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defining pieces of gear
Old 6th May 2003
  #1
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covert's Avatar
 

defining pieces of gear

I occasionally, hell frequently, look at equipment lists for various studios, with an eye to what they have that I don't. I'm quite aware that I'm still somewhere low on the bottom feeder scale, and I'm sort of curious about what bits might define a dividing line between me and the next rung up the ladder. I'm well aware that it's more a matter of what you do with the gear than the gear itself, but still whether for marketing or whatever here's a list of stuff that seems to me to be markers. Anyone want to add or disagree?

Mics

Neumann other than 103's and 184's
Sondelux
Royer
Telefunken
Sony LDC
AKG C12 etc.
C12 capsule 414's


Preamps

just about anything above the RNMP


Outboard

Neve almost anything
API almost anything
LA2 etc. Includes copies
1176 Includes copies
DBX 160 vu
Distressor
Fatso
Hedd
Flamingo
Manley almost anything

FX

Eventide
PCM 80
PCM 90
Publison

Misc

Large rooms
fancy cue systems
big main monitors

Not a complete list by any means. I'd also be interested in comments along the lines of, If you don't have a _______ from the above list, a ________ is a pretty good substitute.
Old 6th May 2003
  #2
Moderator emeritus
 

I don't know that anything on your list can really define a studio. I've been in studios with much more than your list that sounded terrible, and I've worked in studios that could have been, in your terms, bottom feeder studios that sounded marvelous.

A studio should have the tools necessary to get the job done. Better studios studios make it easy to do a better job. Sometimes it's equipment, sometimes it's the acoustic space, and sometimes it's the people who work at the studio.
Old 6th May 2003
  #3
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dave-G's Avatar
Quote:
Originally posted by Dave Martin
A studio should have the tools necessary to get the job done. Better studios studios make it easy to do a better job. Sometimes it's equipment, sometimes it's the acoustic space, and sometimes it's the people who work at the studio.
Amen!
-dg
Old 6th May 2003
  #4
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alphajerk's Avatar
 

A good engineer with adequate equipment is always much better than an adequate engineer with good equipment...
Old 6th May 2003
  #5
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Saucyjack's Avatar
 

Maybe it's just me but,
I'd be more concerned with what the end product sounded like from said studio than the gear list.
Old 7th May 2003
  #6
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covert's Avatar
 

I think you're missing my point. I'm quite in agreement about results being the important thing. On the other hand, there's the matter of drawing people in to hear the results, and to someextent the gear is part of that.

I also read, in the various forms and newsgroups, comments along the lines of, "I always have a ______ on something."

While I beleieve that good stuff can be done with all sorts of strange rigs, I'm curious about what people might look at ona gear list and go, if they don't have that, I'm going somewhere else.
Old 7th May 2003
  #7
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Umm should not say it hear...
If I had my time again I would spend the money on the room, marketing and getting good bands in.
The gear does not bring the bands in.
The quality of your work does and how cool the place looks.
If you really really need something them buy it, do not buy it to get bands in. Most just like it if things are shiney...
Old 7th May 2003
  #8
One with big hooves
 
Jay Kahrs's Avatar
That's kind of a tough question to answer. As a matter of fact, I'm not even sure what the real question is. Yeah, the big studios have the big gear but just having one or three pieces of something won't let you raise your rates.

Honestly, I've never looked at another studios list and NOT booked time there because they didn't have XYZ gear. I've passed because the whole place wasn't up to snuff. I mean, if a place has a Wackie console and a bunch of 3630's and one LA-2a I'm not going to book time there. Once you get to a certain point it doesn't matter what the studio has. Most freelancers look for a good room, the standard mics, and a console. They'll bring in whatever outboard gear and mics they need time and time again.

Actually yeah...There's one thing most studios don't have enough of. Tie-lines. That bugs the **** out of me.
Old 8th May 2003
  #9
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covert's Avatar
 

Dave Martin, the term bottom feeder is borrowed from Harvey Gerst's description of his place. I'd say he's pretty much out of that class, but that's my opinion.

