Sadly consoles, tape and all that other stuff is just soooo expensive to maintain.. That's why I sold my 2" 24 track and my MCI console. I did my taxes and figured out that I had spent 5 grand in five years on a console and tape machine that were worth at that time $12K and dropping fast. It was time to do something. Now I work in the box and you know what? I don't miss all the heat, and all the bills for a big room to house it all and the down time when the power supply on the tape machine craps out and the maintenance. So when I walk into a studio I want to see lots of great front end gear, cool mics, a killer monitor system and most of all someone who knows how to record and actually gives a flying poke at a rolling donut about my project..

:) Steve, what a fun question! :tu:

I like to stand, and move around when I work, I try to be neat but when I am rolling I don't care where the cables are, as long as they aren't crossing power lines.

I know where everything is in a project, and am 10 steps ahead of the client. 2 prerolls, then it's a take. When it's taken, it's history.

I have a set of clippers for cutting tie raps, I hate tie wraps, I prefer twisty ties. I use 1/2" masking tape for cable labels and when it dries up and falls off I replace the cable.

I cover my gear with beach towels, when not in use. I love working with my hands. Over the years I have become so used to this that the thought of using a mouse and looking at screens for everything is unimaginable.

I am very efficient at what I do, there is no time for render, I prefer gear that works realtime, more expensive, but more efficient. By the time the client walks in, most of the dirty work is done, so I make it nice, cozy and neat.

I set up my system flow for maximum efficiency. I like dedicated inputs. On a console I just mute what I'm NOT using. I like walking into a place where gear is everywhere. Where you look around in amazement only to discover something different at every turn. Like a curio shop.

I go into the store room and wonder how I can implement old obsolete gear. If I find an old XT I will write a program for it to do specific function, even if it's to make labels, or print and keep records.

I love my junk drawer. I can find anything I need there, you can't. I have used the same tweaker screwdriver, same black and yellow Phillips head for 15 years. I am superstitious if I can't find it, and I will spend a day to find it if I have to. Don't get any ideas about taking it hostage. It is well protected.

I put the PCR upstairs so I have to run up and down to get to and from the studio. Better for your health, like it or not.

When I work in my project studio, it remains lit up until the work is done, all of it. I may cut 10 or 12 pieces in a night, and watch the sun come up. I love to experiment, and really dig some of the old studio shots from Abby Road, and other places where people are working. The atmosphere of towering old Moog systems, keyboards everywhere, the glow of gear, big monitors, meters, interesting but effective acoustic treatments, and full ashtrays.

Even if a place looks like crap, but is efficient and works, I don't care. However clients might, and sometimes do. You can feel your way through these decisions.

If I see space not used it becomes storage for shelves. There is nothing like the smell of electrolyte of simmering gear. Warm gear beckons me to play. To me a warmed up studio is like the smell of home baked bread cooking in the stove.

I hate tie wraps.

--Rick

I dunno - me - i like it all - i like walking into a room and seeing old 2" tape - but also a computer screen. I like a mouse but can't do without knobs and bells and whistles...

I just like it all - i like to collect it - i like to look at it on a saturday evening when i'm awake just before midnight..... i love the smell of it on a warm wet summer day....... I just love it all.

Unfortunately i can't have it all....... i want it all........ but will never pull that off....

What i will do however is continue to buy up as much of it as i possibly can - because i do believe that he who dies with the most toys wins.....

And i am also going to be buying like 14 or 15 burial plots - side by each - cause ya know what my friends? I AM taking it all with me..........

Happy Hunting to you all

Rod

Steve,

Great topic.

I sold all my outboard gear a few years ago and never looked back. And I don't need no stinking control surface. :D I do it all in the computer. Everything. All FX areplug-insas are all my synths and samplers. I can't imagine ever going back to 2-inch tape and editing mixdowns with a razor blade. I shudder at the thought. If I want to see SMPTE time flash by faster than I can read, Sonar has a display for that.

