Can I get advice from those who have a home studio?

Chrisku13

New member
Hi,
I realize mostly everyone here will have a home studio (hence the name of the site), but I am trying to get one going as a business, and actually charge bands to come in and get their recordings done at my house. I have a few options and questions, and wondering if anyone is in (or has been in) the same boat as I am. First of all, how do you attract bands to come to your place to record? Also, what is your setup like? I will most likely do this in my garage or room, so space will be pretty limited. I am going to be pretty amateur for a little while, atleast until I get some more money for better stuff. I'm just wondering if anyone had advice or tips to pass along to me. Thanks,
Chris
 
Ok, I give.....

Really, what can we tell you? Tips on what? There are 20 other forums for equipment, techniques, etc etc. This is the Studio Building forum. If you have specific questions, I'm sure someone can answer them. I already gave you good general advice. However, if you want STUDIO design, construction, treatment or other areas specific information, you need to tell us.

Here is a good starting place for general studio information.
http://www.saecollege.de/reference_material/index.html

fitZ :)
 
c7sus said:
Don't hand over the master until you get paid.


I back this up 100%. Trust me, I had to get screwed over twice before I learned my lesson. Even if it is a rough copy, do not give it up until at least some payment is given.

Here's what I do:

$50 downpayment upfront (takes care of 5 hours recording time)

Then after that it's $10 an hour.

If the band happens to spend less than 5 hours, which is really unlikely, then I will refund the unusedhours.

At 1st, I was not charging for mixing, but then I figured that makes me a dumb ass, so I started to charge.

Keep close tabs on how long the band stays in the studio, write it down, and get reciepts.

I give one master copy for free, then after that, each additional master is $5.


As far as how much you should charge, that is up to you my man. What do you think you are worth? I feel I would charge more, but I'm not exactly up to the level I want to be at right now.I'm still constructing the studio and saving to buy more equipment.

If you want my equipment list, sorta outdated, go here:

www.picos-studio.com
 
No matter what I called a studio I owned, I never took partial deposits.

I took payment in full, for the scheduled time, period, non-negotiable.

Media was paid for up front based on reasonable estimates, period, non-negotiable.

If things ran "under", I gladly gave a refund of the difference in the same manner in which they paid. Period, non-negotiable.

If things ran "over", things halted, the console was muted, and the estimated additional schedule time (and media requirements) were paid in full, period, non-negotiable.

Masters never left the studio until paid in full. Period, non-negotiable.

Rental of any special equipment required was either brought in by the band, artists or producer, no problem. If *I* was required to have a particular box that we wouldn't have a use for down the road, we'd gladly rent it for the time, however that too was billed to the client and yes, paid up front, period, non-negotiable.

Coffee was always free.
 
OK, reality check time. What you have asked is, "I'm thinking of taking up brain surgery at home. I know some of you guys are brain surgeons. What kind of tools do you use, and what do you charge? Can you give me any tips?" What the hell kind of answer do you think you would get?
First, commercial recording requires an acoustically prepared space. If you are starting with a *very* good pair of rooms, and you know enough carpentry to mansge the work yourself, you might slip by with a few thousand in materials, including some help with electrical modifications and dedicated heating and air conditioning systems. You could reasonably expect to spend at least $5K on a bare-bones microphone cabinet, and another $6K on a mixing console and a couple of topnotch preamps. Then a few thousand more for the recorder, whether an open reel, or the computer, sound card, and software to record, process, edit, and export the tracks. Most commercial recording enterprises involve more than $50,000 of capital outlay, and 2 years or so of build time. Many have invested *far* more. But wait, there's more. 90% of businesses who have done all of this go bankrupt, either because they didn't target an existing customer base that will pay for these services, or because they were mismanaged fiscally. Most musicians are broke flakes. I've left the best for last. To make professional recordings that are any good, you need a creature called a "tracking engineer", another called a "mixing engineer", and a third called a "mastering engineer". The third type requires a third, specialized form of room, which is likely to involve another $100,000 or so. You can give those cool rooms, those (only fair- great ones cost much more) mics and preamps to a clueless kid, and he can produce absolutely awful recordings.
Reality- you are in no way ready to consider commercial recording. You must crawl before you can walk, walk before you run, and run before you fly. What you *can* do, is assess the rooms you have, modify them to improve their sound, get some kind of microphones, preamps or mixer, and some kind of recorder, and begin the *long* process of trying to learn how to be a tracking engineer. You can assess the budget you have to work with, and try to buy basic, good quality equipment that you can add to, rather than replacing, as your skills grow. A very basic beginner's home setup will set you back at least a couple of grand, if you have a fast computer to start with. People here will try to help you. That's what I'm trying to do right now.
Advice- check out Blue Bear's website, and you can see what a basic professional recording studio looks like, and I'm sure he'll be happy to give you an idea what he has sacrificed and sweated for. You can check out my website, www.bardwire.com, if you want to see what a fairly respectable, non-commercial home studio looks like. I'm not at the commercial point by any means, and I've invested $40,000 and 3 years learning to do basic tracking. You are waaay ahead of yourself. As an ancient zen master once said, "If you have one eye on your destination, you only have one eye with which to look for the path."-Richie
 
