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Cost of production? Condenser Microphones
Old 18th December 2010
  #31
Gear Maniac
 

Quote:
Originally Posted by phillysoulman View Post
A couple of grand aint ****,bro.

You have to really research the issue carefully and start off with about say,fifty grand and then go from there.
And truthfully,fifty grand aint **** either.
If you want to build a studio where you can charge people to record with pro results,budget at least one hundred thousand dollars...for starters.
It aint cheap son.
BTW..you can throw that MBOX in the trash,son.
such a true useful elder, always helping and inspiring younger folks around these parts
Old 18th December 2010
  #32
Lives for gear
 
bobsandifer's Avatar
 

I just spent an extra 2 grand on my control room treatment...LOL I thought I had a quirky spot around my sofa

The equipment has just as much to do with it as the talent of the engineer. My clients understand what I use and they ask for certain things by name. I just bought another BRAND new VOXBOX for Bonecrusher to use. Not to mention constant software upgrades and other little gotta haves for _________ (fill in the artist). The first of the year is the install of our new SSL with another HD3 rig. This is in my spare room and a pretty common setup for a home in this city.

I charge 50$ per hour for unsigned artist and in Atlanta thats really hard to do. Thank God for labels. What does all of this mean? Set your rates according to what you offer A N D what your market can afford to pay. Be careful how you market yourself and try not to piss off the other "studio" owners in the area. Dont promise something that you cant deliver. It will come back to haunt you.

Oh......When the new console arrives everyone is invited. I have the drinks, sckripahs and other goodies covered
Old 18th December 2010
  #33
Lives for gear
 
piccazzo's Avatar
 

Quote:
Why not...you've got dj Khalil making Clipse beats with pt, guitar rig a presonus central station and talent...
Yeah , But they make the beats , Not charge for recording as in a commercial recording facility.
Old 18th December 2010
  #34
Gear Addict
 

...

YOU make the business.

There is potential to make $$ with what you have and use the profits wisely and your inventory of gear will increase. It comes down to you and how you can use what you have and make it grow.

Businesses make plans (well theyshould do). Posting on a fourm will give you some answers but some research on your behalf will help you immensely.

There are cats out there that'll pay for your service with the gear you have. Truth!!. They'll go tell their boys ' he had a m-box, a mac book, a wicked mic and this n that'. They'll lap it up. You just need to make it worth their while. It'll be a learning experience and mistakes will be made. ..but it's all part of learning

You need to hunt them out,market yourslf to them and justify the expense to them. They are your eskimos and you have the ice (you get my gist I hope)

You can make it happen with what you have, make sure you invest in yourself as well (upgarde YOUR skills etc etc )

Go forth and conquer!!!
Old 18th December 2010
  #35
Lives for gear
Quote:
Originally Posted by thenassaproject View Post
Hi, I've been doing a lot of recording for other people lately and I was wondering, what are people charging to have other people record in their studios? I have limited equipment, a tube mic, mbox 2 pro, lots of VI's and plugin's, nice macbook, PT9, and obtain some really professional sounding stuff. I'm no pro, but I kind of want to be making some money on this. What's the price?
If you can offer professional services for editing, arranging, mixing, you may be able get $20 or $25 an hour.
You may get clients who record tracks at more expensive studios, and then bring the files to you to get the file cleanup work done and save some money.
The limited equitment is ok for this scenerio, as your clients can add an overdub here or there or a VI with you.
Take care of your clients and begin your referal network.
Old 18th December 2010
  #36
Quote:
Originally Posted by RyanC View Post
I think this argument is kinda funny... makes me think the people who make it aren't much for carpenters. Sure, you don't need laser levels or Li-Ion powered Ipod boomboxes to be a good carpenter, but anyone ACTUALLY using a HAMMER in 2010 for most framing does not deserve to get paid much for it.

Basic gear for a 3 man framing crew:

Compressor + backup (maintained)
Few hoses
Few Nail guns (maintained)
Chop/Miter/Radial arm saw (either all 3 or one of those nifty new combo ones)
Circular Saw
Reciprocating saw
Should have a portable table saw and wet saw sooner or later.
Metal/Masonry/wood/concreteboard/tile blades
Grinder, w/ collection of wheels
Levels (a bunch in different sizes)
Plumb-bob's or lasers, snap lines and gallon jugs of chalk
Hammers (including specialty ones like rubber mallets, sledge, etc)
Basic plumbing and electrical stuff including shark-bites PEX, romex, wirenuts, line tester etc
A huge pile of extension cords and power strips
safety gear
Ramset (maintained)
Drill with screw tips/masonry bits and a variety of anchors
Drop lights
20 tape measures (no joking)
Box of framing squares in all sizes
Tool belts, steel toed boots etc
Basic tools- pliers, wrenches, socket sets, etc
Ladders (different height's sizes)
Scaffolding
A big truck with a lock box to put it all in.
Insurance

Don't let that stop you from doing some gigs as a basic handy man and building it up from there...Just keep in mind that just like studio stuff going pro is about having all the tools you need to get the job done, and at the end of the day the cost of any ONE piece is never that big of an expense or that big of a payout. IMHO.

