Originally Posted by jaguarmusicboy  ...but while this kind of work has not been my primary source of income, I've had enough experience with it to be beyond the pro-bono dues paying stage. Nevertheless, thanks for taking the time to offer the suggestions. Also, a point of clarification here: we were approached by a producer to do some simple V.O. work for a documentary after he had been to several places in our location (north west CT/Berkshires) and was quite unhappy with what the local competition had to offer. On the strength of this we were then contacted by another producer working for the network owned cable channel which had aired said documentary for regular V.O. and editing work on one of their shows. After doing this for a season that producer has expressed a desire to outsource us a considerable amount of work which they currently do in house. Since this line of work has not been our main focus, I felt it reasonable to inquire what the usual fee
parameters were in order to avoid getting locked into an unfair contract rate...I didn't sign my name because it didn't occur to me that was required or needed, or that folks would care much one way or the other. My name is Dan Harrison. I have been in the business of recording, producing, and writing music off and on for thirty + years. I was a silent partner in Chelsea Sound Studios in NYC, and the managing partner of it's successor, Crossroads Recording. I came to this business more as a musician and producer than as an engineer, and while I have a great set of ears, I've had to play catch up in the engineering department. I am very thankful for the outstanding engineering abilities of my associates at Jaguar Music. Some of my clients/credits include: Lanacane [Comb International], News 4 NewYork, Wolverine Boots & Shoes, Hayworth Furniture, Aruba National Tourism Bureau, BellAtlantic, Steelcase, EMI/Stonehenge Records, Caterpillar, HarleyDavidson, Gotham Chamber Opera, North American Choral Company, Music Mountain.
I've written/produced for Phoebe Snow, Kay T. Oslin, Donna Murphy, Jody Gray, The Adlibs, Stephen Sprouse, Don Yowell, Lucia Suarez, Screamindiva[aka Katreese Barnes of SNL/Sting fame], Jon Fiore.
Major studio clients have included: Billy Joel, Chaka Kahn, David Chesky, Bill C. Davis, Gary Katz, Toshi Reagan, Arif Mardin, Harold Wheeler, Elliot Goldenthal & Woody Allen.
Some years ago I decided I'd had enough of NYC and traded in my cramped production room on west 25th street for a sweet little pocket battleship of a studio which I built on my land in North West CT. My good friend John Klett - a former Gearslutz moderator - was the principle designer/installer, though Andrew at Purple Audio has designed and built some things for the installation and Matt Marinelli at Coral Sound/Exile is also a trusted technical adviser. Some of the highlights include a 1968 Philips 28 input +6db console custom built for Deutsche Grammophon, a collection of 70 mics {many vintage), eight racks of mostly vintage tube and discrete outboard gear, four monitoring systems, two iso booths, a rhythm section sized tracking room, G-5 dual processor macs with multiple platforms (CuBase/Nuendo, Protools, Logic Pro - 8, Final Cut, Soundtrack Pro, Spark), 24 channel moving fader automation, Korg Oasys, Triton, Ensonique ZR17 synths, 20 quality vst instrument suites, over 200 plug-ins, and for the analogue infatuated, a Studer C-37 all tube 15 i.p.s. 2-track tape machine. That about does it for my CV and gear summary, hope that satisfies...And by the way, I promise to NEVER ask any rate questions again on this forum; but in return I would ask those of you who had issues with the question to think about this: Gearslutz is generally acknowledged as the premiere forum site for audio professionals in the world. If you can't pose that question here to a wide network of peers, then where do you think you can ask it?
Thanks again for your replies. |