Gear for a free (as in no charge) studio?

[krenski]

I realize that many on this board make their living from recording so this will probably tick some of you off. If you feel your temper rising go ahead and skip this post.

I have been into recording for 5 or 6 years now. It started while I was recording with my band and eventually evolved into me pursuing a career as an audio engineer. Long story short, I did some time as an assistant at various places. I learned a lot and got some good experience (even worked on some sessions for some A listers). However, life has taken another direction for me and (for many reasons) I doubt that I'll ever make my living from recording.

However, I'm still in love with recording. It's a passion thing and I don't really care about making any money from it. I just want to record.

My current house has a good amount of unused space (two rooms of about 1600' total) that I will be turning into a demo/project studio. My goal is to offer demo sessions to area musicians who need to get a recording together. I will take donations, but I have no intention of charging an hourly or flat rate to record here. Some people buy motorcycles or golf clubs. I buy audio gear. This is my hobby and the one thing that will keep me from losing my mind at the day gig.

I'm planning on spending about 10K to make this happen. Here is a list of gear I currently own:

- DDA Q-Series console (24x8x2)
- Mac G5 (loaded)
- Digi003 rack
- Event 20/20s
- SM57, Oktava MK012s, Sennhesier e609, AKG D112
- Various stands, cabling, etc.

So, the question to everyone is, how would you spend the dough?

My current thoughts are:

- Monitors - $1500
- Room Treatment (ReadyBags from ReadyAcoustics + 703) - $1500
- API 3124 (4 channel) - $2400
- Lexicon MP500 - $500
- Focusrite Liquidmix - $800
- 2 sm57s, 1 e609, 3 e604, ev re20, 2 AT4033, 2 AKG 451B, 2 Cascade Fathead - $2500-$3000
- Cabling, patchbay, snake, musician monitoring - $1000 + soldering iron

Remember, the goal is to have enough gear to turn our quality demo recordings, but we're not making Dark Side of the Moon. Thoughts?

[stephent28]

Just curious where you are located?

[Confusionator]

I'd buy a bunch of Kensington locks to protect the gear that your freeloader musicians are likely to try to "requisition" for themselves.

[XLR2XLR]

I am not sure that I would blow $2400 on API's.

It would be 100pct sensible to get good full insurance on this and I would meet
any bands before they come in. (at rehearsal for example this also let's you know if they are crap or not,idiots or not, no point wasting your freetime on sh** bands and there are a LOT of them for sure.

[Bosskitty]

Oh hell yeah to the API.

But to be honest you should charge for the work you do..people will take you more seriously...so will these lads!!

[PoorGlory]

I understand what you're trying to do and why, but in my experience, if you don't charge, people WILL take advantage of you. Give them an inch, they take a mile.

Not to mention you're doing a disservice to the places that you interned at by hacking away at their market with your no-money business model. Why add to the reasons studios are closing shop at an alarming rate?

[krenski]

Just curious where you are located?

Denver

It would be 100pct sensible to get good full insurance on this and I would meet
any bands before they come in. (at rehearsal for example this also let's you know if they are crap or not,idiots or not, no point wasting your freetime on sh** bands and there are a LOT of them for sure.

Completly agree here. In fact, I've already looked into insurance for the equipment as well as a musician waiver for liability protection. The idea isn't to open it up as a "free for all" (sorry, I didn't really make that clear). I'm mostly interested in finding bands on my own or through referrals and working with them that way. You definitely won't find me posting about the place on Craigslist : )

I understand what you're trying to do and why, but in my experience, if you don't charge, people WILL take advantage of you. Give them an inch, they take a mile.

I agree, but part of why I want to try this is because it's sort of an experiment that goes against traditional wisdom. There are some people who will try and take advantage, but there are also pepole who will "get" it and show mutual respect. I do plan on placing some ramifications on the first session that I do with each group/musician. For instance, I want to limit the first session to 2-3 songs (or whatever we can reasonably accomplish in 2 days) that are tracked mostly live.

I think the people who take advantage will be pretty obvious from the get go. In that case, cut a couple songs, they get out of my hair and they're not invited back.

But to be honest you should charge for the work you do..people will take you more seriously...so will these lads!!

I understand that logic, but I'm only interested in recording music. I'm not trying to make a living from it and I'm not trying to build a reputation in the music business. If someone wants to go to a "serious" studio with "real" engineers then, by all means, they should do it. I'm interested in one thing and that's honing the craft of recording.