Richard Monroe said:
OK, reality check time.
Definitely!

Richard Monroe said:
Advice- check out Blue Bear's website, and you can see what a basic professional recording studio looks like, and I'm sure he'll be happy to give you an idea what he has sacrificed and sweated for.
My studio is fairly modest, compared to LA or NY facilities, but it still took a quarter mil to accomplish even that....

So yeah, $50K won't get you very far in terms of a COMMERCIAL facility.
 
Hey Bruce, at your present hourly rate, how long do you think it will be before your studio returns the investment and shows a profit? Or is it like my dad says, you're simply buying an expensive job? :D
 
RICK FITZPATRICK said:
Hey Bruce, at your present hourly rate, how long do you think it will be before your studio returns the investment and shows a profit? Or is it like my dad says, you're simply buying an expensive job? :D
Well - thankfully that amount doesn't reflect my actual business debtload -- it just reflects the total overall cost of what I put into it - to open the doors, and then up the gear value (+ supplies, maintenance, etc...)

But yeah - it's the cost of doing the job you absolutely love -- even better that I can earn a living with it now!
 
Wow, thanks for the advice. I truly love it when people can be so helpful and encouraging. But actually, instead of calling me a clueless kid, take into account that I have been dabbling in recording for quite some time, and I plan to attend a Conservatory dedicated to the Art of Recording Science. So if you will kindly take a glance at my initial post one more time, note a few things.
1: The use of the word amateur (should clue you to the fact that I don't have $6000 for mics) I know it would be ideal to get everything perfect, but I've heard some less than mediocre recordings done in very nice studios, and some decent recordings done with the talent of the engineer in a sub-par environment. I'm hoping that on a tight budget I can record bands and slowly build myself and challenge my skills in order to improve. You want to talk about a reality check? Consider the fact that I'm 16, in a single parent house, and I just have a drive for doing what I love, and that is making and recording music.
2: I was looking for advice or tips. I appreciate the tip to marry rich (haha, my girlfriend wants to be an interior designer), but I was just wondering how any of you got started. I understand you have to walk before you can run, and crawl before you walk, but that's why I'm starting. Give me a break. What exactly were you doing when you were 16? I don't care if you approve or agree with my attempt at this, but I'd appreciate it if you kept it to yourself if it's going to be negative. And I'm not trying to be a dick, I realize that your post may have been your version of advice, but I'd like something a little more constructive and possibly a little cheerier.

But I do appreciate the references given to me, I will check those out. I have a wealth of websites I've been to for the past few years, but I could always use more. I realize I should have been a little more specific in what I was looking for, but even I don't know exactly what I should be asking. I appreciate any help someone's willing to give.
 
The only thing I can suggest is PRACTICE. I'm still not 100% satisfied with my recordings, but I feel I'm starting to get the hang of things. I'm working with.. shit.. so yea. Chances are, you WILL NOT be doing anything commercial for another 10 years, at least. So get to practicing.

Sure, it would be wonderful to have really nice rooms, really nice mics, and really nice everything. It would be nice having my own private jet, too. At 16, though, it's not going to happen. :) You can definitely get by with square rooms, though. It's what I've been doing for the past 4-5 years.

