get my teeth into engineering, learning the craft. I had great freedom there. I got to work with Def Leppard and an artist called 'Dara' (Daragh O Toole), whose demos I worked on there came to the attention of Sony UK, and of course, Mike Hedges. Daragh himself very kindly pushed to get me involved in engineering the album sessions with Mike, so after meeting him in Dublin for a quick interview, I went over for a few days' trial at his studio in France. I've been working with him ever since. It opened up a whole new world to me really and I've been very lucky to have worked on a lot of great projects as a result, lots of amazing studios (which are getting rarer these days...), Abbey Road, Air, Wessex, Westside, Miloco, Strongroom, Whitfield St....
Q6. What have been the highlights of your career to date?
Highlights, hmmm, every session is different, I think it's important not to expect the same experience from one session to the next, but I find enjoyment in them all, really. Obviously the higher-profile projects have their moments, like being in front of a fantastic vintage Neve console and having every member of U2 at the other end of each microphone. That was quite cool. Having the pleasure to work with real talent, James from the Manic Street Preachers is amazing. Every time an artist approves a mix I do, for me that's a highlight. As a mixer or recordist, you aim to please, but we all need these little pats on the head from time to time, it keeps you going. I'm sure Mr Rick Rubin does it for exactly the same reasons.
Q7. What has been the most challenging project you've worked on?
Diplomacy is the greatest skill you can aspire to have as a producer...! From a technical point of view, perhaps some of the U2 remixes) I worked on with Mike were fairly tricky, purely from a track-count point of view. It was our task to sift through the original multitracks and be a bit creative with rebalancing, they gave us free-reign to look for alternative takes of songs, etc. Because the digital 'MDM's had just come out when they were recording it, when we got hold of them all and eventually transferred the whole lot into ProTools, there were something like approaching 300 tracks on each song. There is always something in the studio, computers crashing, mics crackling, dodgy cables, tapes snapping, tea with too much milk in it, tempers flaring, artistic toes being trod on, egos to be massaged, record label personnel to be appeased... just count to ten and find a happy place. It's only music.
Q8. You have worked in studios all over Europe. How does the Irish Music Industry compare?
By comparison to the UK or Europe, the Irish recording studio scene is obviously quite small as an industry, but it does seem to be weathering the recessional storm quite well, many major studios in the UK in particular have closed down over the years, landmark spaces like Olympic in Barnes with a huge history of classic recordings just vanished, seemingly overnight. Quite sad, I think, but as commercial spaces they just weren't viable anymore. Even Abbey Road is up for grabs, that I find interesting too. So the whole technical software-based studio revolution that we all screamed for has definitely called the whole concept of the term 'Recording Studio' into question, and as much as I welcome the 'anyone with a laptop can do it' approach, I can't help worrying that basic engineering skills are suffering as a result of the studios' demise. One little gripe I would say has always been a problem for me here in Ireland has been that of studio maintenance. I suppose I was lucky enough to have worked at great studios with in-house fixers, but in Ireland there just aren't the in-house maintenance skills or wages available to pay them, more to the point.
Q9. What drew you to Pulse College as a Guest Lecturer?
I was asked by the lovely Pulse people to attempt to impart some 'grand-old- man-of-the-studio' wisdom to their students a couple of years ago, and I'm always glad and flattered to help out. I've always loved the atmosphere at Pulse, genuinely, I'm not just saying it! There is a certain pride in what they do that is infectious, staff are always polite and fun at the same time. I've enjoyed great work there, and hope to do so again soon. I'm particularly pleased by the Windmill Recording acquisition, I think it will prove to be a great facility.
Q10. As an industry expert what advice would you give to Pulse graduates?
Industry expert I most certainly am not! That would be my first bit of advice, probably because I'm frustratingly modest. But I think that the moment you assume you are an expert, then you're in trouble, you'll lose your edge. It's all about gathering experience, balancing that with healthy doses of confidence, having infinite patience and sleep deprivation, eventually you'll get there. Wherever that is... oh, and use your ears as well as your eyes occasionally.
Q1. You started your music career at the tender age of eight. Where did this love of music come from?
I would have to say that my love of music comes from my parents, really, you could argue that it's in the genes! Neither of them played an instrument, but are great singers. When growing up there was always music on in our house, be it on the radio or on the turntable. My Mum loves The Beatles and a lot of pop music, my Dad is a fan of Buddy Holly and Johnny Cash, so we had a bit of a mixed bag of tastes in there. I tried to get them into some classical music and Joy Division in my teens, but to no avail. Can't think why!