:c:

--Ethan

Boys and their toys. It must be nice to have the option of using what you like. Given the choice, I'll go with a nice DAW every time. I can work faster and more efficiently. But gimme that analog front end; lots of pre's and compressors, FX boxes and the like.

As a free-lance I have to use whatever is available in the facility I'm working at, mostly DAWs and ADATs. I bring a small rack or two of my favorite toys if I know I'll need them. One of my absolute favorites is the Roland CE-200 chorus. It's dirty, it's noisy and it sounds just great. Even when bouncing MIDI to track I almost always put it through a pre of some kind or a speaker and mic it; turn the effects off and run it through something like the CE-200 or a stomp box. And when using a DAW, I much prefer a control surface to control things in real time, mix on the fly and just tweak the miscues when I'm done. Music is supposed to be tactile and organic.

I do like a clean control room though. I hate tripping over wires, mostly because I spend most of my tracking time out of the chair, grooving right along with the performers and tweaking the boxes in the racks.

Good post Steve.

Uncle Bob

:p:

TO EACH HIS OWN, SAID THE LADY AS SHE KISSED HER COW

I want to see kickass mics and kickass pres. I don't give a damn what they're plugged into. Good pres and mics, well used, will produce great tracks into a well maintained 2" tape machine. or a Korg PXR4 Pandora.-Richie

My ideal studio:

I wanna see a 9' concert grand, a B-3, and kick-ass food and drink!

As far as other gear, i kinda like blue lights...

Oh yeah, I like stereo cue mixes - individually configured for each musician.

WOW! This is great. It's good to know I'm not alon in the world!
When I originally posted, my comment about timecode screaming by at 100 miles an hour was aimed at the BRC. I don't really believe analog tape is a good option for recording now, given it's maintainance requirements and noise properties. I do like all of the analog type controls, as they are much quicker and easier than "mousing". :D

Everyone has their own ways of approaching a task. Many will play the faders with both hands. I myself have never like this approach although I acknowledge its usefulness. I usually set up a static mix and then make individual moves writing them to automation. Before I was introduced to my first desk with automation, I would take "write tape" and stick it next to the faders and mark my moves, running the mix until I got through it without missing something.. So now in DAW I don't feel the need for a hardware control surface.. At first I missed transport controls, finding performing punches with the mouse to be kludgey and cumbersome, until I realized I could use the key pad on my computer keyboard to do this. I have several buttons set to perform the record in, out, play, stop, ff and rew.. It works fine for me and is one less piece of stuff on the computer station desk cluttering up the place..

---------------------------------------
Nope never used it! Never heard it! I don't know nothin' about it.. It could be the best thing since sliced white bread! (really!) :D

Steve, you rock man! Richie, you rock too, Ethan....I have my doubts.

My beloved favorite music was all recorded to tape. Right now I'm listening to "Close to the edge" by Yes. The church organ has just been blown away by the Moog and now the Hammond solo has just begun.

Yesterday a band came in. I asked them to play a couple of songs so I could tweak the levels and sounds on the board.

After some five minutes I asked them to come into the CR and listen to the sound I just recorded to the 2" machine.

Jaws on the floor, wow.... what a great sound they all said. After 8 1/2 ours of relaxed working they went home with a 3 song demo.

I have Nuendo, but use it only for editing some tracks, put it back on tape and away we go!

I'm a tape slut! :D

BTW Kurt, I have no problems with maintaining the board and tapemachine, no problems at all. If there are problems, it's always a computer :p

Peace, Han

>>Those of you that use computers....Would you >>prefer faders and knobs?
You can have both!! Ok...not totally I still have to click a bit, but I got the Logic Control, which is just a mackie control with proprietary os.

This put me in mixing heaven! Watching the faders zooming about, automating the buses and playing with softsynth controls via the faders is just the best. A mouse simply doesn't do these programs justice. But with a limited budget it is AMAZING what you can do.

Here's one a friend and I did - he played to a click track singing and playing into the POD and everything else came afterward.

has a few problems...I don't really like the guitar tone now and i didn't know how to use the 'drums from hell' properly which come in at the end. I didn't mix in the close mic'd sample with the room samples but oh well...