Get a job and start saving some money. By some.. I mean a lot. I have about $3000 sitting in my studio(read: computer room) right now. It's less than impressive, but it gets the job done.

Read.. A LOT. Just don't forget to apply what you read.

If you want some really good practice with mixing, head on voer to the MP3 Mixing Clinic forum and check out some of the Publix Mix Contests. People post the full tracks to songs and you get to have your way with them.. GREAT practice.

YOU. NEED. MONITORS. I don't care what Bob The Recorder from Calirfornia tells you.. you need them. Trust me. Right now, Musicians' Friend is having a GREAT deal on MAudio BX8s. They're going for $299, they're usually $499. I've been hearing tons of positive reviews about these, so go check 'em out.

I know I'm not the best example to be taking advice from, but I don't I'm giving you wrong advice, persay. So take it with a grain of salt.

When you do get clients, try to make sure they're enjoying themselves a bit. Don't take it to the point where you get nothing done.. but a strict and proper studio environment really kills the mood. Like everyone is saying, get your money before you give them a master. Even premixes. I'd also suggest to record a few bands for free at first to get some practice under your belt.

Have fun!
 
Well, Chris, I'm sorry if my prognosis isn't rosey enough for you. I'm afraid that not too many people who have done what you are talking about will be able to paint a pretty picture. Commercial recording takes experience and money, lots of it, and trying to make the end product pay for the tools to get there is impossible at best, and at worst, it's fraud. What was I doing when I was 16? Playing the Who, the Beatles, and Jefferson Airplane on borrowed guitars and borrowed amps so I could get enough money to buy a decent guitar of my own. It took 30 years of work and gigging to get to the point where I am now, which is way short of a commercial studio. You don't make commercial recordings to get money to pay for the gear to do it, you get the money, and then try to make recording pay for the gear you already paid for. And you don't become an audio engineer by learning your skills practicing on paying customers. You spend a lot of time recording things for free, until you have learned enough and collected enough gear, in a good enough acoustic space to record people for money.
I'm sorry if you think that news isn't encouraging, but you have a much better chance of success if you start with a plan that doesn't involve ripping people off, or doing the impossible. So take whatever money you have, build the best system you can with it, and study recording, if you love it. Eventually, if you work very hard for a period of years, you may be able to build a facility that is good enough to charge people money for recording them, honestly. By that time, you may have acquired the skills required to do that, with whatever gear you have acquired. It is not my intention to rain on your parade, I just can't help noticing that the cart is in front of the horse. It is apparent that you want somebody to tell you what you want to hear, instead of the truth, supported by years of real-world experience. So go right ahead, and find out the truth on your own. We'll see what you think about it in about 10 years. Good Luck.-Richie
 
I was looking for advice or tips. I appreciate the tip to marry rich (haha, my girlfriend wants to be an interior designer), but I was just wondering how any of you got started.
Normally, I don't waste my time giving advice of this type to people who are in your position. And frankly son, I already have. But I'm going out on a limb here.
First off, like you so eloquently put it, take a glance at the name of this BBS.

I don't know how you think, but the first thing that came to mind when I first read it was.......HOME RECORDING. Even at 16, you should be able to surmise there is nothing there that suggests....COMMERCIAL. If it did, there would be a forum here titled "studio business management...or studio business financing etc etc. And if you had taken the time to look around here, you would see that these forums are dedicated to various areas of recording technology and techniques. However, there is only one forum here that truely is dedicated to the Home Studio enthusiast. That is this one. Hence my suggestion to ask questions pertinent to this subject. In that light, let me answer your question above.

Some of the people you are addressing here have spent MANY years pursueing this interest. In my case, almost 40. During my initial introduction to the field of recording, 4 things became painfully obvious.
One, there were no such thing as home studio recording gear that approached any level of technical specifications that pro studio gear achieved. Hell, the cheapest mixer on the market at that time was an Ampex 12 channel priced at a whopping $25,000. In my income bracket, it might as well been a $100k, and in reality, there were a few that were. However, most were designed by inhouse "engineers" of the time, as they WERE real electronics engineers.

