The size is just one factor in how it sounds. If it's acoustically treated properly and the room was designed well to start with, it'll probably sound darn good. Just to give you an idea, Southern Tracks Studio down near my house in Atlanta has one of the best sounding (and famous) rooms in the region and it's main room is 25'x40'x18' and they get some of the biggest clients because of it. Tree Sound Studios here in Atl also has one of the best sounding drum rooms around at it's 35'x44'x24'. That's pretty huge and it's another big client studio.

Bigger room should provide more room micing options... I have heard drums recorded at Treesound as I didnt think they sounded very good... just my opinion though.

I agree with Gumplunger. The room of this size can be alright. I've
recorded drums for all my projects at Windmark Recording (Virginia
Beach, http://www.windmark.com). The room is not exactly as you have
mentioned but close. We used distant mics (3 or 4), and close mics
(up to 10). This way we had wet and dry sounds for mixing. But the
room at Windmark definitely sounds good.

Also, in case you'd like to cut down the room - use the absorbtion
stands any decent studio should have. Drumset placement inside the
room is important too...

But why don't you go in studio and check it out yourself ? Check the
room, mics, monitors ecc. The guys who run studio should be able to
play for you some records made in that room. If you like it - make
a deal...

Steve, here's another idea, or another side of the thing...
If you are going to rely on studio engineer, make sure that the lousy
reputation of the place (your friend's opinion) is not based on him or
his work. One more reason to check it out yourself.

** edit **

Congrats, Steve! It seems they got very interested in your band.
That's great. Free studio time - San Diego must be a good place
to live.
One thing though, you (and your band) MUST check very carefully -
that contract made by studio lawyers. Don't sign unless you
understand every last bit of it. Lawyers can bring you down you
won't have time to say "peep". Can't be too careful...

I agree with Costy.

Keep an eye on the paperwork. They obviously aren't making any money on the front end - rather they're losing. They've gotta be making it on the back end which means - you lose. I've seen some of these contracts where bands get as little as 10% of all record sales! That's frightful!

J...

** edit **

Cool. Good luck, then.

good luck, dude- sounds like a great deal- keep us posted!

first, i don't want you to think i'm attacking you, cuz i'm really not intending to... i just wanna get along : ) i just thought i'd post these questions for some other readers who may not think about the time that goes into production on many real records (i'm sure many do as this is the recording forum).

i'm just curious about one of your comments because i have been on both sides of the glass a WHOLE lot as a signed artist or signed bands, in bands with production and development deals, and as producer, collaborator and/or engineer (as i believe you have also?). here's my question:

"repayment of services that cost them nothing (ie. recording time)"

interesting, so there is no downtime for the studio while you are recording instead of paying clients? is the engineer being paid for his work? i just ask because everyone i know wants to get paid eventually for their work when money starts coming in on a SPECulative project (i imagine you are working this out in royalties as opposed to itemized labor). i just ask these questions as i often speak with artists who have no idea how much time can go into tracking, editing, mixdown, comping , tuning, yada yada (i'm sure you know already). i've just heard so many stories from artists who try to get "free" work or studio time from me and say "i'ma hook you up later." many studios have to pay rent or mortgage on a building, power, business taxes, gear maintenance, etc. and it is a risk financially for BOTH parties on any spec deal. not saying you of course, but some artists (was i guilty of this at some point?) EXPECT engineers or producers to work for free just for the glorious chance to listen to the artist sing over and over (again, i don't mean you in this case i'm sure but i've seen it all!). i just thought i'd pose some of these questions that maybe someone out there has not thought about.

now as far as studio time is concerned- the band AND the engineer/producer are both giving up time to record the tracks when working TOGETHER but in all fairness, one must weigh out from both parties who has the most overhead (read OUTPUT) to pull it off. now, similarly on the other side, if the artist is paying for all the media, paying the engineer, any gear rentals, etc. the actual EXPENSES must be compared and allowed for in the contract as the artist may be carrying the weight.

Spec deals are tricky but once the details are worked out and ALL parties are clear what comes out if it and what goes IN to it (for this point) it can benefit everyone.

Absolutely the best of luck to you!

mckay

** edit **