[[url=http://[/URL]="http://web.nmsu.edu…"]one mic and a computer[/]="http://web.nmsu.edu…"]one mic and a computer[/]

>>Those of you that use faders and knobs....Would >>you prefer computers?

I doubt it....if i could have 'real' equiptment, I'd take it. No crashing, no overloads, no compatibility problems (i'm sure there are exceptions when you go digital) - everything uses 1/4 or xlr! Seems a bit simpler, not to mention the stress of staring at a computer screen, especially after being at work all day....mmmm..projector :p

sam

I've been working with with computers of various stripes for over 20 years and have to work with them all day long in the day gig. I have no trouble getting them to do what I want, but I hate the damn things nonetheless. I have a midrange laptop in my control room and its main purpose is to provide a platform for basic AcidPro stuff. Beyond that, I don't want computers in my place. Eventually, I'd like to have a very nice small format, 24-channel board, a few nice outboard pieces, and a capable HD recorder.

What I'd like to see in someone else's room? Couldn't care less as long as they're competant with the gear, can work efficiently with it, and achieve a great mix. I agree with Kurt, though. To me, the most important thing is someone who knows what they're doing and cares about my project.

Oh Yeah.....I love the smell of Ampex shedding in the morning....Knobs EVERYWHERE!! Things that have a low-noise floor even when they're all the way up.....Great Big Bulky Mic Stands With Wheels and four and a half pound mics hangin from em....Drum setups that look like the plumber just left....Gobos with more than four wheels....A console that you could throw a mattress on and nap for a bit....MONITORS IN THE OVERHEAD SOFFITTS!!!..little tag on em says 'westlake'...machine rooms that when you open em up, the noise floor goes up a notch...A room that when you close the door you try to quiet your breathing cause it seems SO LOUD....Argon filled multipane glass set in odd angles ....babes on the couch in the lounge so bored they'd be glad to spend an hour with(gawd help em) THE MIXER GUY!!!! Accent lighting that looks like it was designed by.....well.....ME.

And like Rick, I like to work in all kinds of positions...I like to walk around the control room, I like to be able to lean into the monitors fields to catch a glimpse of something going by...I like a clean pathway and a real nice easy-on-the-eyes setup for the outboard gear....I like 25 guitars strung and waiting when I am 'talent'...and at the end...I like to call on my co-producer to come get this mess and fix it in that IDIOT BOX<----- computerd.

Originally posted by Davedog:
Oh Yeah.....I love the smell of Ampex shedding in the morning....

Gee, it seems I have heard that somewhere before ???
:confused:

Mine has to be loadable into my truck without assistance. Easy negotiation of stairs at the venue is a plus.

Greetings All,

I'd say given the choice (i.e. the funds) I'd have mostly 'traditional' gear backed up by a couple of RADARs (Nyquist converters, of course :(

Mind you, when it's working and in the hands of professionals (that leaves me out then ;)

Originally posted by Steve@speedRiverStudios:
I thought I would put out a little survey, and see what engineers, both pro and hobbyists prefer, and why.
When I walk into a studio, I want to see a mid sized console, with all the toys, a rack, or two, or six racks full of gear. Or two blondes with nice racks. I want to see a dedicated transport control, with timecode changing faster than I can read! I want to see a lot of stuff that was made before my parents hit puberty, and I want to see cables and stuff drooping from patch bays!

AMEN to that! I would't have it any other way. Now if they happen to have a DAW and other electronic gizmos as well, I can accept that. In fact even if they don't have much racks or analog toys, as long as they have a great room for tracking, I'll bring my own analog toys to track in their space and then take it with me where I have the choice of using a real console desk or doing the mix in the box thing like many an idiot seems to think they can do nowdays. I have heard more poor sounding crap come out of computer recordings than I ever did from those with 4-trk cassettes mixed from over a dozen bounces.

I'd like to add a different twist.

As a customer, would you pay the same amount of money to work in streamlined studio, or a studio full of analog gear and big mixing desks? Of course all other things are equal in this situation (like engineering skills, output quality, etc.).