Two. Unless you lived in an area that was pro recording viable, there were NO studios to get your foot into the door, to actually partake in the process of recording to learn the craft and art. Let alone the science, as engineers at the time WERE engineers. Most of whom, were electrical or electronics engineers who happened to pursue a career in design, use, and maintenence of high end electronics devoted to audio. This included broadcast, video, and large live venues. Applying the term "audio engineer" to ones occupation in this day and age can possibly be construed to be par to a "sanitary engineer", as neither REQUIRES a degree, years of training, nor even one day of experience, as this bbs surely illustrates daily. If it did, then the "professions"
statutes of state law would incorporate "AUDIO" in the list of enineering types that must be licensed.

Third, the avenues to "gain" an edge towards pursueing a career in this field of endeavor were sorely lacking as there were virtually ZERO for those who did not live in citys that supported this industry. In those days, you could probably count the number of professional "recording engineers" on the fingers of your hand. At least the ones who could run a lathe and a bank of compressors, as these were actually the "engineers" of the time. Mastering was the area of expertise that denoted "professional" as understanding of the electronics subsets and component design was the criteria as some of these "engineers" actually had to build some of the devices in the signal chain. Today, as most involved in this interest knows, that is a laugh.

Forth. As well as the electronic side of high end professional facilities, sudios themselves, were built by a combination of inhouse scientific investigation and application of current known acoustical concepts, such as the British Broadcasting System, RCA, and other corporate media organizations as they had the resources and reason to indulge in this level of scientific endeavor.
As time and recording evolved, smaller, yet no less engineering required, studios came into being, and some even used facilities and equipment with far less sophisticated design, but the same level of product requirment. That being the need for the production of "records" whereby the NEEDLE wouldn't jump out of the groove. That WAS the criteria of the product. Hence the need for engineers who knew the methodology and use of equipment required to produce recordings with the main criteria of "playability". Facility design was far less important at the time.

However, for a layperson interested in these aspects of recording, there was little resources to enlighten him. Especially those who had little or no money. I was among this group. I discovered the field of recording was mostly only open to those who had the ability to "chase" equipment and information, but for those who were like me, exclusion from the pursuit of their interest was the name of the game. Like many other interests, if you had no resources to indulge your pursuit, you might as well go fishing. In my case, I had music as a primary interest. Recording was simply an extension of my musical composition interests.

After 15 years of pursuing the performance side of music, it also became painfully obvious, that income from this occupation was seriously lacking in matching other occupations. DUH! No different today. It was at that time I decided to pursue other avenues of income producing endeavors. I had at one time been employed by the Federal Government, which left people with interests in more creative aptitudes, highly suseptible to questioning their reason for being there. I was among this group too. After 3 years I left. Most regretable decision of my life. But as they say, hindsight is 20/20. Hence my BEST advice to you. Having no other skills other than music and those gained via government employment, I chose to open my own woodworking business. I still do it to this day.

After a few years, a whole new type of recording and playback device came into the market, that being the cassette. Wow. This changed everything. With one cheap device, my interest in this field could now be fullfilled. Or so I thought. Afterall, with no understanding of recording whatsoever, one is left with the feeling that all one had to do was plug a mic in and hit the "record" button. Which I did. Over, and over, and over. Thank goodness for close friends with similar interests, but highly undeveloped sense of quality, and an over developed sense of optimisim and happiness with ones results. This went on for years. And I wouldn't trade those tapes for anything in the world, as they are the proof of ones delight in the simple exploit of music.

After a few more years of toying with cassettes, I had again come to grips with the obvious. When you start a business with ZERO capitol, and very little understanding of the business side of your endeavor, you are destined for failure. Once again I changed careers. This time pursuing employment, although my business had provided me with much need skillsets to which I applied in my new job. I stepped up the ladder of experience quickly, to which I owe a debt of gratitude, as it is what I currently use for generating income.

It was during this early period of employment that I was given an opportunity to design and build a music store in Redondo Beach California. To my delight, Tascam and other audio manufacturing companies began introducing the "semi pro" equipment into retail music and audio stores. Although I was delighted, most was still out of my price range. Hell, even a small mixer and Reel to Reel was around $5,000. However, late night sessions in the back of the store only heightened my desires. I was envious of those involved in pro recording, and being in Redondo Beach in 1980 only made matters worse, as many people who were, visited the store. One such person was Vince Gill, who only depressed me further with tales of local studio sessions and involvement in the "scene".

