What's next for me?

[ajcdrum]

Hey guys,

I'm a long time follower, new poster. I was looking for your input as to what I should I do next with my gear.

Here's my current situation:

I'm a student at a reputable music conservatory in Boston. I study Jazz Performance but I will most likely go into booking and management when I graduate this year. I've been recording since I can remember. Now while in school, I have been doing a pretty substantial amount of On-Location and Studio recording for mainly acoustic music. I record over 100 recitals a year, especially classical and jazz. I also do studio recordings for Jazz groups at my house (I have a pretty shweet 7' Mason Hamlin from 1890). I really want to take my recordings to the next level but I don't what I should do.

Ideally, I want 2 things: I really accurate and stable 2 channel mobile rig and a nice and warm 8 channel rig for my studio jazz and folk recordings.

Here's what I own now:

Motu 896HD
Marantz PMD600
Kord D1600
Powerbook G4
Dell Studio XPS 15
TEAC A4300

Mics:
2 KSM27s
2 Octava MC012s (Russian)
EV RE20
AT4033
SM57

I also have access to (though not mine):
2 SM81s
AT4033
2 SM57s
SM58
GT57
D112

Various things I would consider selling:
Yamaha DTXpress III Special
A few flat rides (about $400 worth)
A 60s Black Oynx Pearl, Rogers Powertone Snare (worth about $1200)

I know a lot of this gear is lower end stuff, but I like to think I have a pretty good set of ears. I have been getting a lot work from performance majors that have favored my recordings over the ones from the AV department (stocked with all sorts of Neumanns, Schoeps and DPAs).

So my basic question is how you guys would recommend I consolidate my gear for maximum performance. What could I sell? What could I buy? How would you take all the gear listed here, sell some things, buy some things, and make a rig that fits my needs.

Thanks for your input!

[NorseHorse]

100 recordings a year?! Great job.

If you're really serious about continuing recording, I'd invest in two really great mics and two really great preamps. As you've already learned, good gear doesn't equal good recordings, but as you move out of the university environment, quality competition will increase.

Assuming you make as least $50 per recital (do you charge?), you have (or will have) at least $5000 to step up your gear. I'd purchase the good mics right away, so you can start building a solid portfolio.

Keep everything you currently have, get a great stereo chain, and by the time you graduate you'll have a sweet stereo set-up and a decent 8-track set-up. Watch what you wish for though, otherwise you might find yourself recording more than performing.

[ajcdrum]

Thanks for the advice! I should probably clarify that I don't intend to make recording (or performing) my full time career. It's just been a nice hobby and a good income subsidy. When I graduate, I hope to keep it that way too. It's definitely been nice to get a couple hundred bucks cash every week...

[chris319]

Assuming you make as least $50 per recital (do you charge?), you have (or will have) at least $5000 to step up your gear.

I imagine those 100 recitals per year are at school and don't pay. Am I correct?

I'd have Michael Joly mod those MC012s for $89 each and they will last you a good long time. Just starting out, people won't be paying for your experience so you will probably have to charge less. A pair of Schoepses probably isn't warranted at this point. You not only need good gear but good business sense.

Oktavamod - Your trusted source for modified microphones

[NorseHorse]

(Don't forget to read the OP's response, Chris!)

Hey AJC, have you had the opportunity to compare any of your recordings with the house set-up for the same show?

[ajcdrum]

No, they're all mostly for pay. Most people just do the default and get their recitals recorded by AV so my pitch has been: An as good - or better sounding recording, for less money and faster turnaround. So far, I've been doing well. During peak recital times I am normally turning down work. It's hard to believe my MC012s and a Marantz can make a better sounding recording than a pair of DPAs and a Grace pre, but I guess their carelessness shows.

[chris319]

Don't forget to read the OP's response, Chris!

I did! In his second post he alludes to an income supplement and a couple of hundred bucks per week without stating what portion of the 100 recitals per year are for pay and how much he gets per session. That's why I asked "Am I correct?". The next question to ask is whether that income stream will continue and he will have access to the same trade after he graduates.

It's hard to believe my MC012s and a Marantz can make a better sounding recording than a pair of DPAs and a Grace pre

Why do you suppose that is? What are you doing differently from the AV department? And what does the AV department charge to record a recital that you can undercut them? (Gotta pay for those DPAs somehow I suppose.)

[ajcdrum]

Hey Chris,

During recital seasons I normally do about 3-4 recitals a week, about 80 percent for pay. The school charges 100 flat and takes about 2 weeks to get you a cd. I charge $25 per half hour, so if you have a short recital (like a junior recital) it might only cost you $50. You get the CD the next day as well. I also have been doing a lot of package deals. Like $125 for a 2 hour long recital with a PA and HD DVD. This year I'm offering multitrack recital recordings so jazz majors can get recordings with more clarity.

I have AB'ed my recordings to the AV departments and I do consider mine to be more appealing. They often have student workers run the student recitals, often kids they just trained for a few days, so that might a key factor. I don't want to totally knock their recordings though! I have heard the orchestral recordings that the house engineers do and they are quite excellent!

Back to my original question though... If you were in my shoes, what do you think would be wise to replace?

Thanks a lot!

[chris319]

First you should be smart with your money, a foreign concept to some but whatever. You should also take into account the needs of your clients. You're not recording the London Philharmonic. For $89 each you could have Michael Joly mod those Oktavas and you'll have a pair of mics which are quite satisfactory by any standard and much more than adequate for your clients. Maybe get a third Oktava in case you get to a gig and one of them conks out on you.