The reason I say this is because my 'studio', being of the DAW variety with minimalist hardware, does not draw high-paying clients, even though its output quality is consistently good (by others' judgement, not mine).

It just seems to me that you need racks fulla gear with knobs and stuff to draw the higher quality clientele. Whaddya think?

Originally posted by mitzelplik:

As a customer, would you pay the same amount of money to work in streamlined studio, or a studio full of analog gear and big mixing desks? Of course all other things are equal in this situation (like engineering skills, output quality, etc.)

It just seems to me that you need racks fulla gear with knobs and stuff to draw the higher quality clientele. Whaddya think?

No, I wouldn't. Higher paying clients have much higher expectations for doing professional business. Your tools and investment in that businees reflects the kind of clients you hope to attract. Having racks of outboard and a real desk/console shows everyone up front that you are a real professional player in the music production business and are a serious investor in audio tools that are meant to achieve the very best results. The DAW does not replace tried and true old school methods, technology or experience, it is just another tool or set of tools to help in obtaining a great sounding finished product.

By most peoples judgement, I can make a recording that "sounds commercial" to a non engineer. I have done this with demo stuff that I know is not commercial, but normal people think it's amazing. Normal people do not have a professionally trained ear, and therefore do not know how to listen to specific elements of a recording.
I have a couple points to make. First, is that the professional engineer will be able to find the shortcomings in a recording and notice things like artifacts, or phasing, tonal balance, or even musical issues that only an experienced ear would pick out. Because of this, and a thourough understanding of the technical concepts surrounding these issues, the big studio engineer can buy the best of the best in every link of the recording chain. Big paying clients know this. Also, when it could cost huge sums of money to miss a deadline, the savings a label might get by having a lesser known studiodo the work, may present too great a risk.
Analog vs digital? I use all digital recording formats. Hard disk, adat, it's cheap, easy to use and maintain, it suits my needs. It even has less inherent noise than analog. On the downside, we have to face the fact that every time an audio image is coverted from a-d or d-a, it results in a mild distortion of the original sound. That difference will increase or decrease depending on the quality of your converters. The differences are often so slight that most dont notice, or some can't place a finger on it- they just know. Recorderman informed us that Jagged little pill was recorded on balck face adat. This suprised me. I have often commented on how much I liked the sound of the band in that record, but someting was a little "off". One of my favorite sounding records of all time being "Throwing Copper" by Live, recorded on analog. I had no idea, until recently, but in my opinion it's clearly superior.
The high paying clients may not be recieving ten times the quality for ten times the price, but they are recieving a slightly higher quality whether we like it or not. The increase in quality gets smaller and smaller as we hike up the scale, but if someone wants to pay for it, why not? It's the nature of business. Lamborghini to Maclaren? Worth the extra bucks?

Hmmm.

In a studio I want the following:
1) Great acoustics in the tracking room and control room (in fact I don't really need a control room...just give me a big room and a bunch of amp closets).
2) Accurate monitors (nearfield and mains), and an easy way to switch between them.
3) An excellent cue mix distribution system (including talkback)...working headphones (boeth sealed and free)
4) Vibe...dimable lights (colours are good here too)...lava lamps, nice rugs
5) Well stocked mic cabinet (and beer fridge).
6) Preamps or a good console...16 channels at least
7) Transport control and faders of some sort..
8) Funky/classic outboard gear (like a couple 1176s)
9) 1/2" 2-track deck...this is how I'd prefer to get my analog flavour.

Computers and audio...well it's a double edged sword. Nice easy edits and arranging, but the potential to process the crap out of the music (read the potential to process music into crap). The other curse is that the monitor is unforgiving, and commands way too much attention. Mixing and tracking are about music (usually), and ademand your focus on the audio coming out of the monitors, not the video displayed on the screen. But, we're humans and vision is our most trusted sense, so it's easy to be lulled into the flickering light of the computer screen. I mix on a DAW (Paris) which has a control surface, and when I get close to being done I kill the monitor screen and just work on the control surface alone. I find I can concentrate better with the monitor off, and can hear 'deeper' into the mix. Plus I don't get fooled as easily...

