The Home Recording Studio Business

Discussion in 'Music Business Forum' started by Ben Godin, Jul 22, 2004.

  1. Ben Godin

    Ben Godin

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    Well, seeing that many folks have chosen to open profit based recording studios in their homes, ans some manage to make a living off of this, my first question to those individuals would have to be.... how do you do it? Also, a home recording studio, say a really good one, can charge a max (in my opinion) of 45/hr. (otherwise its a ripoff cause i know a few pro GREAT studios that charge less), how do you pay the bills, buy the gear, etc.

    I myself owned a studio a home studio a few years ago, and although bands were coming in.... well everyone who payed well was going to the pro studios for recording, so i got a job at a pro studio and im very happy, but for those of us who manage to live off of their own home studio, please

    1. Tell us how you do it
    2. Tell us how much you charge
    3. Give a basic to what sort of equipment you may have

    Thanks to everyone who posts.
     
  2. Ben Godin

    Ben Godin

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    no one?
     
  3. igloo

    igloo Guest

    since nobody replied, I'm gonna give it a shot.

    I don't exactly make a living out of it, but I would guess the following:


    1. Tell us how you do it--

    People in this situation are likely to provide an extra value to their clients. Really good music production skills they're willing to pay for, arranging, vintage instruments, orchestration, etc, that they can't find at a local studio.

    2. Tell us how much you charge--

    wouldn't know... besides I charge in a different currency, and I still struggle to make ends meet.


    3. Give a basic to what sort of equipment you may have --

    I would guess DAW with ProTools, a nice channel strip like the Avalon 737, compressor, etc. I use Apogee Mini-Me and still don't have a multi-channel audio interface...


    I suppose it's possible to make a living out of it if you're good and maintain a healthy cost-value relationship. .and maybe these home studios offer different services like music teaching, ad production, independent music production, etc...
     
  4. gdoubleyou

    gdoubleyou

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    It's tough because bands, and atists believe they can record themselves.

    I attempt to get one or two corporate clients a year, they have budget and are not as flakey as musicians.

    I also partner with multimedia companies, to provide sound, music and voiceovers for CD-ROMS.

    the corporate jobs usually have nice budgets, and provide enough cash flow for me to do my personal projects.

    Here in the Seattle area Bad Animals studio( used to be co-owned by Heart) stopped doing bands, sold their big room. they mostly do post production and mastering. They have about ten employees, a local media trades magazine listed them as billing more than $5 million last year.

    http://www.badanimals.com/flashed.htm

    They started getting involved with local multimedia projects, got into a Pro Tools TDM system, and an AVvid system. Now they have 5 Avid/PT|HD rooms.

    check out the studio history link on the site. If I get couple more coporate gigs, I'll be able to pay cash for a PT|HD system.

    8)
     
  5. maintiger

    maintiger

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    Its tough enough doing bands in a commercial studio- I would not want to do it at my house.
     
  6. Thomas W. Bethel

    Thomas W. Bethel

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    Approximately 5 to 15 new studios open up around here (Northern Ohio Area) every year. Most of them go away shortly afterwards. Most of the home based studios were originally setup for the musician to do his or her "thing" because the musician convinced him/her self that they were getting ripped off by the commercial studios and it would be better to have their OWN studio where they could " take all the time I need" and "be more productive since it is in my house" .

    Most times these basement or bedroom setups were designed for the individual musician and were never designed to be "for hire" endeavors. The musician goes to Sam Ash or GC and spends $6,000 equipping his or her own studio. After a short amount of time has elapsed his or her significant other says "hey why don't you use all that stuff in the (insert location) and make some money instead of just spending money on it" so another home based studio opens its doors to the public. The person running it may not have the chops to compete or the significant other does not like his or her home to be a place for "noisy musician" to gather at all hours of the night and on weekends so the project studio comes to an untimely end. (I have seen this scenario more than I want to admit.)