Not sure what you are trying to accomplish here since I am pretty sure your last paragraph agree's with my statement so........
Old 18th December 2010
  #37
Lives for gear
 
Storyville's Avatar
Quote:
Originally Posted by bobsandifer View Post

Oh......When the new console arrives everyone is invited. I have the drinks, sckripahs and other goodies covered
I have a tentative ATL trip planned for late April. Might take you up on the invite
Old 18th December 2010
  #38
Lives for gear
I think you can safely ignore most of what people are saying on here about what constitutes a studio or pro gear blah blah blah.

If you are working with cheap clients, then the vast majority of them are not going to know what any of the gear is in the first place. Just make sure your room looks organized and kept clean and well laid out. If you are relying on a small nit community of artists and word of mouth, then just focus your pricing based on the quality of the end result and your work ethic as opposed to the gear (if you are trying to record anyone and everyone without referrals, then the gear becomes more important). The reality is that everyone knows you can walk into many great studios with tons of killer gear and walk out with crap because the engineer sucks, or (more likely) they just didn't care about the record they were making. I know, because I get these records to mix all the time and I hear the tracking jobs. But if you are good, regardless of the gear, and you act professional, are reliable, and deliver consistent quality, that's what most clients will want.

I can honestly tell you that back in the day I used to have this little 5x10 sun room with crap equipment and it looked like crap too. But I knocked out killer stuff and nobody had any problems paying me a lot more than guys with all kinds of crazy gear. It's a LOT harder to find good producers/engineers than it is to find a studio with good gear.

Last bit of advice: start low. The word of mouth is more important than the money initially.
Old 19th December 2010
  #39
Lives for gear
 
illacov's Avatar
 

Quote:
Originally Posted by chris carter View Post
I think you can safely ignore most of what people are saying on here about what constitutes a studio or pro gear blah blah blah.

If you are working with cheap clients, then the vast majority of them are not going to know what any of the gear is in the first place. Just make sure your room looks organized and kept clean and well laid out. If you are relying on a small nit community of artists and word of mouth, then just focus your pricing based on the quality of the end result and your work ethic as opposed to the gear (if you are trying to record anyone and everyone without referrals, then the gear becomes more important). The reality is that everyone knows you can walk into many great studios with tons of killer gear and walk out with crap because the engineer sucks, or (more likely) they just didn't care about the record they were making. I know, because I get these records to mix all the time and I hear the tracking jobs. But if you are good, regardless of the gear, and you act professional, are reliable, and deliver consistent quality, that's what most clients will want.

I can honestly tell you that back in the day I used to have this little 5x10 sun room with crap equipment and it looked like crap too. But I knocked out killer stuff and nobody had any problems paying me a lot more than guys with all kinds of crazy gear. It's a LOT harder to find good producers/engineers than it is to find a studio with good gear.

Last bit of advice: start low. The word of mouth is more important than the money initially.
+1,000,000

thumbsupthumbsupthumbsup
Old 19th December 2010
  #40
Lives for gear
 
Stoneface's Avatar
 

Quote:
Originally Posted by chris carter View Post
It's a LOT harder to find good producers/engineers than it is to find a studio with good gear.
Old 20th December 2010
  #41
Gear Nut
 
JoleFIN's Avatar
 

It's funny how in GS there often come up guys mocking up a younger guy for being a noobie in their eyes. Do we get a rush for telling "beginners" to trash their precious gear they have gotten together so far, and then telling them how we mix with out api/ssl/neve/whatever and it's night and day compared to anything under their price range? Huh, dfegad on you I would love to have all that gear, but let's be hybrid and train the skills with the stuff we have.
Old 20th December 2010
  #42
Lives for gear
 
AcoosticZoo's Avatar
Charge what you feel you're worth.

You may find that your friends suddenly halved.

And if you advertised, it would be hard to get people in without a proper outfit.

There's 2 kinds of friends. Users/leechers, and genuine paying Clients.

Regards
Josef Horhay
Mixing Engineer
www.acoosticzoo.com
Old 20th December 2010
  #43
Lives for gear
 

Charging for recording/engineering is a tough task because you're often at the mercy of the amount of talent the person you're recording has. When you're making music (production) if you have extreme talent you may not need as much gear to make things happen. In recording it's different because you don't know who's going to walk in the door, and all they care about it the results. In general, more/better gear will cover up less skill better and enhance more skill better

If you're charging people and they're happy with their results then you're doing good. Take the money and reinvest in what you think is the weak link in your setup. I'd do some research in your area to see what people have in terms of gear and what they're charging so you can price yourself right.
Old 20th December 2010
  #44
Gear Head
 
jonbetter's Avatar
 

i like the rule of thumb that you charge 1/1000th ($20/hr for $20,000 studio) of your studios net worth per hour, give or take for talent/resume and intangible swagger.

with that formula in a 40 hour week, youll have your whole studio paid for in the first half of a year and then a $20,000 salary at the end of the year, which is totally livable (at least in worcester lol)
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