Q2. You were set for a career in teaching, what changed your mind?
I guess I was probably on a path towards teaching orchestral percussion, as I enrolled at the College Of Music in Dublin when I was eight. I was driving my folks crazy whacking the living daylights out of biscuit tins, so they were advised to help me get it out of my system. So, parallel to secondary school, I went through the grades studying music, but I'd always had this fascination with the mystery of recorded music, and I'd been dabbling with four-track cassette recorders. So when it came time to leave school and make my choice for adulthood, so to speak, all of this combined and sound engineering seemed like an obvious choice.
Q4. How did you manage to break into the industry, was it hard?
Well, I wouldn't call it breaking into the industry as such, more like 'burrowing' into it... around the time I left school in 1990, there weren't really any training courses available in Dublin, so it was a case of trotting around the various studios I knew about with my C.V. under my arm, and from there managed to get in on work experience. And the rest, as they say...
Q5. Tell us about your career background, you have worked with some of the top artists in the world from The Cure to The Manics and most famously U2.
I have been quite lucky and stuck with it, I guess it pays off in the end. I basically studio-hopped for a few years, assisting and making tea/getting experience at various studios around Dublin, Westland, Sun, Windmill, Sonic Studios, plus I did manage to get some experience with live sound and rigging PA systems, but I realised I much preferred the safe cocoon of studio life! Doing live sound at a local level I found quite unrewarding. Good front-of-house sound is a proper skill, but it just bored me, really. I ended up settling in as assistant engineer at the wonderful Bow Lane Studios, that was where I really started to get my teeth into engineering, learning the craft. I had great freedom there. I got to work with Def Leppard and an artist called 'Dara' (Daragh O Toole), whose demos I worked on there came to the attention of Sony UK, and of course, Mike Hedges. Daragh himself very kindly pushed to get me involved in engineering the album sessions with Mike, so after meeting him in Dublin for a quick interview, I went over for a few days' trial at his studio in France. I've been working with him ever since. It opened up a whole new world to me really and I've been very lucky to have worked on a lot of great projects as a result, lots of amazing studios (which are getting rarer these days...), Abbey Road, Air, Wessex, Westside, Miloco, Strongroom, Whitfield St....
Q6. What have been the highlights of your career to date?
Highlights, hmmm, every session is different, I think it's important not to expect the same experience from one session to the next, but I find enjoyment in them all, really. Obviously the higher-profile projects have their moments, like being in front of a fantastic vintage Neve console and having every member of U2 at the other end of each microphone. That was quite cool. Having the pleasure to work with real talent, James from the Manic Street Preachers is amazing. Every time an artist approves a mix I do, for me that's a highlight. As a mixer or recordist, you aim to please, but we all need these little pats on the head from time to time, it keeps you going. I'm sure Mr Rick Rubin does it for exactly the same reasons.
Q7. What has been the most challenging project you've worked on?
Diplomacy is the greatest skill you can aspire to have as a producer...! From a technical point of view, perhaps some of the U2 remixes) I worked on with Mike were fairly tricky, purely from a track-count point of view. It was our task to sift through the original multitracks and be a bit creative with rebalancing, they gave us free-reign to look for alternative takes of songs, etc. Because the digital 'MDM's had just come out when they were recording it, when we got hold of them all and eventually transferred the whole lot into ProTools, there were something like approaching 300 tracks on each song. There is always something in the studio, computers crashing, mics crackling, dodgy cables, tapes snapping, tea with too much milk in it, tempers flaring, artistic toes being trod on, egos to be massaged, record label personnel to be appeased... just count to ten and find a happy place. It's only music.
Q8. You have worked in studios all over Europe. How does the Irish Music Industry compare?
By comparison to the UK or Europe, the Irish recording studio scene is obviously quite small as an industry, but it does seem to be weathering the recessional storm quite well, many major studios in the UK in particular have closed down over the years, landmark spaces like Olympic in Barnes with a huge history of classic recordings just vanished, seemingly overnight. Quite sad, I think, but as commercial spaces they just weren't viable anymore. Even Abbey Road is up for grabs, that I find interesting too. So the whole technical software-based studio revolution that we all screamed for has definitely called the whole concept of the term 'Recording Studio' into question, and as much as I welcome the 'anyone with a laptop can do it' approach, I can't help worrying that basic engineering skills are suffering as a result of the studios' demise. One little gripe I would say has always been a problem for me here in Ireland has been that of studio maintenance. I suppose I was lucky enough to have worked at great studios with in-house fixers, but in Ireland there just aren't the in-house maintenance skills or wages available to pay them, more to the point.