If you took away a painter's canvas and paint I guarantee they would figure out some way to express themselves and it wouldn't be to pay the rent. I'll say it again, it's not a business model, it's a creative outlet.

I do plan on taking donations and having a "suggested" donation. I also plan on offering short run CD duplication and mp3 preparation which would both be paid services.

Not to mention you're doing a disservice to the places that you interned at by hacking away at their market with your no-money business model. Why add to the reasons studios are closing shop at an alarming rate?

I disagree here. I'm not going out and chasing those potential clients (like I said, it won't be an "advertised" room). Honestly, if a guy has taken the plunge into building a studio and can't sell his tuned room and $100k of gear over my project room then he's got bigger problems. It's called a competitive environment and it happens in every industry. But I'll reiterate one more time, this is NOT a commercial facility and it's not trying to be.

Now, if you're talking about how my room fares against the $20/hr ads I see all over Craigslist that are run by the guy who's "engineering" in his bedroom using an Mbox and an Avalon that's a different story. I could care less in that situation. Rooms like that barely represent an investment in gear (or technique) and are begging to be crushed by all sorts of competitive pressures.

Now, back to the gear (that's what this board is about right)? : )

I am not sure that I would blow $2400 on API's.

What's your logic here? I've had the chance to audition a lot of pres in my interning days and I personally LOVE the color that APIs impart. $600/channel isn't too bad considering you can't really touch a lot else, sonically speaking, in that price range (per channel). I'm a very strong believer in getting the front end sounds right before the mix, so I'm looking for a solid pre that will sound great an a lot of stuff.

If I could spend another 3500 I'd buy a Marshal half stack, a Fender Twin and a house kit.

[rodge]

get outta here ya commy!

i dont make money off recording, but not because i mean not to.

seriously though, charge per song or sumn cheap and non-threatening like that.

[nofi]

Originally Posted by PoorGlory

if you don't charge, people WILL take advantage of you. Give them an inch, they take a mile.

+1 on this one..... watch for people blowing out on booked studio time just stuffing about... watch them asking to "borrow" stuff to "play about with" over the week... watch them not treat your things with the respect they would a commercial studio.



Also, it's a very very sad thing, but almost nobody that you record for free will respect your work, or your idea of how things should be done, if they're in there for free..... for most people (99.999%) these days, no monetary value = no value.

People will fail to show up for booked sessions, because their bf/gf/inflatable sheep wants a day in bed that morning. And just turn their phone off. And when you call them to ask where they were the next day, they'll say "oh sorry! I'll come around next week. probably. I was sick last weekend, and I'm still not sure I'm 100%"

people will show up, but hungover and late, and play poorly.

people will come in with music unwritten, and songs unfinished.

People will say things like "well we recorded with him because it was free, but I can't wait to go to a real studio when I get some money and do this all right"


the absolute minimum you would have to do is publish recording rates that are about the same as everywhere else, and then give everyone you like a 'super discount' - but even then, once word gets out that you work for free or massively cheap, your work will be seen as worthless.

If you really don't want to charge money, maybe you need to charge something else? but charge something that means something to the people using your time and facilities... something that takes them a reasonable time to produce, or is important to them.




you're wanting to do a really cool and really great thing. I like you and respect you for it. But you're very likely to get burned out and bitter if you go ahead with this plan.... (and i'm saying all this as someone who has put a lot of time and effort into things for "free' and seen the results first hand... as well as seeing the same results from other peoples similar efforts.... but nothing anywhere near as involved as what you're doing)

[joelpatterson]

Maybe you should actually pay the people who you're working with. No, I'm serious, hear me out! Deep down in your heart, what you really are is a record company-- a very exclusive record company that's only goal is a quality product.

Training its staff (you) to turn out, consistently some day, quality product.

I mean, what is the difference between the impulse to start a "real" record company like the "real" people did and your urge to do it as a hobby?

The impulse I'm talking about, the vision, the whole having-the-idea-in-the-first-place.

So you pay them, what ten bucks a song, but then the song is yours, and you sell them copies and 'license mp3's' or whatever like you say.

No more idiotic than what you're talking about.

[Chrisc_o]

I would question the choice of a Liquidmix.