    Other "commercial" recording studios are opened in shopping malls or industrial parks by well meaning better funded individuals but they don't understand that you have to have continuous money coming in the front door (and that is a BIG problem in the music business today) in order to provide the rent and the money to afford all the equipment that is needed to keep themselves viable. They attempt to supplement the needs of the studio with money from their "day job" but find in the long run that they would have made more money investing in stocks or just putting the money in the bank. They grow frustrated at the lack of income or the constant need for updating and eventually close their doors and sell off the equipment or put it in their basement for their own use.

    I don't know about other areas of the country but here most studio users are basically CHEAP and don't want to pay a lot for studio time BUT they want SSL quality on a Mackie budget. They complain that people are trying to RIP THEM OFF buy charging a rate that is commensurate with what they are getting. They don't see the need to pay more than $20.00 per hour (if that) and finally convince themselves that "I can do this better myself" and go to their local GC or Sam Ash and spend $6,000.00 equipping their home studio and the cycle starts all over again. (GO TO TOP OF THIS REPLY AND REPEAT ad nauseam)

    -TOM-

    IMHO - If you want to open a studio do your homework FIRST. Be realistic as to how much work you can generate and how many people will be using your facility before spending one penny on equipment. Everyone that I know that has made a livable income off their studios is a hard worker and can read trends in the music industry BEFORE they happen so they know where to put their efforts. They also have a business plan and are realistic about how much and where to spend their money. They are also good "people people" and can do a lot of smoozing with potential clients to get them to use their facilities. They keep their equipment up to date but try hard not to be at the "bleeding edge" of technology so they can recoup their investment before something new comes along.

    Best of luck and I hope you make a go of it. You have to be in it for the love of music and not for the financial rewards because 9 times out of 10 your will not make anywhere near what you plan to make.

    Again Best of Luck
     
  7. Kurt Foster

    Kurt Foster

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    The home studio is the model of the future. There will only be a few large rooms left open to service the movie, av and record business in LA, Nashville, Miami and New York ... and much of the record business will be going to smaller home based type studios when possible.

    Only dates that need a large room for strings / orchestral things will be booking large rooms. People who are successful in the home studio business will be the same people who would be successful running a large studio. They will be hired for their musical abilities and what they can bring to a project ...


    1. Tell us how you do it?

    I am retired ,,, not old, just done with working for a living. I don't record customers very often. Most of my gear is from when I ran a commercial room in the 90's .... some is new acquisitions (I don't ever seem to learn). I have a large place (3 br's, office, family room, living room) and I have all my recording stuff set up at one end of it, and the rest of home life goes on at the other end of the house.

    My CR. is in the family room and I have the office converted to a booth that is large enough to do drums or whatever else I need to isolate when I record.

    2. Tell us how much you charge?

    $20 to $25 per hour, depending on who and what it is I am recording. If I really dislike what I am doing, I charge more (up to $60 per hr.).

    3. Give a basic to what sort of equipment you may have.

    Mostly pro gear ...

    front end:(currently) 2 Amek/Neve 9098, Sebatron vmp 4000e, GR MP2NV, PreSonus M80 (wheel chock, soon to be replaced with a JLM TMP8), Yamaha MLA7 (not in use), Mackie SR24 pres,

    compsDrawmer 404 gates, Manley ELOP, Urei 1178, LA4's, Valley Dynamite, dbx 263X.

    reverbsLexicon PCM 60-70&80 SPX 90 ... Eventide HD3000/SE effects processor (and more).

    mics U87ai, 4033, SP C3, SP C4, AKG 460's, 451's, atm pro 35x . 421's, 57's, Beyer 201's ... (and more).
     
  8. oakman

    oakman Guest

    Hi, I'm a newbe... Thoughts on the topic from my perspective...

    One of the largest studio groups in Nashville recently filed bankruptcy for the second time. One of the reasons they sited for the decline in business was home studios and the fact that technology has made it possible for artists to do a professional job on a limited budget and no time constraints.

    Why pay someone else to do something you can do yourself? Because of their experience and reputation? yeah... but you would only buy time at an established studio if it was a desirable producer/engineer's preference. I am thinking that, these days, people make money, not studios. Home or not, if they make it on room rental alone, they are very lucky.