Q9. What drew you to Pulse College as a Guest Lecturer?
I was asked by the lovely Pulse people to attempt to impart some 'grand-old- man-of-the-studio' wisdom to their students a couple of years ago, and I'm always glad and flattered to help out. I've always loved the atmosphere at Pulse, genuinely, I'm not just saying it! There is a certain pride in what they do that is infectious, staff are always polite and fun at the same time. I've enjoyed great work there, and hope to do so again soon. I'm particularly pleased by the Windmill Recording acquisition, I think it will prove to be a great facility.
Q10. As an industry expert what advice would you give to Pulse graduates?
Industry expert I most certainly am not! That would be my first bit of advice, probably because I'm frustratingly modest. But I think that the moment you assume you are an expert, then you're in trouble, you'll lose your edge. It's all about gathering experience, balancing that with healthy doses of confidence, having infinite patience and sleep deprivation, eventually you'll get there. Wherever that is... oh, and use your ears as well as your eyes occasionally.
Monday, May 10, 2010
ICT Report Highlights growing need for Creative’s in Ireland
A recent report undertaken by Enterprise Strategy Group has highlighted the current gap that exists in Ireland between the integration of creative learning and business skills. It shows the need for Ireland to encourage creative thinking and skills throughout the educational spectrum. The aim is to ensure that it engages people from an early age to become involved in the growing multimedia creative industry. By developing these critical skills early this should help minimise the need for ‘catch-up’ strategies for this rapidly expanding sector in the future.
The report recommended that education institutions should concentrate on teaching core knowledge and theories while emphasizing the value of practical projects, which teaches students vital real life work skills such as importance of problem solving, creativity and teamwork. Pulse College has always been at the forefront of nurturing creative talent, and with its professional recording studio’s the college is in a unique position to offer practical work experience as a major part of the course curriculum.
A similar report conducted in 1999 by Regan and Associates for the Bay Area Multimedia Partnership and Skills net in the US, also previously concluded that the convergence of the technically-innovative Silicon Valley and the artistic and creative culture of the Bay Area was the basis for the strong successful multimedia industry that has been built up in that area. With the abundance of indigenous talent there is no reason that Ireland should not follow a similar path.
The report recommended that education institutions should concentrate on teaching core knowledge and theories while emphasizing the value of practical projects, which teaches students vital real life work skills such as importance of problem solving, creativity and teamwork. Pulse College has always been at the forefront of nurturing creative talent, and with its professional recording studio’s the college is in a unique position to offer practical work experience as a major part of the course curriculum.
A similar report conducted in 1999 by Regan and Associates for the Bay Area Multimedia Partnership and Skills net in the US, also previously concluded that the convergence of the technically-innovative Silicon Valley and the artistic and creative culture of the Bay Area was the basis for the strong successful multimedia industry that has been built up in that area. With the abundance of indigenous talent there is no reason that Ireland should not follow a similar path.
Wednesday, May 5, 2010
Pulse Past Pupils Sign to Planet Mu
Pulse Newsletter can exclusively announce that graduates John Kowalski and Rian Trench of Solar Bears have been signed to electronic music label Planet Mu. Having met in Pulse Recording College, they combined influences and musical ideas, as well as merging analogue with digital technologies which has been the key to their unique sound. The band draws from world cinema and seminal groups such as Broadcast and Primal Scream. Their debut album which was recorded at Strawberry Studios and Studio Antarctica is coming out this year. We managed to catch up with one half of Solar Bears John Kowalski, to offer congratulations and get an insight in this Pulse graduate success story and how the college impacted their journey.
Q1: Tell us about the Solar Bear story, you met at Pulse College. What got you together?
I had a track called Trans Waterfall which I felt would only work with someone who was able to play a wide variety of instruments I met Rian in Pulse and it was clear from the start that he was the ideal person when I got to see his work first hand. He had a deep understanding of music, songwriting and was able to play a wide variety of instruments. The track only took a day to complete. We posted the song online and contacted bands we respected from Mogwai to Remember Remember. We got very positive feedback and within a short space of time we had an album put together. From there we sent music out to few local stations which went down very well and we were played on Dublin City FM, RTE 2XM, Phantom and BBC ATL. We also traded our album with an artist named Bibio who is on Warp Records. Feedback was very positive and Connected Magazine did a feature which gave us good publicity.
Q2: Congratulations, you have just signed with electronic music label Planet Mu. How did that come about?