Davemc, the rooms are, at present, the things I can least do much about, short of moving entirely. I think it's niave in the extreme to suggest that gear doesn't have a serious effect in selling the place.

Jay, at this point it isn't a question of raising rates, since I haven't set any to begin with. You've drawn one line, but are cavilling at the idea that there might be another. You'd hesitate at a place with a Mackie and 3630's. What would be the base level at which you wouldn't hesitate? In some sense this is the reverse of the desert island gear question.

For example, here are lists from two local places. Knowing nothing else about them, which would you look into first?


Studio 1
1 Channels Of: Manley VOXBOX Mic Pre/Comp/Pultec EQ/Limiter/De-esser.
1 Channels Of: Joemeek VC-1 Mic Preamp/Compressor/Exciter.
1 Channels Of: JoeMeek VC6Q Mic Preamp/Compressor/EQ.
2 Channels Of: Vintech Audio "Neve 1272" Vintage Mic Preamps.
2 Channels Of: Brent Averill "API 312" Vintage Mic Preamps.
4 Channels Of: John Hardy M-1 Mic Preamps.
2 Channels Of: Focusrite Red 8 Mic Preamps.
2 Channels Of: AMR VMP-2 All-Tube Mic Preamps With Tube EQ.
1 Channels of: Purple Audio MC76 FET "Urei 1176" Compression.
1 Channels Of: Requisite L1 All-Tube "La2a" Compression.
1 Channels of: Summit Audio TLA100 Tube/Discreet Solid State Compression.
2 Channels Of: Anthony Demaria Labs CL-1500 All-Tube "La2a" Compression.
2 Channels Of: Demeter VTC-L2a All-Tube Compression.
4 Channels Of: FMR Audio RNC Compression.
1 Channels Of: DBX 160X Classic Compression.
2 Channels Of: Groove Tube EQ-1 All-Tube Passive 5-Band EQ.
2 Channels Of: Night Pro Technologies EQ3D "Airband" EQ.


Studio 2

Neve 2254s (2) , Empirical Labs EL-8 Distressors (2) , Urei 1178 ,

Manley Labs Electro-Optical Compressor , Aphex Compellor , RNC 1773 (2) ,

DBX 160XT (2) , DBX 166 (2) , Klark Teknik DN504 , Drawmer DS 201,

Klark Teknik DN514



Microphone Pre-amps/ Equalisers:

Neve 1073s (4) , Neve 1079s (2) , Neve 1081s (2) , Focusrite ISA 110 ,

API 3124MB+ , Demeter VTMP-2a , Focusrite ISA 115 ,

Quad Eight MM-310Bs (2) , Summit TPA200B w/ classic Mullard tubes



Effects Processors:

Lexicon PCM 70 , Sony DSP-V77 , Lexicon PCM 42 , Yamaha SPX990 ,

Eventide DSP4500LE Ultra-Harmonizer , Lexicon PCM 41 , TC Electronic D-Two ,

Lexicon MRC remote controller , TC Electronic M-One , Klark Teknik DN-50 ,

Sony MP-5 , Sony GP-5 , Line 6 Pod Pro with foot controller

Lexicon LXP 5 , Lexicon LXP 1 (2)


Everyone, this is just batting some stuff around. My life doesn't hang in the balance, although some future purchases might be affected. I'm just wondering about things.
Old 8th May 2003
  #10
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blackcatdigi's Avatar
Quote:
Originally posted by covert

While I beleieve that good stuff can be done with all sorts of strange rigs, I'm curious about what people might look at ona gear list and go, if they don't have that, I'm going somewhere else.

AND

I think it's niave in the extreme to suggest that gear doesn't have a serious effect in selling the place.
No offense intended, but IMHO, the rooms and the results are FAR MORE IMPORTANT than any gear, and it is you who appears rather naive.

The ***** appeal' factor will depend on exactly who you're trying to appeal to, and even then only in the top percentile... For some, it might be the SSL 9k or the Studer that are deal makers/breakers. Are you at that stage of the game?
For most, the only phrase the client will know is 'Pro Tools.' Bottom level to Mid level is irrelevant. Usually, only the labels want to see gearlists for budget approval. Who, where, what is YOUR market?