    I have a home studio and do all my work from it, because my work requires a studio and I'd rather pay me. :) That's a decent chunk of money that some joint downtown isn't getting. The studio is not my income. The product it produces is... My product. I can't imagine trying to make ends meet with a home based studio, simply by charging an hourly rate. The Event of the home studio is driving rates down. Folks can barely pay the utilities these days. I think most successful home studios exist because of another product that they facilitate. I would think that justification for a home studio as a business is hard to come by.
     
  9. Thomas W. Bethel

    Thomas W. Bethel

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    You are taking one SERIOUS thing out of the discussion and that is the experience of the engineer doing the recording. Yes you can record at home, yes you can go a decent job of it, yes it is less costly in terms of money to record at home but your time is also worth something and if you have to spend hours trying to get "the sound" you want or you spend a ton of money for equipment only to not know how to use it then you are kidding yourself that going to a pro studio is not worth the price.

    As a mastering engineer I am at the end of the recording chain so I get to see and hear the material after it has been recorded and mixed. Some of the stuff done at home studios sounds GREAT some of it sounds CRAPPY and some of it is GARBAGE. The musicians on some of the stuff I hear have a bad enough time just playing their instruments let alone recording themselves.

    I just did a local band that I think did one of the most incredible recording jobs I have ever heard pro or semi pro and they did it all in their basement around the pool table. The songs are GREAT the recording is GREAT and the whole album sounds pro.

    On the other hand I also just did a client that was so badly recorded I could not do ANYTHING with the music. It was recorded on a 4 track cassette deck (using the wrong type of cassette tape) , mixed to another cassette deck (also using the wrong kind of cassette tape) and the mixdown was brought to me on a cassette. The person thought that I could make up for all the problems he had from day one in a one hour mastering session.

    These are two extremes but they are consistent with what I get from home studios. It is literally the good the bad and the ugly on a daily basis around here.

    If someone is going to record themselves they should at least take some time and maybe some classes to learn how to do it correctly. They money they spend (average $6000.00) on their basement studio could possibly be better spent going into a pro studio and getting their stuff professionally recorded and at the same time learn how to record themselves by watching what the engineer is doing.

    Then if they want to open their own studio for their own uses they should GO FOR IT. Too many people do not take the time and do the reading they should BEFORE setting up a studio and after investing a couple of thousands of dollars are faced with a daunting task of learning how to be a recording engineer at the same time they are worrying about writing and playing their music.

    Most pro producers and recording engineers are musicians and they can relate to the problems facing the band and offer multiple suggestions to speed the recording process along. They also have ears which are trained so they can make VALUE JUDGMENTS which is something a lot of people cannot do in regards to their own music.

    Collaboration is what made a lot of the musical material we treasure today and if it was not for the collaboration between the producer the engineer and the band the project would not sound like it does and who knows may never have been recorded the way it was.

    This lack of collaboration seems to be one big problem today for many of the projects I hear. They have never been listened to by an outside party before they are brought in for mastering. The projects are so inbred, with only the artists listening and passing judgment on material and their playing, that the current project has become the defacto standard for quality instead the other way around.


    JMTCW

    -TOM-
     
  10. oakman

    oakman Guest

    All great points Tom.

    What I really was trying to say is that the Producers and Engineers make the money dispite the home studio trend, but the studios make little on hourly rates. How much less of a chance of success would a home studio have... unless there was some real talent in it.

    Collaboration... I like that word and agree it is very important. A lack of it is what is hindering me in my own music.
     
  11. maintiger

    maintiger

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    I agree with Kurt that home studios are not only here to stay but are the future. I also see Toms point in its limitations, lack of collaboration and ranges in quality from excellent to pure s**t. Its also why so many studio engeneers are moving into mastering, there's no real money in tracking anymore and there are many home studio owners with projects that need help so they are willing to pay for mastering. Of course the project with a budget pros will always send theirs out to get mastered. Bottom line, we don't live in Kansas anymore.
     