I remember 2" analog ...I liked it, still do, but I'm not going back to it. I lost sessions due to tape path failures (massive flutter problem that just showed up), or lost work due to changes in calibration, or dead channels. Since going to the DAW I have lost about 1 hour of work (a fan in a power supply started squealing and I had to change it mid session).

Maybe if I had newer Studer deck I'd have a different opinion...I sure like what tape did for drums.

Cheers,

Kris

I semi-agree with your opinion guys.

As a non-pro, self taught engineer, I always get the 'that doesn't sound like a demo, that sounds good!' compliment from the average joe. Yet I know that my mixing skills, recording skills, and my choice of gear are sub-pro. But that's what my budget and time allows. I am not ashamed of that, but I refuse to let my lack of pro training or pro gear, be my excuse.

I have been told a million times that there's a piece of magic that the LA2a contains that a hunk of silicon can never replicate. But, as my ear is untrained (well, self-trained, built upon a natural ability) I have never experienced it, first hand or second hand. I'm sure if I had the chance to be an apprentice under a pro, I would learn to recognize that crucial difference.

I am of the opinion that the best studio for me would be the best of both worlds, but still with minimal gear. A top rate 8-channel pre or two, an LA2a or 1176 or two, a pultec or equivalent. two or three top rate condensers, five or so dynamic mics, a TC hardware reverb and a really good ADA converter as the recording interface. Seven rack pieces and eitght mics. And maybe have one tube and one solid state model of each type of gear. Maybe even an 8 track tape.

Let this be the front end of the DAW and don't be afraid to use software effects. The hardware stuff could also do double duty on the mastering side. Some top notch monitors, and you're set.

From what I've seen, the walls of gear that line some top flight studios is often repetitious and, to an extent, unnecessary, at least IMO. I mean we all like choice, but ten pre's or compressors? Twenty condensers? Three or four pairs of monitors? If the quality difference between that and my dream studio (all other things being equal) is 2-5%, then I'm satisfied with my end result. If the big spenders want to see gear, then they can go to NAMM. I'd rather take a lot of little guys and make them sound fabulous.

Not that I'm mad or anything, I'm just jealous, because I'm still recording from an AT3035 into the pre's on my Omni Studio, through an RNC, using my delta66 converters. But my stuff sounds extremely passable. So I know that the sky's the limit once I get my dream studio.

I guess what I'm trying to say is that as an artist first, I would pick a studio based on its cost to value ratio, not who has the most knobs and sliders and cool gear. If I had money to burn, I would make my decision based on the same principle.

Now if I were signed to Pimpyoutillyoufadeoutthendropyoulikeahotpotato Records, then I would have no choice in the matter. Or if I did, I'd record at Electric Ladyland and grow an afro with a fist pick. But at home in my $385,000 basement would be a copy of Logic on my G4 with my Neumann U87 and a neve pre or 2, and I betcha some of those tracks recorded or otherwise created there would make it onto the album.

I also would enjoy the satisfaction of knowing that I'm paying for Mr. studio man's expertise, not his gear addiction. I have my own addiction to feed.

Yes, Mitzelplik you are jealous and it is obvious. That's ok, there are many in the same boat as you getting sprayed by those in big Yacht's. I was in envy of many of those who had reel-to-reel 8-tracks when I all I had was Tascam's first portastudio ($1000) and one SM57.

If you knew and could hear what great analog can do, like the LA2A, API, Neve or Manley then you would know and have a much different outlook. Often the difference in some gear can be subtle. But the big boys don't buy any more gear than they have to have. Profit margins are far too slim these days. They also don't usually ever sell anything so it accumulates. When a big client is searching and booking a top notch place, they want to make sure it has or has easy access too, all the gear or rather tools they may need to complete the project.