IME, I've concluded that (other than helping us to get the results we want), the *****slut appeal factor' rates about a whopping ZERO in our little neck of the woods...

Over the years, we've had exactly ONE paying client who knew anything at all about the makes/models of gear we were using. And only because he was actually an engineer himself (and had worked in some fabulous rooms with some fabulous talent and had paid close attention to the other engineers). We mixed his record because we have a Trident 80B, great outboard, AND we're old friends. That's it. He slept in his own bed and saved alot of money.

The only other folks who have come in and 'drooled' have been the local competition.

Our general clientele literally has no clue. Other than the really big board and the cool flashing lights. Even the ones with their own studios don't know what any of this stuff is, other than "how much did that cost?"
All they care about are: A. the results and B. the costs associated.
Period.

YMMV.

"Wow... How do you know what all those knobs do? Oh, I want to use that really big microphone on my stuff... Why do I have to tune between every take--Don't you have Auto Tune?"
Old 9th May 2003
  #11
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Seriously if you are going for band work the gear in the end does not make the final choice.
5 years ago I was charging AUD$30/hr for a Tascam M3500, VST studio running on rogers clone speakers and one LD mic.
Now I have spent over AUD$120k in upgrades and have a HD3 192/96io system loaded with plugs, a Control24, Soundelux U99, Royer Sf12, lots of mics, 11 ex pres (API,Calrec,buzz,isa430,1969), a fatso some nice quested monitors...I struggle to get over AUD$40-$45/hr.
I upgraded the gear faster then the clientelle, so I am stuck in the middle to expensive for teh small bands, not enough cred for the mid-larger ones..I have always struggled to push out of the weekender only crowd, probably a lot to do with my bad sales technqiue..

As most bands ask price first and who you recorded second.. They might of heard of pro tools but a 001 system is still pro tools and as they are not gearsluts they really know nothing.

I never upgraded the room seriously, I have done some acoustic treatment myself sort of hit and miss. I did the gear first as the rooms maybe do not look the best but sound ok.
Bands are after that wow factor, so I might have to pop $25k+ into doing out the rooms... Although where I am I am renting and the landlord is baulking at doing a new 10 year lease. So I will have to go elsewhere and buy or rent or stay where I am

Although at the end it comes back to your marketing.
Which i am crap at....
A friend of mine interstate runs a 001 studio with a 02r and he is booked out constant. He picks and chooses his bands as he is at a level to do so.. He has a great ear and produces nice work..
Old 9th May 2003
  #12
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There ARE certain types of gear that draw clients - but they have not even been mentioned here yet. They usually are in the category of fine musical instruments.

My 1897 Steinway has generated far more bookings than any other piece of musical gear. There are a number of other excellent studios and engineers who send clients to my room to either add piano tracks, or even do all the basic tracks because of the Steinway.

Other studios may get specific work because of their great collection of guitar amps, a great sounding drum kit, a B-3, etc. So if you really are looking for a drawing card for your studio, something like that might do the trick.

95% of the time, if anyone does ask about specific gear, it is primarily the vocal mic that is asked about. So that would be the next suggestion for spending some money.
Old 9th May 2003
  #13
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by covert
Jay, at this point it isn't a question of raising rates, since I haven't set any to begin with. You've drawn one line, but are cavilling at the idea that there might be another. You'd hesitate at a place with a Mackie and 3630's. What would be the base level at which you wouldn't hesitate? In some sense this is the reverse of the desert island gear question.

For example, here are lists from two local places. Knowing nothing else about them, which would you look into first?
I would work at whichever of those places had the better mics, rooms, and the big one is whatever place I feel most comfortable at. I don't care what the gear and rooms are like. If the staff sucks and the enviornment isn't good I won't feel motivated to work. Based on the lists you posted, both of those rooms would be up to snuff for me. I would bring a few compressors to the first studio but only because a lot of the stuff they have is very similar.