  12. madminute

    madminute Guest

    Tom's reply is one that I find really quite aggravating at times.
    This notion that someone else knows what another persons music should sound like, what the artistic intent was and all that reeks of arrogance and fear.

    Maybe some of those people who record to 1/4" want that kind of sound. The music that is being produced by alot of big name, high dollar "producers" may as well have been done on such lo-fi systems, as they sound like they were.

    If some band of kids wants to sound like White Stripes, do they really need to record on an SSL and 2" Studers?

    The thing that gets me is when someone says "the home studio guy/musician is'nt qualified to record their own stuff" as though this were some black ART that only the Jedi masters know. I've seen this so many times it hurts. Another guy, a guitar tech, on another board, makes basically the same pronouncements all the time, thus discouraging people from doing things they honestly could do, if pointed in the right direction.

    You who have the knowledge to do this should, and those who fear losing money need to get used to it. Home studios will not go away.

    And while we're on the subject of money, where did those fat rates studios charged in the past come from? Fatass record companies?

    Seems like this whole thing is out of control.
    I guess I'll sit and ruin everything I do on Sonar, as apparently that's all us "amateurs" are capable of.
     
  13. oakman

    oakman Guest

    Chiming in agan. i find this interesting from my present perspective.

    So, maybe it's safe to say that a home studio can prosper if there is good talent associated with it. I have the studio. Now if I only had the talent. :)

    Problem... Home studios usually = limited space & lo-tech tracking enviornment. Since tracking is not a very profitable business any longer, maybe we'll have to make due. I too have heard great mixing and mastering come from homes. Some real crap too.

    The leviathan like resources of the big labels will always keep a few giants working, but it may never be like it was. Like it or not, hits sell records and sales equals money and money builds studios and joe public has been trained to judge a hit by a formula fed him... and the labels want their artist in and out a quickly as possible. Seems like the only way to really spend quality time in a studio these days is to have your own.
     
  14. Thomas W. Bethel

    Thomas W. Bethel

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    Recording is like any other profession. You need to know what you are doing before doing it. People who want to record themselves need to learn just like the person who wants to start sewing or building furniture. Most people, when they want to learn something, will do one of three things. Find someone with experience and learn from them, read a book on the subject or go to classes on what they want to learn. Or they may do all three. You would not want someone to learn to drive by giving them a car and telling them to head for the freeway or have someone learn how to fly an aircraft by giving him or her the keys and letting them take it from there.

    Why is audio any different? Audio is not a black art and you don't have to be a Jedi master to know what you are doing. You do however have to learn what you are doing BEFORE doing it. I have lots of friends who are musicians and do their own recording. They are good musicians and good recording engineers and have taken the time to learn the craft of recording as well as playing their instruments. It took them at least a couple of years. if not longer, to learn to play their instruments correctly and in tune and it took them the same amount of time to learn to be a good recording engineer. They ask a lot of questions and read a lot about what they are doing and do research on the web when they are ready to purchase new equipment. They take the act of recording as seriously as they took learning how to play their instrument.

    Many times I see people in GC or Sam Ash wheeling out loads of equipment. The salesmen is happy to sell them what they want and the buyer thinks that he or she will take this stuff home and tomorrow they will start recording their band or themselves - WRONG!

    First they have to get everything hooked up together without inducing hum or buzz, then they have to make it all work together then they have to learn what is the best way to do certain things like gain staging and microphone placement. Things that make a BIG DIFFERENCE in the recording process and are not learned over night. Eventually they will learn (or maybe not) and start being able to do good recordings in their house.

    Experimentation is fine and you can learn a lot from your mistakes and if you want to record yourself in your bedroom or basement have at it. This topic was suppose to be on starting your own BUSINESS of recording and was not talking about the individual musician wanting to record themselves. The problem that I see over and over again is that someone will purchase a lot of expensive gear, spend zero time learning how to use it and then immediately decide to open his "studio" for outside clients. There is no certificate or diploma that you can hang on your wall that says you are a recording engineer (unless you have graduated from a college or school in recording) and anyone can open a studio and call themselves a recording engineer. It is the same thing in home improvement, you can start a roofing company today and tomorrow be doing your first roofing job The difference is if you don't know what you are doing with the roofing you can get sued by the homeowner who's roof you destroy but the same thing will likely not happen if you destroy someone's recording project although they maybe somewhat pissed off.

