Mobile rig

[Black Seal]

I was looking at downsizing my main studio rig and turning it into a portable rig. My reasons for doing so are to decrease marital strife as my studio is located in the basement of my house. I love being part of music, but it seems like the people in my town want something for nothing because they perceive my skills as directly related to my studio location. I have a full compliment of gear, but I'm willing to downsize and travel to work with competent musicians in their environment of their choosing. Also, I'd like to record classical as well. I'm tired of working with people who seem to test my ability to make miracles happen. I'm no novice by any means, but if I have to make a drum kit from the middle ages with wear to match sound good I'm going to kill my self. I've only been at this for 1.5 years to the public, but I already realize that this is testing my patience. Simply put is that people expect me to deliver, and what they don't understand is that when they don't I can't either. I'm old school in the fact that I don't use sample replacement to make the band sound better. Mainly, no one wants to pay for the time to edit the living ***t out of their wonderful performance.

Ok, venting over. I'm looking at getting into something different. Here's what I have to put into a mobile rig. I would like to do some rock and some more traditional elements of music.

1) 2 ch A-designs MP-2
2) V672 telefuken 2ch mic-pre
3) sytek 4ch mic pre
4) Computer w/pentium quad cpu

Additional items to add to the list:

5) DAV BG-8
6) lynx 16ch Aurora
7) ssl duende

I have the following mics available, AT4060, 4041 (2), 3025, 4033, Audix i5, D2 (2), d4, d6, MXL V67 and V69 w/peluso mods, shure sm58, beyerdynamic m260 (2)

I will be considering trading/selling off some gear to achieve this goal. I live in the Indianapolis area so what am I going crazy or what?

I will still be able to record bands, but I'm considering keeping everything ITB for convenience issues.

What are reasonable rates for the midwest area? I want to stay involved in music, but it's not working for me if can make more cash going to my day job than I can at my studio then my days are numbered. I want to continue my love affair w/music, but with a newborn on its way it is making me reconsider. Help me stay in love with the idea that's all worth it or not.

Thanks,
Perry

P.S. Do most clients want a version directly after the performance or will they give you a few days for mixdown?? More questions to come. Thanks in advance.

[Remoteness]

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!

[tnjazz]

Originally Posted by Black Seal

I'm no novice by any means, but if I have to make a drum kit from the middle ages with wear to match sound good I'm going to kill my self.

No offense, but this is pretty much an everyday occurrence in the "trenches". Unless you're a LOT higher up on the ladder than you allude to, you'll be recording a lot of local bands in clubs and various small venues. Can you say "house drum kit"?

Originally Posted by Black Seal

I want to stay involved in music, but it's not working for me if can make more cash going to my day job than I can at my studio then my days are numbered.

While Steve is very encouraging in his post and I echo everything he says, I do have to say the honest truth is - you will almost certainly make a LOT more money at a day job than you ever will in the location music business. It's definitely a totally different mindset and if you feel like you have to perform miracles at your home studio just wait until you get into a live situation. Crazy doesn't even begin to describe it sometimes. I've known quite a few studio guys who've had the same thought and dabbled in live recording, only to give it up almost immediately because it can be high stress/low reward.

Just because you're a good engineer in the studio, that does not mean you'll be a good location engineer.

No matter what, family comes first though. Do what you have to do for them.

As for the location thing, keep us posted. We are all in this together, and this board is one of the best sources of location recording information I've ever come across.

Good luck!

[Remoteness]

A well known studio recording engineer once told me after working on his first remote recording with me way back when...

He said, (and I paraphrase) "A remote recording engineer will make an excellent engineer in the studio, but not necessarily the other way around. I never realized how difficult it can be to record on location."