It really comes down to this. All things are not usually equal. It's not that guys like you can't make great sounding product with only a few choices of gear. Any just because you have dozens of choices doesn't mean you need or will use them all. And it is not so much that racks and racks of gear gives you greater quality. But..... Just as a great artist who is going to make the most beautiful painting he is capable of will desire to have as many different types of canvas, brushes and colors to choose from to create that masterpiece, a great recording engineer will desire to have a vast selection of audio tools to create his sonic masterpiece. Having those choices available gives you options you would not have otherwise to go from one sonic extreme direction to another and to do it quickly.

Let me ask you. How many plugs do you have? Do you use them all? Do you really need them all? Why do you have as many as you do? Are you like most others that hord as many as you can get your hands on? I have over 12 different brands of compressors and yet I wish I had about 12 more because they offer things in tone that I don't have and/or can't get from other means. That doesn't mean that I can't make great recordings without them, but I often wish I had them available to me as options when I want or need them. The same goes for mics, mic pre's, effects, cables, converters ect.

One day you may experience the client that picks your place over the guy down the street because with all things being equal, it was the gear in the racks you own that he thought would make the difference and it will all make sense.

Originally posted by AudioGaff:
Yes, Mitzelplik you are jealous and it is obvious.

Damn I was going for subtle!

If you knew and could hear what great analog can do, like the LA2A, API, Neve or Manley then you would know and have a much different outlook. Often the difference in some gear can be subtle.

I'm sure it can sound leagues better than my crap. Anybody wanna offer me a gig so I can see the light? I'm in DC.

But the big boys don't buy any more gear than they have to have. Profit margins are far too slim these days. They also don't usually ever sell anything so it accumulates. When a big client is searching and booking a top notch place, they want to make sure it has or has easy access too, all the gear or rather tools they may need to complete the project.

Guess I never looked at it that way, but for me, being on both sides of the fence as an artist and engineer, I know clearly what my needs are, and I know how to pick a facility based on my needs. For those not knowledgable about studio engineering, I can definitely see why they would want to have their bases covered. But my minimalism is pervasive throughout my character, that's just me. So no I don't have 12 compressors. I have 3. Well, kinda, because Waves Gold comes with 12 (lol), but I only use Ren Eq and C4, and for variety I'll pull my TC Compressor outta the closet. One or two top kit, and that's it.

It really comes down to this. All things are not usually equal. It's not that guys like you can't make great sounding product with only a few choices of gear. Any just because you have dozens of choices doesn't mean you need or will use them all. And it is not so much that racks and racks of gear gives you greater quality. But..... Just as a great artist who is going to make the most beautiful painting he is capable of will desire to have as many different types of canvas, brushes and colors to choose from to create that masterpiece, a great recording engineer will desire to have a vast selection of audio tools to create his sonic masterpiece. Having those choices available gives you options you would not have otherwise to go from one sonic extreme direction to another and to do it quickly.

I agree to a certain extent. I mean there comes a point, in my creative process (and engineering is as much art as science) that too much gear gets in the way

Let me ask you. How many plugs do you have? Do you use them all? Do you really need them all? Why do you have as many as you do? Are you like most others that hord as many as you can get your hands on? I have over 12 different brands of compressors and yet I wish I had about 12 more because they offer things in tone that I don't have and/or can't get from other means. That doesn't mean that I can't make great recordings without them, but I often wish I had them available to me as options when I want or need them. The same goes for mics, mic pre's, effects, cables, converters ect.

Waves Native Gold pack, TC Tools, and PSP Mixpack.

They have met all the needs I have thrown at them, easily. I'm heavy into lusting after gear, but my budget dictates that I be very selective. I will spent the money for the good stuff, if the money's available, but I am a firm believer that too much gear weighs you down, at some point.

When I was a kid I played little league football. There was an occasion that I couldn't meet the weight requirements to play on the 75 pound team anymore. I had to go up to 95. I was terrified. I came to my first 95 practice the next week with every pad and brace I could find in our garage. The coach summed it up to me. "Yeah you sure won't get hurt, but you ain't gonna tackle nobody either."

Bad example I know ;)

One day you may experience the client that picks your place over the guy down the street because with all things being equal, it was the gear in the racks you own that he thought would make the difference and it will all make sense.