The Planet Mu signing was a thrill. They came back to us straight away when we sent them our demo. It took three months to finalize the deal but we continued writing. It was finally signed off in the beginning of February. It was a great feeling as we only spent a short period in the studio but worked hard creating original sounds. Being acknowledged by people you respect as making and creating good records validates what you are working for.
Q3: Cinema has been a strong influence in your music, what types of film music have been a common influence?
We have an endless amount of inspiration from Ennio Morricone and Vangelis to John Barry. Particularly Morricone’s work on Once Upon A Time in America and the Vangelis score to Blade Runner. Classic Science Fiction also has been a huge influence. The name ‘Solar Bears’ even came from the 1970s Russian sci-fi film ‘Solaris’ by director Andrei Tarkovsky.
Q4: It’s a tough career. What have been the most challenging moments?
Ireland does not really have a music industry infrastructure so it makes it harder to get known but on the upside it forces you to reach out more and do everything yourself.
Q5: How do you work as a team?
We have no particular style or methodology. There are so many things we want to try out. We don’t have a particular focus at the moment other than things we are into. Our method of production is far from set in stone.
Q6: You completed the Music Production Degree in Pulse College. What attracted you to the college?
I had a friend, Colm, who was in the middle of the Music Production Degree course, he came over one day and was asking me questions for an editing module. He explained the other modules as well as the course content. I always wanted to find out how my favourite records were made so after doing a lot of research I decided Pulse College was the best option for a comprehensive overview in music as well as having a great industry reputation.
Q7: How did your initial training with Pulse College help influence your music styles?
We like tape music such as Neon Indian and Ariel Pink as well as pristine music makers like Trentemoller. We overdub parts with tape for warmth and distortion. We like to degrade the sound to age it and get it away from typical recordings this influence was developed through our training in Pulse college.
Q8: What was the highlight of your experience at Pulse College?
The hands on approach was at the heart of the course. You were encouraged to try things out at home and take it on yourself. The tricks of the trade were shared by the tutors and eventually helped us in recording our album.
Q9: Has your training in Pulse made you more comfortable and disciplined in the studio?
On the course there was healthy competition among students. You were advised to make the most of your time in the studio and it was made clear by the tutors that it was prudent to apply the knowledge from the lectures as much as possible.
Q10: Did the Audio course make you more aware of the sound boundaries that can be stretched?
The focus on Protools and tape machines got across the idea that recording possibilities are endless. The college did convey the importance of discipline and that components in arrangements should not be cluttered.
Q11: Any Advice for our Pulse Graduate when they have just completed their Degree?
My main advice is to constantly use the knowledge obtained and persevere until your objective is achieved. Meta modeling top bands and producers is also a valuable tool.
Q1: Tell us about the Solar Bear story, you met at Pulse College. What got you together?
I had a track called Trans Waterfall which I felt would only work with someone who was able to play a wide variety of instruments I met Rian in Pulse and it was clear from the start that he was the ideal person when I got to see his work first hand. He had a deep understanding of music, songwriting and was able to play a wide variety of instruments. The track only took a day to complete. We posted the song online and contacted bands we respected from Mogwai to Remember Remember. We got very positive feedback and within a short space of time we had an album put together. From there we sent music out to few local stations which went down very well and we were played on Dublin City FM, RTE 2XM, Phantom and BBC ATL. We also traded our album with an artist named Bibio who is on Warp Records. Feedback was very positive and Connected Magazine did a feature which gave us good publicity.
Q2: Congratulations, you have just signed with electronic music label Planet Mu. How did that come about?
The Planet Mu signing was a thrill. They came back to us straight away when we sent them our demo. It took three months to finalize the deal but we continued writing. It was finally signed off in the beginning of February. It was a great feeling as we only spent a short period in the studio but worked hard creating original sounds. Being acknowledged by people you respect as making and creating good records validates what you are working for.
Q3: Cinema has been a strong influence in your music, what types of film music have been a common influence?
We have an endless amount of inspiration from Ennio Morricone and Vangelis to John Barry. Particularly Morricone’s work on Once Upon A Time in America and the Vangelis score to Blade Runner. Classic Science Fiction also has been a huge influence. The name ‘Solar Bears’ even came from the 1970s Russian sci-fi film ‘Solaris’ by director Andrei Tarkovsky.
Q4: It’s a tough career. What have been the most challenging moments?
Ireland does not really have a music industry infrastructure so it makes it harder to get known but on the upside it forces you to reach out more and do everything yourself.
Q5: How do you work as a team?
