NO SOUND IN SPACE, Music Production Studio.
(Music producer and Sound engineer assistant & Observer)
In August 2020, I had a chance to do an internship at No Sound in Space studio which is a music production studio, run by Tum Monotone or Sathapat Teeranitayapap, who was a member
of the band, Monotone, under the Bakery Music label.
During this internship, I was inspired by the creative process of music-making and technical know-how. The experience allowed me to explore music composing, recording and sound mixing in more professional approaches, such as complex mixing techniques, positioning instruments when recording, track arrangements, and hardware usage. For example, the "doubling" vocal lines reinforce the fullness of the main vocal and give it more presence in the mix. I also explored "Sidechaining" for drums which creates the harmonising dynamics of rhythm sections. I gained a lot of depth knowledge about applying EQ to tracks by studying frequency ranges. Most importantly, I learned how to operate dynamic control hardware, such as a compressor, which allows elements in a track to interact with each other more smoothly.
Furthermore, I was allowed to observe in detail pitching skills. We must be able to take in those comments and make suggestions. As the clients collaborate in the production and fine-tune their expectations around what is possible and the better alternatives, the practice pushes the boundaries and the quality of the work even further.
UNIVERSAL MUSIC THAILAND
(Digital Operation Intern)
My job and responsibilities include optimising artist channels/pages on
important Digital Service Providers (DSPs), displaying the artist's personality in accordance with
marketing guidelines, and making artist materials accessible to users. Furthermore, I must work
on songs and the artists' pitching process to demonstrate the potential for growing popularity and
revenues to get DSPs' help in bettering marketing content and artists. Plus, I worked
with the Digital Operations Officer team, who are experts in this field, to launch more music
streams on DSPs, such as creating online compilation albums of songs and updating curated
playlists to attract users on Spotify, Apple Music, Joox, TikTok, etc. Finally, I must collaborate cross-functionally with the Marketing team to
develop digital campaigns with DSPs domestically and regionally.
EPIDEMIC SOUND BY WE SOUNDTRACK
(Music Licensing & Sales Apprentice)
I had to enter a 2-month course focusing on the foundation of global and local music licensing structure and function. I also learned about the platform, uniqueness, supply, brand initiative ideas, and what Epidemic Sound offers, such as tailoring quality music and exclusive sounds for content, making content legally safe, simplifying all rights for media worldwide, clearing all copyright issues, and making fair compensation for composers and artists. Moreover, what Epidemic Sound advances out of other music libraries are sophisticated but sustainable, righteous and future-proof, which are essential for me to thoroughly understand what the company offers and the issues embedded in the traditional music licensing system to explain and convince my clients as a salesman.
NO SOUND IN SPACE, Music Production Studio.
(Music Producer and Sound Engineer Assistant & Observer)
In August 2020, I had a chance to do an internship at No Sound in Space studio, which is a music production studio run by Tum Monotone or Sathapat Teeranitayapap, who was a member
of the band Monotone under the Bakery Music label.
During this internship, I was inspired by the creative process of music-making and technical know-how. The experience allowed me to explore music composing, recording and sound mixing in more professional approaches, such as complex mixing techniques, positioning instruments when recording, track arrangements, and hardware usage. For example, the "doubling" vocal lines reinforce the fullness of the main vocal and give it more presence in the mix. I also explored "Sidechaining" for drums, which creates the harmonising dynamics of rhythm sections. I gained a lot of in-depth knowledge about applying EQ to tracks by studying frequency ranges. Most importantly, I learned how to operate dynamic control hardware, such as a compressor, which allows track elements to interact more smoothly.
Furthermore, I was allowed to observe in detail pitching skills. We must be able to take in those comments and make suggestions. As the clients collaborate in the production and fine-tune their expectations around what is possible and the better alternatives, the practice pushes the boundaries and the quality of the work even further.