    My whole point is LEARN to do what you need to do and LEARN it well. There is a lot going on behind the scenes in an audio console or computer software program that can get you into a lot of trouble very quickly. It is not going to leak on your head but it maybe the reason that you don't get good recordings or that you have a lot of problems with your mixes. We have become a society of "got to have it now" and "immediate needs gratification" and people do not want to take the time to learn anything. Give a young person a game or computer and they start using it without ever cracking a book or asking questions. It is only afterwards when the computer won't work anymore and the computer game stops working that they will start to do some reading and or ask questions. This is exactly the opposite of the way I learned to do things.

    Best of luck in recording yourself and I hope you have a good experience with your music.
     
  15. madminute

    madminute Guest

    Mr. Bethel....

    Some background information may be in order here, so you don't lump me in with some 17 year old with rock star aspirations.

    I am 40 years old. I've been playing music since I was a kid in grade school. I grew up watching my brother tear apart amplifiers so he could modify them, something he started as a teenager. I came into nearly the same "profession" as well, as I have made a living as a guitar and drum tech.

    I have worked in some rather large studios in L.A. for bands on majors. I have worked with some expensive producers, and heard all the same lines come out of A&R people's mouths about the same song 12 times making a hit record.

    I eventually ended up being involved in the building of a small (48 track digital, Otari Radar equippped) studio in L.A.

    I don't really consider myself a newb. I do, at times, buy things at GC, although I really try to avoid them.

    I take alot of what people say about recording and music production with a grain of salt.

    For a long time, I moved away from music and recording, due to the ever present ego that alot of people in your business have.
    I got really sick of "trained ears" polishing giant turds. $150 dollar an hour rooms, equally expensive "producers" and engineers, throwing heaps of money at projects that actually sounded better recorded in the garage than when they were redone in these same big spaces.

    I feel the same problems that exemplify major record labels hold with studios.

    For too long, both have lived like pigs on the artisticly talented, and sometimes not so talented, musicians products. Now things are turning a bit, moving away from that 70's and 80's mindset of big money, big production, at least in the rock world.

    I do record in my bedroom. Alot. As well as in my bandmates basement. I do get decent results. I do get people asking me to record them. I always kindly refuse, but thats just me. If someone asks how I did something, I gladly tell them as much as I can.
    I don't feel the need for a bigshot egomaniac with his "trained ears" to tell me what my music should sound like, either live or recorded. I don't tell someone else how their music should sound either.

    Yes, this discussion is about business. I believe you can make a viable recording business out of your home if you desire. I agree that one must learn some things first, but it isn't brain surgery. And I think thats why alot of people who are used to the older ways of thinking about recording are afraid.

    It is entirely possible, and done all the time now in fact, to make high quality recordings at home. The demand for large facilities is going away, along with the demand for those who used to run those facilities.

    I guess my point is that not everyone who rcords at home is an idiot, and some of us can manipulate our audio well enough to get pretty decent sound without the "help" of outside contractors. Not everyone can, granted, but just because someone records at home does not make them less professional.

    Peace.
     
  16. Kurt Foster

    Kurt Foster

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    I have to weigh in with Tom on this subject ... I have a couple of replies to direct at madminute ...

    First I have to ask why so angry? Pehaps instead of pointing the finger at the studio personel who failed to get a great recording from a garage band, perhaps the blame lies with the band who has to record a thousand takes before they get something that sounds good by mistake? It seems like you have had a very bad time in the recording business ... and your slant on things is a bit influenced by these negative expierences. The pros I know would not be interested in the least in working on a project where "turd polishing" was taking place ... Many studios do engage in this but not the ones who are cranking out hits ... they don't have the time for that stuff. So if you saw a lot of this going on, perhaps you were surrounded by posers and wannabes ... with a little too much cash. The biz is full of these types. But please don't lump all of us into that. Some of us do have morals. The sad fact is 'turd polishing" is much more likely to occure in a low budget / overhead facillity than in a $250 per hour room ...