We have no particular style or methodology. There are so many things we want to try out. We don’t have a particular focus at the moment other than things we are into. Our method of production is far from set in stone.
Q6: You completed the Music Production Degree in Pulse College. What attracted you to the college?
I had a friend, Colm, who was in the middle of the Music Production Degree course, he came over one day and was asking me questions for an editing module. He explained the other modules as well as the course content. I always wanted to find out how my favourite records were made so after doing a lot of research I decided Pulse College was the best option for a comprehensive overview in music as well as having a great industry reputation.
Q7: How did your initial training with Pulse College help influence your music styles?
We like tape music such as Neon Indian and Ariel Pink as well as pristine music makers like Trentemoller. We overdub parts with tape for warmth and distortion. We like to degrade the sound to age it and get it away from typical recordings this influence was developed through our training in Pulse college.
Q8: What was the highlight of your experience at Pulse College?
The hands on approach was at the heart of the course. You were encouraged to try things out at home and take it on yourself. The tricks of the trade were shared by the tutors and eventually helped us in recording our album.
Q9: Has your training in Pulse made you more comfortable and disciplined in the studio?
On the course there was healthy competition among students. You were advised to make the most of your time in the studio and it was made clear by the tutors that it was prudent to apply the knowledge from the lectures as much as possible.
Q10: Did the Audio course make you more aware of the sound boundaries that can be stretched?
The focus on Protools and tape machines got across the idea that recording possibilities are endless. The college did convey the importance of discipline and that components in arrangements should not be cluttered.
Q11: Any Advice for our Pulse Graduate when they have just completed their Degree?
My main advice is to constantly use the knowledge obtained and persevere until your objective is achieved. Meta modeling top bands and producers is also a valuable tool.
Tuesday, May 4, 2010
Irish games industry grows 400% in seven years
The Irish games industry has grown 400% in the past seven years making it one of the fastest growing recruitment sectors in Ireland today. There are now more than 1,400 people employed in games-development and related industries in Ireland as well as new opportunities opening in mobile and social gaming. As a result this figure is projected to grow.
The rise of smart phones where platforms like the iPhone, Android and Ovi spell opportunity; Ireland could find itself very well placed. A new survey conducted by Survey Monkey on the computer-games industry revealed that in Ireland a staggering 1,277 people are employed on a full-time permanent basis, with a further 170 contractors and 22 freelancer workers making the total number employed in the gaming sector 1400 people. This represents a growth of more than 400pc since 2002.
Two thirds of companies who located their headquarters in Ireland were asked why they were located here. Availability of skilled labour was the most significant reason for almost half of respondents, this was followed closely by an ability to attract talent, even if it wasn't available locally, ie, access to Europe. Four companies cited grants and financial incentives, and one identified links to universities.
The IDA Ireland have worked hard in bringing in overseas multinationals, like Gala Networks and Big Fish Games, and have that said more companies would consider moving to Ireland, attracted by the talent and skills of Irish people and the attractiveness of Ireland as a place to live.
Funding however is one of the most important issues. France and Canada have extended their film-support programmes to include gaming firms. One of the problems facing the industry in Ireland right now is that there hasn’t been a lot of support financially for local firms unlike France who recent introduced a tax credit system for this sector. This survey indentifies the huge growth potential for the gaming sector which could help fuel our economic recovery.
The rise of smart phones where platforms like the iPhone, Android and Ovi spell opportunity; Ireland could find itself very well placed. A new survey conducted by Survey Monkey on the computer-games industry revealed that in Ireland a staggering 1,277 people are employed on a full-time permanent basis, with a further 170 contractors and 22 freelancer workers making the total number employed in the gaming sector 1400 people. This represents a growth of more than 400pc since 2002.
Two thirds of companies who located their headquarters in Ireland were asked why they were located here. Availability of skilled labour was the most significant reason for almost half of respondents, this was followed closely by an ability to attract talent, even if it wasn't available locally, ie, access to Europe. Four companies cited grants and financial incentives, and one identified links to universities.
The IDA Ireland have worked hard in bringing in overseas multinationals, like Gala Networks and Big Fish Games, and have that said more companies would consider moving to Ireland, attracted by the talent and skills of Irish people and the attractiveness of Ireland as a place to live.
Funding however is one of the most important issues. France and Canada have extended their film-support programmes to include gaming firms. One of the problems facing the industry in Ireland right now is that there hasn’t been a lot of support financially for local firms unlike France who recent introduced a tax credit system for this sector. This survey indentifies the huge growth potential for the gaming sector which could help fuel our economic recovery.
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