Just money that could be better spent. Maybe on a 1 or 2 channel pre of a different flavour, or an LDC, or a good compressor. I will give you more options on your front end, where it will make the biggest difference. Not necessarily high end stuff, but at least different options.

[trancedental]

This is madness, if you need to tune your recording skills you should hire a local studio & take a band down to record & charge the band to offset the cost, instead of spending all this money on equipment.

Would only be worth it IMO if you managed groups or run a production or small record company as a way of promoting new bands & help them get deals ect: taking a cut for your hard work promoting & recording if they get interest in the future.

You've assisted on recordings in studios I assume that you got paid for that? So you should get paid for your investment in gear & labour as well!tutt Even if you spend all the cash on more gear!

[Chrisc_o]

I think the lesson learned on Gearslutz today is not to discuss one's studio business model (or lack thereof).

I agree with everyone's comments, but I also feel for you and understand why you are doing what you are doing. It is not a good idea, but you have the right to do what you want with you space and gear and time and talent.

Just don't mention what your financial plans are. Keep it gear related and you will avoid these comments that are not really answering your real question.

[krenski]

get outta here ya commy!

Definitely not the first time I've heard that in my life

Also, it's a very very sad thing, but almost nobody that you record for free will respect your work, or your idea of how things should be done, if they're in there for free..... for most people (99.999%) these days, no monetary value = no value.

I guess that's true, but I'm not really interested in earning "street cred" or a reputation. I'm in to record. At the end of the day it it sounds good, what can you say?

People will fail to show up for booked sessions, because their bf/gf/inflatable sheep wants a day in bed that morning. And just turn their phone off. And when you call them to ask where they were the next day, they'll say "oh sorry! I'll come around next week. probably. I was sick last weekend, and I'm still not sure I'm 100%"

people will show up, but hungover and late, and play poorly.

people will come in with music unwritten, and songs unfinished.

There will be rules. Like, if you blow a session and don't call beforehand or give me a what's up within the first hour of your booked time you lose all recording priveledges. Period.

People will say things like "well we recorded with him because it was free, but I can't wait to go to a real studio when I get some money and do this all right"

And? I guess I don't really care. I still got record.

If you really don't want to charge money, maybe you need to charge something else? but charge something that means something to the people using your time and facilities... something that takes them a reasonable time to produce, or is important to them.

I actually thought about hooking up with some local charities so people could swap volunteer time for recording time. Maybe even music related volunteer work like playing a benefit show. It's a viable option and I'm stll considering it.

Maybe you should actually pay the people who you're working with. No, I'm serious, hear me out! Deep down in your heart, what you really are is a record company-- a very exclusive record company that's only goal is a quality product.

That's an interesting idea, but I really don't have any interest in mucking about in a band's business other than making them sound good. I also don't really have the time to deal with a monster like that.

I would question the choice of a Liquidmix.

The LM is stricly for mixdown. Since I don't have a lot of plug-ins it would be a good way to get some DSP going without spending a fortune. I have a friend who uses one and likes it, so I'll audition it before any purchase. I'm not sure what else in the $800 range I could really buy that would give me more options.

I could put the money into a mic or compressor I just don't know if it would be as versatile.

This is madness, if you need to tune your recording skills you should hire a local studio & take a band down to record & charge the band to offset the cost, instead of spending all this money on equipment.

Well, I'm a musician too, so it's not like the equipment all collects dust if I don't have a band to record. Plus, $10k might get me 20 full days in a nice facility? I can get a lot more mileage out of my own room.

I agree with everyone's comments, but I also feel for you and understand why you are doing what you are doing. It is not a good idea, but you have the right to do what you want with you space and gear and time and talent.

Just don't mention what your financial plans are. Keep it gear related and you will avoid these comments that are not really answering your real question.

I kinda like the interaction I realize that most pepole who read this will think I'm a blithering idiot, but that's ok. To each his own...

[StudioTinPanAll]

i wouldn"t do it for free
what if a musician spills his drink over the dda,
accidently take your XLR or guitar cable,
drummers do hit on your mics,
it'll cost you ....

grtz,

[allbaldo]

I think what you're going for seems like a cool idea... ( and I'm making my living running my own place).

My impression is that you're trying to get a chance to record stuff you might actually like, as opposed to just recording whoever will show up, just so you can keep the place open. I don't see that as a bad idea. Sounds like you've got a plan for insurance etc, to help keep things safe so on the gear side...