    Yes, they do need to use top notch gear. Perhaps not an SSL but the large format tape played a lot into the sound of that recording. ... Why anyone would want to sound like the "White Stripes" is beyond me ... why the "White Stripes" want to sound the way they do is beyond me ... but, we had a lengthy thread here at RO on where and how the last "White Stripes" record was recorded ... and I can promise you it was done with pro gear by a pro engineer.


    First off, I don't need to do anything .... But what do you think we are doing here ... just the fact that we are exchanging info with you in spite of your attitude should be example enough. I myself am dedicated to the concept of online mentoring. When I learned to record, I worked in studios as an intern and with pro FOH guys as a stage hand and roadie ..

    This question really demonstrates how ignorant you are about this topic. Recording studios are more prone to become bankrupt than to be profitable in spite of these "fat rates". Large studios cost a lot of money to build and to maintain. A lot of people are needed to perform menial tasks like cleaning the toilets and vacuming the carpet ... answering the phones, making coffee, scheduling etc.. All that is not free ya' know ... Good gear is expensive to purchase and to keep running. Room construction and treatments are expensive. Insurance rates are high, property and business taxes are through the roof ... in some cities (like LA), a studio is charged tax every year on the fixtures like carpet. High rates also originated from a situation where the people who ran these studios had to be paid big bucks. The term "recording engineer" comes from a time where there were no companies that manufactured recording gear. Many of the people who worked in studios (guys like Bill Putnam and Tom Dowd) were actual electrical engineers, who could design and fabricate the equipment they used. These people had to be paid well. One of Tom Dowds former positions before working for Atlantic Records was as an engineer for the Manhattan project. Putnam came out of the signal corps where he had top secret clearences ... You don't hire that caliber of person for peanuts.

    Yes, home studios are the future. Unfortunately I fear the best recordings have already been recorded. Just as movies produced by the "studio system" of the 30's, 40's and 50's were better, the same can be said for records that were produced in the "Golden Age" of recording in the 50's, 60's and 70's. This "I really don't know sh*t but I know what I like" attitude from an ignorant, younger generation is the chief reason for this state. You can't tell them sh*t because they don't want to hear it ... If I could live to be 100, perhaps I would enjoy it when people who say these things now, realize in 50 years what huge morons they were when they were younger. I know I look back at some of the desicions I made and at some of the things I did and say to myself, "What the hell was I thinking when I did that?" But then, some people never learn in spite of their expierences ... and that goes beyond ignorance becoming pure stupidity.
     
  17. maintiger

    maintiger

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    DAWs are getting better and better everyminute narrowing the gap between the big and the small. Home (you can insert project studio here instead if you wish) studio belonging to people who have developed their chops do and will turn out the hits- its a mathematical equation that an experienced producer, engineer or artist who can turn out a quality product in their own studio for less money will certainly do that.

    Its not only the money saved, although that is probably the first reason. Its also about artistic control and enough time to develop your ideas, unemcumbered by the running of the all mighty clock. Its also about getting up in the middle of the night with a great idea for the mix or the production and being able to try it out right away. yes, it is about unencumbered acces to your music at all times.

    So what that many people are producing s**t at their homes studios. That s**t will probably never see the light of day and will get flushed down to the place where such stuff goes anyway. But that's how you learn, and being able to do it is not only a great opportunity but also a great equalizer.

    Which leads me back to one of my favorite topics: a project with a budget. If you are a pro working either for specs or for hire on a project you will have a budget just like the pro that's working at the commercial studio. If you have a budget you will be able to hire the musicians you need to get that sound, the equipment you need to get there. You can even go mix in the big studio if you think its necessary. But many time we will opt to keep the money in our pockets. Not to mention the satisfaction you get when you finish a project and its good and you did most of it yourself. This is fast becoming a DIY world in every respect. Recording music used to be the domain of a few proffesionals and many of the old pros are bemoaning the passing of that world. Cry if you must but still the world will change whether you cry or not.

    peace to all-
     
  18. Thomas W. Bethel

    Thomas W. Bethel

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    Madminute,

    This is not about you and I am sorry you had some really bad experience in the recording studio.