What I really look for gear wise for is a good desk, at least 6 channels of non-sucky compressors (that aren't all the same or very similar) and at least two good effects boxes. If I'm tracking I' like to see at least 4 channels of good pres and then I'll use the desk for everything else and maybe bring a couple from my own stash if I really need to. But if I need to bring a lot of pres just to avoid the console, chances are pretty good that the console sucks like a Hoover and I wouldn't book the room in the first place. Honestly, I don't think I've ever booked a studio and not brought at least a few pieces of gear with me.

I'd say that 85% of the bands that book my place have no idea what the hell I'm using. Once in a while I'll have someone say "I've seen pictures of these before" but they STILL ask me what the Funk Logic Algorhythmic Prosecutor does and I just smile and tell them it's my secret weapon. The other 15% do know, care, ask questions and make suggestions on stuff. Those are also the same clients that I'll let sit at the console and turn knobs.

If you want to know what my "can't live without" pieces are, that's a whole other thing.
Old 9th May 2003
  #14
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covert's Avatar
 

Quote:
Originally posted by Jay Kahrs
I would work at whichever of those places had the better mics, rooms, and the big one is whatever place I feel most comfortable at. I don't care what the gear and rooms are like. If the staff sucks and the enviornment isn't good I won't feel motivated to work. Based on the lists you posted, both of those rooms would be up to snuff for me. I would bring a few compressors to the first studio but only because a lot of the stuff they have is very similar.
The question specifically stated "knowing nothing else about them." And you made a choice about how you'd approach at least one of them.

Quote:
What I really look for gear wise for is a good desk, at least 6 channels of non-sucky compressors (that aren't all the same or very similar) and at least two good effects boxes.
And what I'm trying to get at is, what is a "non-sucky compressor," a "good" effects box etc.? Where does the line fall?

[QUOTE][B]If I'm tracking I' like to see at least 4 channels of good pres and then I'll use the desk for everything else and maybe bring a couple from my own stash if I really need to. But if I need to bring a lot of pres just to avoid the console, chances are pretty good that the console sucks like a Hoover and I wouldn't book the room in the first place. Honestly, I don't think I've ever booked a studio and not brought at least a few pieces of gear with me. [QUOTE][B]

And again we're dancing around what s tudio might have that would make you say, I don't need anything they haven't got.

[QUOTE][B]I'd say that 85% of the bands that book my place have no idea what the hell I'm using. Once in a while I'll have someone say "I've seen pictures of these before" but they STILL ask me what the Funk Logic Algorhythmic Prosecutor does and I just smile and tell them it's my secret weapon.[QUOTE][B]

LOL

Quote:
If you want to know what my "can't live without" pieces are, that's a whole other thing.
Actually, it's pretty much teh same question. If the studio had those things, it'd be more likely to be one you'd use, all other things being equal. And I know all other things are never equal.... For that matter, another form of the question would be, what do I have in my own place that I'd feel less capable without? Or what do I have that I'd take somewhere else if they didn't have one?
Old 10th May 2003
  #15
One with big hooves
 
Jay Kahrs's Avatar
[QUOTE]Originally posted by covert
[B]And what I'm trying to get at is, what is a "non-sucky compressor," a "good" effects box etc.? Where does the line fall?

*** Stuff that you'd find in a pro level room. The regular A-list gear. That good 'verb could be a PCM70, maybe an M3000 or a Sony R7. How about anything other then the stuff you'd find in Guitarget, like Alesis or Digicrap?


Actually, it's pretty much teh same question. If the studio had those things, it'd be more likely to be one you'd use, all other things being equal. And I know all other things are never equal....

*** You're making a big assumption about the way I work and what I look for. I've NEVER booked a room just based on gear.


For that matter, another form of the question would be, what do I have in my own place that I'd feel less capable without?

*** That's something that only you can answer.

Or what do I have that I'd take somewhere else if they didn't have one?

