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Perry:
But, will you like dealing with a portable rig on location?
Even though for the most part you’re using the same gear, remote recording is a totally different animal.
“Something for nothing” is a phenomenon that spans every industry I’m afraid.
The perceived perception is what needs to be addressed.
With location recording the ability to make miracles happen with musical performances will be updated to also needing to make miracles happen with bad sounding environments and noisy locations. It’s part of the drill and we all have to deal with it. Maybe you are trading one dilemma with another. At times setbacks are part of the job and could test your patience to the tenth power.
It seems like you have the equipment and a good idea of what you want to add.
IMO, the “location recording” mindset is the most important element to this new recording venture.
You have to ask yourself, “what’s a reasonable rate” for the work I’m doing”?
It’s really up to you at first. Travel time, setup time, what is it all worth to you?
Do you feel comfortable with a day rate or an hourly rate? It’s up to you and what the market will bare.
Call around and see what the “Jones’” are charging. If no one is around then you’re your own rate structure and see how that goes. What did you charge for your studio rig? Perhaps that could be a good starting point. Add the travel and expenses and you’re in business.
Oh yeah, most clients want a rough mix directly after the performance. The final mix is usually scheduled for a later date. If they have someone else mixing the tracks all you have to do is provide them with the masters.
With all that said, you are the only person that can facilitate your love with this idea.
I hope this helped!
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