If money is burning a hole in your pocket there is no limit to the amount of money you can spend on mic preamps. A lot of people like the preamps by Grace and True; they run around $500 - $600. I've never used them as I have built my own preamp which I am quite happy with and have an AEA TRP as well.

[just.sounds]

Originally Posted by ajcdrum

Hey Chris,

During recital seasons I normally do about 3-4 recitals a week, about 80 percent for pay. The school charges 100 flat and takes about 2 weeks to get you a cd. I charge $25 per half hour, so if you have a short recital (like a junior recital) it might only cost you $50. You get the CD the next day as well. I also have been doing a lot of package deals. Like $125 for a 2 hour long recital with a PA and HD DVD. This year I'm offering multitrack recital recordings so jazz majors can get recordings with more clarity.

I have AB'ed my recordings to the AV departments and I do consider mine to be more appealing. They often have student workers run the student recitals, often kids they just trained for a few days, so that might a key factor. I don't want to totally knock their recordings though! I have heard the orchestral recordings that the house engineers do and they are quite excellent!

Back to my original question though... If you were in my shoes, what do you think would be wise to replace?

Thanks a lot!

I would consider to upgrade the motu and other recorders to a higher quality alternative. Maybe you could sell them all and buy Metric halo ULN-8 or a nagra VI?
Then the preamps are up to scratch also.
Maybe the 8 channel sound devices recorder? but no warmth there ;-)

Further some used schoeps and/or dpa 4060/90's would make a nice addition to youre cabinet IMHO.

[hughesmr]

If you're looking for a top-of-the-line no-compromise 2-channel setup, you'd be foolish to not consider a pr of Sennheiser 8040 (or 8020) and a DAV BG1 pre. Given good playas (nod to Plush) and a good room, you can make a world class recording with these. Total outlay for the mics and pre (new) can be had for under $3K.

After hearing what this setup can do, it may answer your question re. what current gear you would be willing to part with.

[Corran]

Always glad to read of another college student doing recording work at a university. I am very interested to hear about your AV department charging for recordings. My school (which is likely smaller, and not a conservatory) does not charge, but the quality is beyond awful (mono, in fact).

As for your question, I can tell you I recently upgraded to Schoeps CMC6 mics with matched cardioid capsules, a figure 8 cap, and a pair of omnis on the way. The difference between my cheaper mics (including a pair of Oktava 012s) has been fairly remarkable. For these pair of bodies and 5 capsules my total cost has been a little over $5000 though.

I would agree that one route to take would be to upgrade your Oktavas, and in fact I suggest that regardless. I am going to soon, I have just been spending money on other things first. After that, I would seriously consider getting the pair of Schoeps (or one of the other top brands, like DPA or Sennheiser) and calling it a day. If you get something "mid-tier" you will likely be upgrading again soon.

I would also consider finding some budget mics that will fill out your cabinet for larger recordings, like the jazz things. I use 8-12 mics typically, so you should have all your bases covered.

A really great pair of mics just makes your job easier.

I'd also gauge the possibility of raising your rates. I have charged $50/per half hour for a few years and I think I will be going to $75 soon, and make sure you charge plenty more for large ensembles. And really hit up the directors for that - one large ensemble concert should net you $300-$500, if not more.

Boy I wish there were that many recitals here. I get about 2-3 weeks per semester that have that many recitals.

[chris319]

I'd also gauge the possibility of raising your rates. I have charged $50/per half hour for a few years and I think I will be going to $75 soon, and make sure you charge plenty more for large ensembles. And really hit up the directors for that - one large ensemble concert should net you $300-$500, if not more.

But he says one of the reasons he gets the volume of business he does is that he comes in for less than the school's AV department. If he wants to continue with the same trade (student recitals) after he graduates he could price himself out of work if he raises his rates.

If you're looking for a top-of-the-line no-compromise 2-channel setup

For student recitals at a school?

[Corran]

Originally Posted by chris319

But he says one of the reasons he gets the volume of business he does is that he comes in for less than the school's AV department. If he wants to continue with the same trade (student recitals) after he graduates he could price himself out of work if he raises his rates.

Well I believe his rate was effectively half, so some increase would still be below the AV department. Furthermore, if he is delivering a better product, people should still see the value of his product and use him. Personally, matching the AV department might be the smartest move - the sales pitch is that you spend the same either way, but get a better product with him. As I mentioned, here every recital is recorded and can be gotten by the performer for FREE. However these people are still happy to pay me $100 to record it. People pay for quality.

Originally Posted by chris319

For student recitals at a school?

Students deserve good recordings too. And if he's at a really good conservatory, these students are likely to be quite good (and a joy to record!).

[chris319]

The school charges 100 flat and takes about 2 weeks to get you a cd. I charge $25 per half hour, so if you have a short recital (like a junior recital) it might only cost you $50.

That's why he gets as much business as he does; he's basically working for half price and his recordings are better. Volume! When I was a college student, $50 vs. $100 would have been a huge difference.

My school (which is likely smaller, and not a conservatory) does not charge, but the quality is beyond awful (mono, in fact).

If they're that bad, that's why people pay you.

Students deserve good recordings too.

And good recordings they shall get! From the way he describes it, they already get excellent recordings with the gear he's got.

I just remembered the Rane MS1S mic preamp. I've seen the schematic and I know what's in it (a THAT mic preamp chip which is in a preamp I have built and use). It is a clean, high-spec preamp with an impartial sound at a great price but it won't earn you bragging rights among preamp snobs who are paying $2,500 for $50 worth of preamp.

Rane MS1S Preamp Low Noise | Full Compass