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Is there legs in this studio idea?
Old 8th October 2015
  #31
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DistortingJack's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
Tom Elmhirst specifically mentions adding samples to the tracks he mixed for AW.

"Elmhirst mixed "Rehab"; when he first received the multitrack of the song it was small, but Ronson then went to London to record strings, brass and percussion in one of Metropolis Studios's tracking rooms. After this was added, there were quite a few tracks. The song had a retro, 1960s soul, R&B feel, which is what the Dap-Kings specialise in, when it came to the mixing Elmhirst added a contemporary feel to it as well, while Ronson wanted to keep the mix sparse and not overproduced.[14]"

(from Wiki). He also mixed "Valerie"....I'm not talking about fake strings, I'm talking about bolstering the drums to make them work in a modern context. You'd struggle to hear the kick otherwise, it certainly wouldn't drive in the same way.
I always thought "Rehab" was a pretty bad production – not that it hurt sales, of course.
It sounds like a parody of the time period it's supposed to imitate; the instruments and reverb don't blend well together, the drums are distorted in a bad lo-fi way as opposed to a nice, pillowy 60s–70s style, the vocal is piercing instead of creamy, and the whole is rather harsh, as if they all had cheapish digital emulations on them driven a bit too hard.
I could say the same about a lot of productions around that time, including Adele and others, but apparently people love that sound nowadays.

Not at all the same type of music, but this is an example of a new production that sounds like the best 70s recordings, in comparison:



Listen to that nice, smooth drum sound. Nothing like the over-processed, super-punchy rock sound so common nowadays (not that I don't love that too) but it's nice to see that this kind of sound can be done nowadays into Pro Tools.
Old 8th October 2015
  #32
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brockorama's Avatar
 

Quote:
Originally Posted by DistortingJack View Post
Careful, you might end up exactly like this


LoL These keys were used on pet Sounds.

Canyon canyon canyon canyon canyon

canyon slurp canyon slurp canyon slurp


classic !!!
Old 8th October 2015
  #33
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Well rehab was done on some old Mics and I believe some cheap gear. Anyways for a studio like this work it needs to be a hybrid. I'm in the middle of a build but obviously it will have protools, one inch tape machine, quarter inch mci deck and a console. Also I was tooling around with the ideal of having a control room just to mix in the box for clients that need total recall.
Old 10th October 2015
  #34
Many thanks for all the replys! some very valid points! yes always would have to have a digital setup somewhere, I mean people would need to mix downs on a mem stick ect. I think if your going to represent the analogue recording at its best you need high end converters, I'd like Radar my self.......
Old 10th October 2015
  #35
Gear Maniac
 

It's a beautiful dream. I think one way you could make it a reality is if you had bands seeking you out because you'd proven you know how to get a particular sound. It's never just the room or the gear, you know.

Steve Albini is a pretty good example -- after having made a name for being able to get a particular sound (and also, working with Nirvana), he was able to set up whatever kind of studio he wanted, and record bands in any way that made sense to him.
Old 11th October 2015
  #36
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bgood's Avatar
Buy a bunch of old gear that either doesn't work at all or sounds like crap...

But, actually record into the box and use lots of plugs ins...

Nobody will know the difference, you'll save a lot of money of equip maintenance and it'll sound better.

Lol
Old 12th October 2015
  #37
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Quote:
Originally Posted by andypick68 View Post
Many thanks for all the replys! some very valid points! yes always would have to have a digital setup somewhere, I mean people would need to mix downs on a mem stick ect. I think if your going to represent the analogue recording at its best you need high end converters, I'd like Radar my self.......
We have an analogue desk, 24-track 2" r2r, two quarter-inch recorders and loads of other old gear. Almost nobody uses that stuff. Budgets are just too tight for that.

If you want to work out how large the total band recording market is in your area, I have a reliable formular -

(P/1000) x (GDP/1000) x 2

Where P is the population within a 1hr drive of your loacation and GDP is the GDP per capita for your location. This will give you the rough figure for recording music, but will not include film, TV, post, VO work, etc.

GDP per capita for the UK is c.a. $39,000, so if you live in, say, Lincoln in the UK, roughly 1m people live within 1hr drive of the city, so the calculation is 1m/1000 x $39k/1000 x 2 = $78,000.

$78k is the TOTAL music recording market for your catchment area. You then have to work out what proportion of that market you can capture.

Given that you are targeting a tiny niche market that may be as large as one person in 20, or may even be smaller, you may or may not achieve a turnover of £2k p.a.

Unfortunately, the multiplier of 2 continues to fall. It once was ten and by the time you set up, home recording will shrink the market even further and it may be as low as 1.

For those living in the US, your GDP per capita is $53,000.
Old 15th October 2015
  #38
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Quote:
Originally Posted by The Byre View Post
We have an analogue desk, 24-track 2" r2r, two quarter-inch recorders and loads of other old gear. Almost nobody uses that stuff. Budgets are just too tight for that.