    I am a mastering engineer with a lot of experience and a lot of money invested in my facilities. I do not polish turds for a living and if you ask any of my clients they will tell you that I go out of my way to make sure they are well taken care of even to the point of going to a mixdown session for FREE just to make sure everything is OK. I have also helped a number of them with technical problems and have even helped wire a couple of their studios for FREE just to help them out. If I was in this profession just for the money I would be in New York or LA and be charging $400.00 an hour for the privilage of having you come to my mastering studio but that is not why I am in this business and that is not why I am doing what I am doing. I have been in electronics since 1957 and in Pro Audio since 1968. I have more than paid my dues in audio and I am very good (IMHO) at what I do. I don't rip people off and if you talked to any of my clients they would tell you that I am always supportive of their projects and offer only what I consider good suggestions to make their project even better. I don't think I know everything and everyday I learn something more about audio which is the way it is suppose to be.

    If you had problems in the past with recording studios ripping you off that is deplorable and is not a practice I condone nor do most people I know who are professional recording engineers (meaning they get paid for doing their job). There are a lot of studios around that the only reason they are in business is to make the most money they can and they don't really care how they make that money. These studios are usually fly by night and are gone within a short time of them being setup. If you are running a pro studio it costs a lot of money to set it up and to staff it and to buy all the equipment you need. This money has to be paid back to the bank or the person who lent it to you plus interest so you have to charge a fair rate to be able to do that. No one that I know is ripping anyone off with the rates they charge. In fact most of the recording studio owners I know do about 1.5 times more work for the client then they actually bill out.

    Hope you have a good experience recording yourself and if I can ever help you with some mastering let me know. It will be done well and will be reasonably priced.
     
  19. maintiger

    maintiger

    Joined:
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    Location:
    Whittier, California, USA
    Home Page:
    True story, that's why we don't make any money! :D
     
  20. madminute

    madminute Guest

    Kurt...

    First off, there's no anger here.

    Bad experiences were minimal in my time in studios, other than getting paid by labels, which was always a hassle.
    As far as the people went, they were, except for the hangers-on, usually pretty cool to be around.

    I understand that someone has to make the beer runs, and mop the bathrooms, and all the sundry stuff that keeps a studio running and the clients happy.

    The thing that strikes me about your responses to my comments is your own contradictions. You state that you don't see turd polishing when people turn out hits, yet you use the White Stripes example to attempt to make your point. You admit that you don't like their sound, so how can you say this is'nt polishing a sonic turd? As Tom pointed out, expensive gear does'nt always make a nice product. And the same can certainly be said about a majority of what is produced by majors in big houses today

    So, to summarize, pros are daily taking money while turning out huge piles of dung. While you may personally not know any of these pros, it still happens. This same discussion is going on in several other threads on this board.

    At the same time, people are recording wonderful stuff in their homes and in small project studios.

    My entire point is that throwing money at projects and running audio through alot of expensive gear run by expensive producers and engineers does'nt always equate to a pleasant listening experience.


    Tom....

    I have never had a problem with a studio ripping me off. I have no idea how you came to that conclusion.

    I have not questioned your experience or credentials, nor anyone else's in here for that matter.

    The only trouble I had with anyone's comments were when they stated that only "experts" and people with "trained ears" were qualified to record. And then it went further, to blame someone else, namely the people actually making the music, calling them out for not being able to even tune their instruments, let alone touch a piece of recording gear.

    I won't apologize for calling elitist, condescending bullshit when I see it. I will apologize if I did'nt make myself clear.

    I suppose I'll go back to making sonic sludge out of my music, since thats all my ignorance allows me to do with my cheesy little DAW.

    I hope your businesses fare well.

    Peace.