*** For me that depends on the project at hand. There's one studio I use for mixing and I've brought all kinds of different things there depending on what the gig at hand is and what I need to get done.
Old 11th May 2003
  #16
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covert's Avatar
 

Okay Jay, I don't understand what about this line of discussion is getting your back up, but lets chill it a bit.

> Actually, it's pretty much teh same >question. If the studio had those things, >it'd be more likely to be one you'd use, all >other things being equal. And I know all >other things are never equal....

>*** You're making a big assumption about >the way I work and what I look for.

My use of the pronoun "you," in the above did not refer to you as an individual. It meant an average person likely to do things in a studio, and as such is probably wholly imaginary.

>For that matter, another form of the >question would be, what do I have in my >own place that I'd feel less capable >without?

>*** That's something that only you can >answer.

Once again, the pronoun "I" didn't refer to me, but to the imaginary average studio user, who could be you(as an individual) or just about anyone else that frequents these boards.

>I've NEVER booked a room just based on >gear.

Have you( as an individual) ever not booked a room because their gear wasn't up to snuff?

Try it as a hypothetical. Someone has built two identical rooms in the same facility, and therfore the staff, vibe and acoustics are exactly the same. The only difference is what gear is avalable in each. For the sake of the question, none of your personal stuff will work in either room. I'm sure that you'd (as an individual) make a choice.

As far as what you (AAI) might bring to a session, of course it depends on variables. I never imagined any of the answers in this thread would be anything but generalities.

Look at some of the threads in other forums, for example the, I have 20 grand thread. According to some posters it is not possible to anything decent with that amount of money. I'd be inclined to disagree, but that's why I asked the question in the first place.
Old 11th May 2003
  #17
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Still do not know what exactly are you looking for in the gear question?
Gear that entices clients or other engineers?
Remember most people here are gearslutz , Clients like pretty shiny things or a vibe or previous work. AND price especially if there paying.
Engineers like what they like, some guys have to have a real desk, some do not work on DAW's if they do not have to. Some guys like RADAR and Hate Pro Tools etc etc.
Your recording medium has a lot to do with it to start with.
Certain bits of gear we have used before and liked we'll look for again. Could just be you started out using x console as that was what they had in the studio you started in. You are now used to it and look for studios with the same console..
With the two studios if all was equal including price and people.
Gear will make a diff for AE's, although how much of it will be the decider. There will always be something you want as a AE.
Old 12th May 2003
  #18
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by covert
Have you( as an individual) ever not booked a room because their gear wasn't up to snuff?

Try it as a hypothetical. Someone has built two identical rooms in the same facility, and therfore the staff, vibe and acoustics are exactly the same. The only difference is what gear is avalable in each. For the sake of the question, none of your personal stuff will work in either room. I'm sure that you'd (as an individual) make a choice.

As far as what you (AAI) might bring to a session, of course it depends on variables. I never imagined any of the answers in this thread would be anything but generalities.
Yes, I have not booked a room because the gear sucked. But it wasn't because they didn't have one specific piece or three. It's because there was overall suckage.

Man, I'm tagging out of this thread. You're kinda out in left field on this one. It's like saying someone built two identical cars. One is complete except for an engine and the other has the engine but is lacking tires.

WTF?

Ask something that people can answer. Because I can't be only one that's confused.
Old 12th May 2003
  #19
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Well, I can't really gripe at the idea that you're bagging out of this thread, since it seems to have wandered away from any place that useful information might be exchanged. Despite that, I'm going to take one last shot at defining the question enough to make such an exchange possible.

I never meant to suggest that anyone would book a room or not over a single pice of gear. The days for that seem to have ended about the time digital stuff got cheaper.

What was more the issue was in each of the several categories (preamps, mics, processing, dynamics, etc.) what pices might be definers for a "serious" studio.

As clarification, I know guys that can do anything, in the carpentry realm, with a handsaw and a hammer. Despite this, if I'm dealing with someone I don't know well, I'm more likely to assume that I'll get good results if he shows up with a nice collection of Porter Cable and Milwaukie stuff. By a similar token, if he's here to build cabinets, I'm probably going to expect to see a biscuit cutter, and a mitre saw.