I'd be likely to scratch the Lexicon, and the Liquid Mix, and go with some sort of convolution reverb, and get a good stereo (hardware) compressor, and possibly some eq. Getting some good compression on the way in for vocals etc, can make a big difference. TL Space can be had for a decent price, and the Massey and McDsp plugins sound great for in the box eq and compression.

Also, if you've got some DIY interest, you might check out the mic pre kits from Seventh Circle Audio. You could build yourself some fantastic, and arguably comperable, pre's for less than the API's would run you, and their kits sound amazing. I think you could have 8 excellent pre's.. some in the API style... for the same kind of $ the API's would cost you if you don't mind some more time with that soldering iron on your shopping list.

Either way, best of luck to you!

[pjplayer]

crikey, who'd've thought that someone could be slated so much for just wanting to pursue his interest in a non-commercial way.

i can't offer much advice about gear, but i will offer some words of encouragement. in 2003 a chap came to one of our gigs in reading (uk) and came to talk to us afterwards. he was a sound engineer at a local voice recording studio which worked 9-5. he had access to the studio outside office hours and was therefore in a position to record bands he liked for free. we were all students back then, so really wouldn't've been able to afford to pay for any remotely comparable service. however, we wouldn't have worked with him if we didn't think he had the ability and musical taste to record us well.

working with him was just like working with someone we were paying because he was always trying to get the best takes out of us, suggesting ways we could improve performances and arrangements. in short, the results of a money relationship were replicated by a mutual respect and desire of both parties to come up with the best possible results.

so, as long as you make sure you're working with bands that excite you and who are on your wavelength, rather than doing favours for any sort of band, i think you'll have a great time. also, by working with bands you like you're more likely to build up a reputation within specific circles rather than becoming a jack-of-all-trades.

good luck to you

[Mosby]

Originally Posted by krenski

Denver

Ah yes. I suspected as much when I read the first post. I've hard about your place (and have some connections to folks who have recorded with you).


I'll start with the gear side. API's are great. I love mine.

IMO, you have vastly under-estimated the cost of patchbays and the necc. wiring... even if you do it yourself. Not to mention how long it might actually take (in cost to your time to do it).

I wouldn't go the liquid mix route... the latency, while manageable, is quite high. Instead, I would look at getting an ADAT-lightpipe A/D so that you could get 16 simultaneous inputs into Pro Tools. I would also look at going with plug-ins for some of your processing needs. it will likely be more cost effective at this point (check out mcDSP bundles).

Get all of your gear insured - and keep a watchful eye on it.

From a business/music scene perspective:

First of all... there are some advantages to being a business, and charging. The first is that if you operate as an LLC there are certain legal protections afforded to you (suppose the clumsy drummer slips, and decides to sue, well, he is suing you as an individual. If you're a company - he can, generally, only sue the company (which means that your mortgage on your home is not at stake). There are also some tax advantages that should be looked into). Also insurance might be better/easier as an LLC.

2nd. Denver is not a huge music town. I am a recent college graduate from the University of Colorado at Denver (rec. arts) and I can't even give my work away for free. It gets even harder, because to even be able to (someday) work/intern for free, I have to work another job (2 right now.... I have bills to pay).

Also, there are studios in Denver that are struggling to stay afloat. Part of the reason is that the market just can't support a) all the bands b) an oversaturation with all the studios (of differing qualities...) in the market. Part of the reason that there are people on craigslist saying they'll "record" in a bedroom with an mBox, is because the market is so saturated with bands who don't have to pay much, and a glut of potential engineers, as well as a plethora of relatively cheap studios. And these people recording in their bedrooms are folks who couldn't/didn't get an internship or foot in the door at a studio in Denver.

Personally - my thought is why don't you charge a low fee.... a reasonable day rate or something. I mean, how many $200/day sessions would you have to do before you paid for your mic collection?

[AAsa]

K,
I totally understand the passion to record and learn and figure it out and be amazed.
I also know the drag of working with bad songs, bad singers, bad drummers.
No amount of good gear and passion can fix 'no talent'.

Pick your projects wisely and have fun and remember good musicians make good recordings.

As for the equipment, buy the good stuff if you can afford it. No sense in tying your hands with 2nd tier gear.

