the "Job" part of the job - Gearslutz.com

Gearslutz.com

All Advertisers
Go Back   Gearslutz.com > Expert Question & Answer Archives (read only archive, not open for new posts) > Q & A with Dave Pensado


the "Job" part of the job

Thread Tools Search this Thread
Old 10th September 2004   #1
Lives for gear
 
juniorhifikit's Avatar
 
Joined: Jun 2002
Location: Paris/SanFrancisco
Posts: 1,274

Thread Starter
Send a message via AIM to juniorhifikit Send a message via Skype™ to juniorhifikit
Dave: Q's about the business part of the job

Welcome back Dave! A few questions regarding business:

1. Do you charge differently and get different points when you re-play/replace tons of tracks?

2. How much time do you give for these tasks? Knowing that you're very busy (and thanks for spending time with us), and that every situation is different; how long does it take for a re-build on a song?

3. Do you do the rebuild at home in ProTools and then mix in the expensive room, or do the whole thing on the clock at the expensive room?

4. Does the studio time come out of your budget, or do you just pass that along as a line item on your invoice to the label? The same for cartage?

Sorry so many, and thanks.
juniorhifikit is offline  
Old 11th September 2004   #2
Guest Moderator - September 08
 
Joined: Aug 2004
Location: los angeles
Posts: 122

Hi jrhifikit

1. My manager handles all that. Sometimes we get points, and sometimes I mix for free. I try to do whatever it takes to mix for friends, and to mix the music I like. If I am not knocked out by the song, usually it is a friend or Artist I really like. I don't have a fixed rate, I just trust my manager (Jac Colman) to get me songs I like, or to make sure a good friend is taken care of.
2. Usually 1-10 hours to redo a track. "Get The Party Started" required changing all the drums, and creating intro and ending and alot of PT tricks. Linda and I spent about 6 hours on it. I just charge by the song, so I don't charge xtra for that. I don't want the producer to think I'm trying to take their job, or make more money by trying to get my ideas in there.
3. Expensive all the way. If I'm doing it free, I should at least do it in luxury.
4. The client (label, producer, or artist) pays me, and pays the studio seperate. Most of the time, rentals are added to the studio bill. MY rentals are billed by me.

If this does not answer your questions, let me know.
Dave Pensado is offline  
Old 12th September 2004   #3
Lives for gear
 
juniorhifikit's Avatar
 
Joined: Jun 2002
Location: Paris/SanFrancisco
Posts: 1,274

Thread Starter
Send a message via AIM to juniorhifikit Send a message via Skype™ to juniorhifikit
I'd say you pretty much nailed it. Thanks.
juniorhifikit is offline  
Submit Thread to Facebook Facebook  Submit Thread to Twitter Twitter  Submit Thread to LinkedIn LinkedIn 



Thread Tools Search this Thread
Search this Thread:

Advanced Search

Similar Threads
Thread Thread starter Forum Replies Last Post
PART 2:Must have "MICS"under 1k pr? Favorite "Sleeper" "ROOM" Mics? "Out of the Norm" betsy Low End Theory 41 6th July 2009 08:15 PM
"Terminal A" Mix-off Showdown - Part 3...New Blood Brad McGowan So much gear, so little time! 48 31st July 2006 11:00 PM
How Do I "Remote Record" As A Full-Time Job?? midnightblue Remote Possibilities in Acoustic Music & Location Recording 4 26th December 2005 06:14 PM


All times are GMT +1. The time now is 06:32 AM.

Home - Search Forum - Contact Us - Terms Of Use - Advertise on Gearslutz - All Advertisers - Archive - Top
 
 
Powered by vBulletin®
Gearslutz.com LTD - UK Company Number 7597610.
Registered Office - 35 Ballards Lane, London, N3 1XW.
Hosted by Nimbus Hosting.

SEO by vBSEO ©2010, Crawlability, Inc.