recording studio info

Discussion in 'Microphones (live or studio)' started by rudedogg, Mar 30, 2005.

  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

  1. rudedogg

    rudedogg Guest

  2. gumplunger

    gumplunger Active Member

    Mar 25, 2005
    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.
  3. Fooldog01

    Fooldog01 Guest

    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.
  4. Costy

    Costy Guest

    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, 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...
  5. Costy

    Costy Guest

    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.
  6. rudedogg

    rudedogg Guest

    ** edit **
  7. Costy

    Costy Guest

    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...
  8. Cucco

    Cucco Distinguished Member

    Mar 8, 2004
    Tacoma, WA
    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!

  9. rudedogg

    rudedogg Guest

    ** edit **
  10. Costy

    Costy Guest

    Cool. Good luck, then.
  11. maintiger

    maintiger Well-Known Member

    Dec 3, 2003
    Whittier, California, USA
    good luck, dude- sounds like a great deal- keep us posted!
  12. bounce

    bounce Guest

    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!

  13. rudedogg

    rudedogg Guest

    ** edit **
  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

Share This Page