Nah I enjoy sellin stuff. Just joking.

I dunno, I don't think that strictly engineering is something I would want to do for a living. Maybe being a hybrid producer/engin... wait that's what I do now. And that is my sell. That is what draws my el-cheapo customers to me. Cost to value. They walk in with words on a pad. They leave with a CD.

Originally posted by mitzelplik:
Guess I never looked at it that way, but for me, being on both sides of the fence as an artist and engineer, I know clearly what my needs are, and I know how to pick a facility based on my needs. For those not knowledgable about studio engineering, I can definitely see why they would want to have their bases covered.

Quite often, the big time clients are not the band or musicians but are the producers, managers or the record company who don't know what the exact needs of the project are going to be or where it will go and end up being, so they also try to anticipate what are the possible needs and this translates to picking someplace that has many options and choices. They are trying to cover all the bases and have both the pitchers and batters all warmed up ready to go.

Point well taken Gaff.

I've never had that experience, but I have had a fair number of struggling managers and beginning artists be very surprised at my work, and my stuff translates well to better facilities. Granted the vocals are immediately scrapped and re-tracked, but the resulting mix usually never strays far from my initial ideas.

You know what I find interesting? In the circles I frequent, a pro tools studio is viewed as 'it'. Without any regard to what they're running into it. Mics, pres, compressors, etc. Its all in the name, and a few paper stats, I guess.

Originally posted by mitzelplik:
Mics, pres, compressors, etc. Its all in the name, and a few paper stats, I guess.

When I upgraded my monitors from JBL to the Genelec's, I started getting more phone calls and my bookings increased because the other guys in my area were using Mackie, KRK or something else and the clients wanted a place with Genelecs. So they have already more than paid for themselves. Same thing happened when I got the Manley Massive Passive, API 550B's and two Eventides. I started getting clients for mixing work mostly because of that gear. Anything else I owned or skills I had was a bonus to them. The real kicker is that these have become repeat clients and they refered me and my place to others that led to even more clients. That investment in gear not only helped me to make great recordings, but has paid for it's self, added to my client base, and has been of great value in peer-to-peer free advertising.

Originally posted by AudioGaff:
When I upgraded my monitors from JBL to the Genelec's, I started getting more phone calls and my bookings increased because the other guys in my area were using Mackie, KRK or something else and the clients wanted a place with Genelecs. So they have already more than paid for themselves. Same thing happened when I got the Manley Massive Passive, API 550B's and two Eventides. I started getting clients for mixing work mostly because of that gear. Anything else I owned or skills I had was a bonus to them. The real kicker is that these have become repeat clients and they refered me and my place to others that led to even more clients. That investment in gear not only helped me to make great recordings, but has paid for it's self, added to my client base, and has been of great value in peer-to-peer free advertising.

Well.... I guess I'll get there one day. I know you guys are right (even the mighty mitz can admit defeat!), as far as drawing higher paying clientele, and one day I'll be able to experience it for myself.

I'm not really in it to become a full-fledged studio engineer, but it can't hurt to have best-of-class gear surrounding my computer. Neve, Neumann Teletronics and Telefunken, meet mitzelplik! I wish. Until then, the C1, RNP (my next 2 purchases), RNC and Events are gonna hafta suffice.

I got another one for you. How much does the building itself weigh in on the factor scale?

king mitz

I got another one for you. How much does the building itself weigh in on the factor scale?

That is really project and client dependant. Some are just looking for decent place with great gear more than a great room/building. Others demand a great recording room as first priority, some don't think your a real pro unless you are set up in a dedicated building with a lobby and a babe sitting up front. Most seem to be interested in a place that has a great vibe. This seems to be something that has a decent recording room, a well laid out and acousticly treated mabe even decorated control room with some great gear, in a fairly spacious facility having some sort of lounge away from the control and recording room with a staff that is friendly, attenative, respectful, easy-going. You don't always need all those things, but the client(s) always need very little stress and to feel relaxed, comfortable, free to just create or perform music.

I like big buttons and big knobs. I also like the feel of riding smooth faders. :o

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