Looks like you need a way to use the ADAT i/o on the 003 so you can maximize your
console.
Do you plan on mixing thru the board or in the box? You'll need the i/o for tracking either way.

I wouldn't buy any pres 'cause you have the console.
Unless you feel let down by the DDA pres, that's another story, but you might try moving / chaining the mic instead and save yourself 2 grand.

Room treatment and mics is the directions I'd go.
fine tune your monitoring system, maybe the Events are fine.

Having a nice drum set with a few good snare options will add years to your life.

I have to charge for my studio time and if the songs sux at least I get money.
I envy your position of being able to record for free, it all comes down to which projects you take on that will determine weather you enjoy it or not.

cheers
-A

[AlexLakis]

First legalized Marijuana, now free recording studios...what next, change the state sport to "Hacky Sack?"

If you're not gonna charge, why not work on getting state sponsorship? Maybe teach some classes thru some local public schools? Offer to record radio commercials for state officials for free? You might get some grants to pay for all that gear! Just a thought, not too sure on how all of that works...

At any rate, you'd better at least be selective about your clients, because you're gonna get some real riff-raff in there. Nobody's going to take you seriously if you don't charge, and your peers will probably snub you. Although you won't be digging into the real market at all, I strongly suspect that you will be ousting at least a couple of people who rely on "demo bands" to pay their rent. Think about those people you'd be hurting, as well as the people you'd be helping...

[HIGHENDONLY]

If your going to record free, your better off selecting who you want to work with than having your place open to the public. Shit you may get a bum come in just have a roof over his head for a day. You just don't know who will come over. If you havent already noticed, IT"S A CRAZY WORLD OUT THERE!! The best bet for you, is to go around your town and check out talent. Check out local karoke bars. I would search for talent, so you know they are good and you have chemistry with. Than you can work with one artist who will be greatful you gave them a chance for a free recording and not some werid drugged looney comming over with a gun.

[Sounds Great]

What do you do for a living? How much free time do you have? Is your time worth nothing?

[theblue1]

Originally Posted by PoorGlory

I understand what you're trying to do and why, but in my experience, if you don't charge, people WILL take advantage of you. Give them an inch, they take a mile.

Not to mention you're doing a disservice to the places that you interned at by hacking away at their market with your no-money business model. Why add to the reasons studios are closing shop at an alarming rate?

I have no problem with him giving away his services to deserving musicians -- if this is a serious threat to commercial facilities those facilities need to seriously readdress their business model.


BUT... I'm afraid that PoorGlory is smack on with regards to people taking advantage of "free" services.

For one thing, the people you'll presumably target are those who can't afford to go to a commercial studio (another reason this room is highly unlikely to be a commercial threat)... but some of those very people -- some of the most intersesting people you might want to work with -- can also be some of the most flighty, undependable and just plain wack.

That doesn't mean it isn't worth doing, krenski -- but you're going to be setting yourself for some headaches. You're going to end up -- judging from my own and others' experience -- trying to chase down terminally artistic types who suddenly wander off during a series of sessions that you thought were going very well...

And for people who've never had to shell out even $20 an hour, the whole notion of time-is-money is hard for them to grasp.

In my experience, people who aren't paying for their sessions -- God love 'em -- show up late, underprepared, loaded...

Don't get me wrong -- paying customers show up that way, too -- but at least there you're getting compensated and they're getting dinged. (And the dinging may actually wake them up to the consequences of their "bad" behavior.)


I don't want to sound like some market-driven guy (but after many decades of watching people and business, that's how I see things) but I think if you want to make it work, you've got to extract something precious from your potential "pro bono" clients. Not money. Obviously. But maybe a promise to make the most of the time. And then be hard-core about enforcing that. If someone doesn't show for a session -- you yank their privileges for enough time that it really makes them think about what they're pissing away. If someone is habitually underprepared or wastes time in the studio, pull them aside, tell them that you both have a mutual commitment and he's not holding up his end. Tell him he's going to have to shape up or the next time he wants to record it'll have to be crosstown where they charge $50 an hour. Or whatever -- you get the idea.

(Frankly, though, many people at the bottom end of the economic spectrum simply do not believe that other people do things out of the goodness of their heart or for art, or anything else. Their very first reaction will be that you are trying to take advantage of them, somehow "get rich" off them. Don't forget how many bizarre and unrealistic fantasies MOST musicians secretly harbor.)