I realize that Jay, in particular, is in an area with easy access to good dealers and rental houses, but that isn't the case for me, and may not be for others here, so comments on the order of "I'd rent something if I needed it in room X" aren't germane. Neither are the anaolgies to wheeless or motorless cars. It's more a matter of what things help define the line between the basic Vega, and the one with the cogsworth engine for blowing off Corvettes. You may not be able to build a Pinto that beats a Ferrari in all categories, but you can build one that eats other cars in it's class, and maybe one that competes above class.
Old 12th May 2003
  #20
Here for the gear
 

There are so many variants into this topic. I'd say anything goes for studios from entry level to mid level.

The high end is either in the business of selling the vibe and sound of the rooms or their competing for shared business (think post or film work) in which commonality is important.

The SSL 9K is the only piece of gear (sorry to call a 9K, a piece of gear) that a studio should have if they want to compete with that segment. There's a new studio here in LA that had to remove a very nice sounding board to be replaced with a 9K just to pull that customer base in.
Old 13th May 2003
  #21
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Since very few others picked up on the point, i'll reiterate:

Mixing may be another story, but for tracking a great sounding room is the piece of "gear" that will set aside one studio form all the others. You can always shlepp in all the outboard you can carry, but you can't do anything about a low ceiling.

For the same reason, I get a tremendous amount of bookings because of my grand piano. It's conceivable to bring one in as a rental, but that's usually out of the budget for my level of clientele. That's why i get lots of referrals from other studios who don't have a great piano.

So the critical gear comes down to that which can't easily be dragged in: the console, the piano, the room, etc.

I would have to add that in these days of artists studio-hopping from place to place even while working on one project, the more formats you are able to handle (tape, pro tools, ADATs, etc.) the more clients you can accomodate. I know I've lost business because I don't have tape, but also gained business from other studios that didn't have Pro Tools.
Old 13th May 2003
  #22
Dot
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covert, from a marketing perspective, you'll have different kinds of clients inquire about your gear - whether on the phone or through your website.

The Artist / Bandmember - 99% of them know two things: The name Neumann and Pro Tools. Chances are they won't even ask, but if they do, that's two names they'll know. Another studio with a U87 and PT LE could possibly get their business over you.

Do you have Neumann mics? Do you have Pro Tools? If we get questions about gear from people who don't really know gear - those are the two most common.

The Engineer - Will work in all kinds of places, and the selection of studio also depends on the type project.

For me, I will do a quick gear scan on a website. I might look for at least:

Neumann U87
AKG 414

Eventide H3000

If I don't at least see that, I guesstimate that the studio is probably not to the level where they regularly service commerical clients. But that doesn't mean that I'll discount the place.

Actually, in one of the studios were I work there are over 100 mics - but not one Neumann. : )

I think the most common thing is the vibe and layout of a place. A studio is a service business - and "service" is intangible. So what potential customers do is judge your level of service from the tangibles they can see. And that has everything to do with how you present yourself and your buiness.

covert, I didn't see where you listed what you have, where you are in the market - and where you'd like to go.

BTW, don't think you can't get rentals in upstate NY.
http://www.toyspecialists.com/ can get just about anything you need within a day or two.
Old 14th May 2003
  #23
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logic's Avatar
 

AAHHH!!!!!!

Wow,
I am surprised by this thread. I understand what covert was trying to say, but I think the issue is
perception verses reality. If you read the large magazines ( Mix, Eq..ect...) you read about the gear the "top pros use" and the gear of the top studios you get false gear perception. People in the industry get endorsement deals or just get **** for free. I personally think better gear will provide better sound and reliability, but this industry seems to be about who you know and who you have worked with. Conceder this, anybody can inherited some cash and buy expensive pro gear, but will they be taken seriously? Will the end product sound good ? I use to think if I had certain pieces of gear I would have clients knocking down the door. I didn't work, if you just purchased Pro Tools LE bet a studio within a fifteen mile radius has a new HD system ect... I have seen **** looking studios with marginal gear who have a long client list so???????
Old 14th May 2003
  #24
Mindreader
 
BevvyB's Avatar
 

Re: AAHHH!!!!!!