If you want to work out how large the total band recording market is in your area, I have a reliable formular -

(P/1000) x (GDP/1000) x 2

Where P is the population within a 1hr drive of your loacation and GDP is the GDP per capita for your location. This will give you the rough figure for recording music, but will not include film, TV, post, VO work, etc.

GDP per capita for the UK is c.a. $39,000, so if you live in, say, Lincoln in the UK, roughly 1m people live within 1hr drive of the city, so the calculation is 1m/1000 x $39k/1000 x 2 = $78,000.

$78k is the TOTAL music recording market for your catchment area. You then have to work out what proportion of that market you can capture.

Given that you are targeting a tiny niche market that may be as large as one person in 20, or may even be smaller, you may or may not achieve a turnover of £2k p.a.

Unfortunately, the multiplier of 2 continues to fall. It once was ten and by the time you set up, home recording will shrink the market even further and it may be as low as 1.

For those living in the US, your GDP per capita is $53,000.
I'd be interested to know how you arrived at those formulas. Is that an annual figure? You're analyzing the recording market in well-considered concrete financial terms... you're a madman sir!
Old 15th October 2015
  #39
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Quote:
Originally Posted by rcb4t2 View Post
I'd be interested to know how you arrived at those formulas. Is that an annual figure? You're analyzing the recording market in well-considered concrete financial terms... you're a madman sir!
Yes I found that fascinating... would love to hear more.
Old 16th October 2015
  #40
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kennybro's Avatar
This sort of thing is almost entirely up to your marketing ability to sell it as something special to the niche market that wants it. It ain't "Build it and they will come."

At the bottom line, this is just a product that some artists seek. You need to get access to that segment through some media where they congregate, and then be able to pitch it to them with a unique slant that will differentiate you from all of the other "retro" facilities out there. What are you offering that's not already available everywhere else? Not talking about gear. Anyone can buy that. What are you offering?

Not sure where Byre gets his numbers, but that's certainly the idea.
Old 16th October 2015
  #41
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Quote:
Originally Posted by Philter View Post
Yes I found that fascinating... would love to hear more.
I am an economist and in the past, companies like Sony, Panasonic, Avid and others paid me to come up with stuff like that!

Yes, these are annual figures and based on the returns of many, many studios around the World. They are only designed to give you a rough figure. You certainly can not state as a matter of fact, that the band/artist recording market for commercial recording studios in and around Lincoln is exactly $78,000 p.a.

This gives you a handle on the approximate size of your local market. I can think of one studio owner, who saw a 2m population city without a serious studio and thought that he could build a state of the art studio for over $3m and he would clean up!

Simple arithmetic told me that the total band-recording market was (according to my formula) was just $160,000, so even if he got each and every band/artist etc., to record at his place, he would hardly cover his costs. In business economic terms, profitability was a mathematical impossibility!

The best he could hope for (as he obviously had competition!) was half of the total market. The worst case scenario was one-tenth of the market. First year's turnover was about $82,000. After three years, it was about $48,000.

That is considerably less than the cost of depreciation on equipment alone (c.a. $100,000 p.a.) never mind all the other costs!

There is absolutely nothing wrong with his studio - quite the opposite, it is lovely, it has nothing but the best equipment and the freelance engineers that work there (occasionally!!!) are some of the best in the land.

But you cannot kick the figures.

Or as Ayn Rand put it so brilliantly, “You can avoid reality, but you cannot avoid the consequences of avoiding reality.”
Old 16th October 2015
  #42
Lives for gear
I plugged in your figures for my area and they seem reasonable. The math must be a little different somewhere like Nashville, which is a magnet for musicians. It might even work against a place like where I am, equidistant from Boston and NYC, both somewhat attractive cities for musicians.
Old 17th October 2015
  #43
Lives for gear
It would be interesting to test my formula against a City like Nashville! In theory, given a population within one hour's drive of about 2m, would give over $200,000 for pure band/artist recording walk-in trade. As most recording activity is producer based in private studios, that may not be too low, though I suspect it would be lower than the real figure!

The sad fact is, that the band/artist recording 'industry' is just vanishing. Home recording at every level has replaced it.

If you are running a commercial studio, you have to find new and/or other sources of revenue. It's either that, or shut up shop!
Old 17th October 2015
  #44
Quote:
Originally Posted by DistortingJack View Post
Careful, you might end up exactly like this

Sweet Jesus. It's like, this video was made about my life....
Old 17th October 2015
  #45
Maybe ask the thousands of ex analog tape studio owners that are now out of business about the chances for sucess?
Old 29th August 2019
  #46
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8615 Teac service manual version A

Hi everyone. I need the Teac 8516 service manuals. Flamingo Version - First version

Please... I need to restart LSi ROM. Thanks.
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