And -- though when I read above to watch your low-life musician friends or they might appropriate your gear or your own instruments I at first thought it was awfully uncharitable -- but after further reflection I have to say that there is unfortunately, some merit in this warning.

And to the extent that you invite friends of friends or outright strangers into your home studio, you may very well be asking for serious trouble.

Out here in So Cali, that kind of serious trouble has ended up with a number of studio invasion robberies, several of which left no witness -- only bodies.

I hate to sound such a dark note but, sadly, we live in a world where you can get killed for 5 or 10 grand worth of equipment. (One home invasion -- in a nice middle class neighborhood of cute, well-manicured spanish style homes -- left three people dead. The bad guys got gear worth about $15K at retail... probably a tenth that fenced.)

[big country]

good luck ,

Its good to see people doing something they love to do .
I'm sure this free attitude will take you to higher ground.

I love to record, have and will record for free. I usually get some kind of
compensation .
but just to take the money stress out of the equation makes it a little less
stress full . money will come with a non greedy attitude.
money is a big thing in music now adays.
it has ruined the art.

if money was my influence I would have been an arms dealer
for third world countries

whats funny is when Giga Tribe came along and offered free service, a bunch of people stuck their hands out
do people have respect for giga tribe ? I do

you ever play in a band for fun ? recording is allot like being apart of the band. but way more
money in equipment

[Sounds Great]

Originally Posted by big country

money is a big thing in music now adays.
it has ruined the art.

Now adays? That has always been the case. Artists have to eat, too.

[big country]

Giga Tribe has to eat to . how many people turned down the free offer only to give the 25 bucks for the full deal?


GigaTribe : Share large files within a private peer to peer (P2P) network


BTW thanks john

MY grandma told me "never put all my eggs in one basket"

I laughed , that little lesson cost me 40,000 dollars
in the stock market

[drBill]

Originally Posted by krenski

I understand that logic, but I'm only interested in recording music. I'm not trying to make a living from it and I'm not trying to build a reputation in the music business.

That's a nice sentiment, but I don't think it's going to work out too well for you. My guess it won't last too long. Charging a fair rate is what will sift out the wheat from the chaff. That is unless you're interested in recording crap instruments and crap musicians who have no business being anywhere near a studio. When you say you are interested in "music" I presume you mean relatively "good" music. Your scenario, no matter how altruistic, is just not going to attract the types of musicians you (or at least me if I had the $$$ to throw away as you are) seek. The best way to attract good musicians is to work with good musicians and turn out good product. IMO, your scenario is going to do exactly the opposite. Good luck though.

bp

[drBill]

Originally Posted by theblue1

I hate to sound such a dark note but, sadly, we live in a world where you can get killed for 5 or 10 grand worth of equipment. (One home invasion -- in a nice middle class neighborhood of cute, well-manicured spanish style homes -- left three people dead. The bad guys got gear worth about $15K at retail... probably a tenth that fenced.)

THAT, is a very real scenario these days, sad to say. At least it is here in LA. I personally know of at least two people that have been robbed at gunpoint in their studios. Now, make it free and you'll attract and even lower level of clientele. Perhaps Denver is different. I don't know, but I would definately set up security - and let the musicians be aware of it - that will hopefully protect you from the riff raff by letting them know they will be on camera. And if this studio is in your home and you have a wife and/or kids......tutt

[Rick Sutton]

It doesn't matter a heck of a lot which gear you get. What you have already is fine, just add the items that are essential and are currently missing (enough mics, headphones, cables, etc.)
If you are looking for experience you will get it. If you want to maintain your passion for recording, my guess is this is going to diminish your passion and not enhance it. It will probably be fun for awhile but your idea is so fundamentally weak that it will either have to evolve to something sustainable or you will burn out.
As a part time hobby of a few hours a week it can work, but at that level you're probably still better off to work only on music you are personally involved with or close friend's projects. There is enough to keep you busy there before you decide to invite the rest of the world to your doorstep.

[Rick Sutton]

Originally Posted by APOHStudios

If you read between the lines here, they are afraid that you may be starting a trend which will make it even more difficult to make money as a studio/engineer.

I don't smell a lot of fear in the replies. Mostly just hard won experience. Most people are telling the enthusiast to be cautious, with good reason. The gear question is easily answered with all the stock GS replies, it is his plan that holds any interest, hence the thread activity.