Quote:
Originally posted by logic
this industry seems to be about who you know and who you have worked with.
How else would it be?
Old 15th May 2003
  #25
Gear Nut
 
logic's Avatar
 

ok

I understand word of mouth is important, I just some times wish this industry was based on knowledge and fact.
A producer or engineer could totally suck but "know" the key people to get them gigs. I grew up with "" or I'm related to "". I come across people in this industry who have such a big ego I couldn't see them being in a normal career, they would be fired or cost the company money. oh well.......
Old 15th May 2003
  #26
Re: Re: AAHHH!!!!!!

Quote:
Originally posted by BevvyB
How else would it be?
How about what you know, instead of who you know? That would turn some **** upside down.
Old 15th May 2003
  #27
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e-cue's Avatar
 

Re: Re: Re: AAHHH!!!!!!

Quote:
Originally posted by NathanEldred
How about what you know, instead of who you know? That would turn some **** upside down.
Sad, Funny, and true all at the same time...
Old 15th May 2003
  #28
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Quote:
covert, I didn't see where you listed what you have, where you are in the market - and where you'd like to go.
Wow! just as I'm ready to give up, people actually start putting in real answers.

That would probably be because I haven't posted any of that information. I'm presently a private, basement facility. I think I fell into the fantasy that if I set up a really cool rig, songs would just magically start flowing to tape. Now I know better. I keep considering opening up to the general world, but my area is full of studios, and lots of factors including my neighbors, poor parking and low ceilings operate against that idea.

So it's not a question of what do I need to compete. Yes I know that N word mics and pro tools are buzz words among some classes of potential client. I also do know that gear doesn't entirely make the recording. I do know that when I see that people have made some substantial investments, I tend to take them more seriously.

There's a pretty general attitude that almost everyone has a mackie and an ADAT or two, or the equivalent. What I'm curious about is when they start taking a place as being two steps above that. I think I'm about one, or maybe only a half step above that, at present.

You mentioned three items. No, I don't own any Neumann mics, or a 414. I do own several of the chinese, and russian mics that have gotten better reviews, from people I have come to trust, and many of the dynamics that are standards. Plus a few things like C535's that aren't as well known. No I don't have that Harmonizer either. I don't do that much pitch shift work. As of yet.

Quote:
BTW, don't think you can't get rentals in upstate NY.
http://www.toyspecialists.com/ can get just about anything you need within a day or two.
I know I can get stuff, but it's not at all convenient. Among the locals there's never been a really cooperative attitude.

Logic: Yes this about perception. No it's not about the places that get mentioned in Mix etc. It's about looking at web pages for studios that I find out about here, in PSW forums and on Rec.Audio.pro. It's about trying to figure out where I fit into the spectrum between the 1604 adat crowd, and the Trident 2" crowd.

Littledog: I really do understand your point about the piano, and almost everyone's point about rooms and vibes. I would hope that what I've said above makes it clear that this isn't what I'm asking about.
Old 15th May 2003
  #29
Gear Nut
 
logic's Avatar
 

still ..........

The middle of the road is a tough place to be. I think some times the studio thing is meant to be. If you play In bands and know a **** load of musicians "boom" potential clients. There always is crap like production music, jingles, voice overs, and multimedia. I recently seen an article about some one who makes karaoke CDs, has a fat studio ! ykies????
Old 15th May 2003
  #30
Lives for gear
 
covert's Avatar
 

Re: still ..........

Quote:
Originally posted by logic
The middle of the road is a tough place to be. I think some times the studio thing is meant to be. If you play In bands and know a **** load of musicians "boom" potential clients. There always is crap like production music, jingles, voice overs, and multimedia. I recently seen an article about some one who makes karaoke CDs, has a fat studio ! ykies????
Considerations like that are part of why I hesitate to go public. As it satnds I can choose who I invite to work with. I like that part of staying as I am.
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