Things that SUCK about running a Music Recording StudioSix Things to Consider Before Hiring a Recording Studio.When you next rent a recording studio it is worth it to ask a few questions so you are able to focus on the music side of matters when you get there and leave the items into the studio.
When you employ a recording studio to the job, you are getting. The equipment, the program, the place, engineer, as well as the standing will have an impact on your final product. Here are just six points that I recommend folks 'check off' in their list till they drop their cash for this deposit onto a recording studio experience.
This point comes first because it is the most significant. It revolves around payment for your undertaking, when there's going to be a battle between customer and owner within this process. Does the studio charge hourly? If they do, what's contained in that hourly fee? Could you arrive to load or is load in and set up of gear counted as studio time? How can the studio manage issues that (will necessarily) arise throughout the procedure? I've been in more than 1 studio which took an extended time to fix pc problem or a ground loop hum. Some of these tacked to the conclusion of our session because of this on the time, some didn't. The way the studio handles these problems is an expression of how a final product will turn out.
Most recording studios and engineers will bill based on a product that is final. A fixed rate per song might get charged. There's nothing wrong with this however you'll wish to be clear with you both will decide a song is 'done'. How many times are you going to be allowed to make changes? Will you be present during the final mix down (do not assume you will be)? Will the document be prepared for mastering, or will some kind of mastering be contained? These are all things that you will want to address before you agree to pay for a 'finished' product.
You may be thinking, "What does it matter to ME what digital audio workstation the studio is using? I am just playing the songs!" Well, there a few reasons you'll want to know not only the DAW they are currently using, but even the variant can become involved in your decision. In many cases, you can consider the DAW used to the cassette format being used back in the day at a similar vein. You always kept your master tapes that in case you wanted a combination you continue to work on your tune and may bring it everywhere. It restricted your options regarding where you might go if your engineer listed on a format which was proprietary or unusual! The DAW choice can have pitfalls that are similar. Should you record your initial tracks it may not be easily transferrable to a different format. This may or may not be important for you personally, but if you do plan on bringing your project to other studios to work (or perhaps work on yourself) you'll need to be certain the engineer is still using a DAW you've got access to.
The availability can become involved if you or if you're utilizing a band. If you're likely to put down a whole lot of guitar courses, having access to many different cabinets and amps can really help to bring some variety! Obtaining a library of instruments or a selection of keyboards will be crucial for filling out the audio of your project, if you are going to be adding keyboards.
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The backline scenario may also affect your billing/load in issue this contact form that I addressed. If there is a 'house' set in addition to an amp your guitarist is anticipating using you do not need to think about loading on your own. Setup time, leaving you more time for tracking will be considerably cut back on by having a region setup and ready to go!
Microphones can be a option, and understanding what sort of mics an engineer chooses to use on every source can say a lot . Again, a variety of choices within this category may cause a more varied recording in the future. Are they likely to mic your guitarist's amp are they going to record him or her 'lead'? If they are going straight, is that ok with your guitarist? You may have some emotional 'work' to perform with members of the group if they have to be made more familiar with all the monitoring scenario. Can there be a selection of microphones that could be used for direct vocals? Though there are certain venerable choices (such as the U87) which will probably give a decent sound in only about any circumstance, it's better to know that you've got a few diverse alternatives in case your singer's voice has a few strong presence in particular frequency ranges.
As a studio proprietor, this question is at the top of the list before I go to work offsite. Finding a feel for the man or woman who is currently going to be 'at the helm' is a priority number one for me. Keep in mind, this will be the man who's going to earn a vast majority of the decisions regarding the categories. Possessing an engineer who seems flexible, open to ideas, and confident in their choices would be that 'perfect blend' of qualities you need to get... well... a perfect combination!
Does the engineer need to be about the bleeding edge of technology and have a ton of personal devices with blinky lights and knobs? Likely not. Anyone must not know their gear than the engineer. They need to be in a position to get a sound efficiently and immediately, when things are not going as planned, and be able to think on their toes.
The location of the studio is something so rings consider and it may be important to keep the daytime productive. Can it be incredibly far making it more difficult for them to arrive for mixing and/or overdubs, after the tracking day? Can it be in the midst of a city with no access to a load-in place? Is there food? Do not laugh, but that one is important. Who likes to lose 3 hours of the monitoring time waiting for someone to drive far away to get food (that you will invariably need if you've booked a full day of recording!) . None of these factors may inevitably mean you can't use a specific studio you are going to need to plan to attack the problem!