Digital recorders were new on the recording horizon, which only made for thoughts of being left out of the progression of recording art, as these machines approached $100k. My interest future looked doomed. Not only that, working in a music store did very little to provide the kind of income it took to reside in Redondo Beach. Hell, if anything, the local residents of the area were nothing less than well to do, if not downright rich. I was out of my league, and out of my mind for staying any longer. I decided to return to Sacramento, which was my home. It wasn't long before I got another job in a music store there. I was in my home turf too, which made it easier to accept my position in the recording field at large. I kept up with the cassette recording thing though, and over time evolved a mental attitude towards it that kept me sane. By this time, I became keenly aware that recording was either a hobby for the more financially endowed, or one had the resouces to place himself in debt for many years. I saw it daily, as I worked in the pro audio department of Skips Music, which to this day is the local pro audio outlet in Northern California.

At some point, I reached another conclusion regarding income opportunitys in music store employment. There was NONE. :rolleyes: Minimum wage and small commissions did very little to keep a roof over ones head, let alone pursue their interests in expensive hobbies. During the preceeding 10 years, I had also been exploiting the local pro musician envelope, which also influenced my decision on what was important in life, as I had spent years on the edge of poverty. This caused numerous relationship failures and living challanges. I soon changed occupations again. Only this time, I decided it was time to find a way to get to a better income bracket, instead of spending time following pipedreams. Hindsight reasoning was improving. Enjoyment of ones hobbies was not. But it wasn't important. Cassette recording was going to have to do. My dad finally faced the same point in his pursuit of flying. Took him 25 years to build a plane. He flew it 5 times before fuel and hangers became so expensive, he decided to sell it. I too looked at the realities of my hobby interests.

Time marches on another 5 years. I finally arrive at my occupational destination. And age 50. I'm no farther ahead in pursuit of my interest than I was 10 years before. But what had changed is the technology. Digital was now the evolving method of choice for pro, as well as semi pro recording, which as you well know, left analog gear to fall to the wayside the same as LP's had once cassette production gained acceptance by the masses. CD's had yet to come on the scene, yet for semi pro recording enthusiasts, new computer and standalone digital recording devices were the holy grail of home studio production. Yet, with all this technology, there was still very few resources for those interested in the REAL side of recording. The acoustics.

It was during this period, that I was lucky to come across a Tascam MSR-16
that was being removed from service in a local "studio", as they were jumping on the digital revolution bandwagon. Hmmmm, it was still $3000 though. That was a hunk of change in my world. Still is. Ever try to gather $3k when your broke? Then you know what I'm talking about. Even though my income had increased dramatically, putting aside a savings for hobbies while paying child support was a laugh. However, it was my reality. Like it or not.

I borrowed the money. Holy shit. Jumping from a cassette oriented hobby to 16 trk was almost mind boggling for me. I now had the means for multitrack recording. It didn't take much to leap from the reality of bedroom recording to dreams of commercial enterprize. Ha! As I soon realized though, having ones own multitrack recorder was the tip of the recording pool of quicksand. Yet, once bitten, all reality becomes fogged in possibility. I began to embed my fingernails into the steep sides of the pit of unenlightenment and studio ownership. I still have scabs on my fingertips. However, this forum has provided many bandages over the years. AND reality checks. Hence others experienced advice to you.

It just so happened, that among my other interests, design and building had
become not just an interest, but an occupation, of which the digital revolution had also enhanced. I became a CAD detailer in a very large store fixture manufacturing facility. This gave my interest in studio design and fabrication an edge, or so I thought, as I routinely designed very large and sophisticated architectural mill products for Macys. In fact, over a 15 year period I personally have managed to design and detail more than 300 Macys interiors and department fixturing. At the beginning, I felt competent in my pursuit of the holy grail of Studio design. My journey in that regard is STILL in progress.

It was at the early stages of my employment that I happened across a copy of Alton Everests new book, The Master Handbook of Acoustics. Ha! At last, my journey, or so I thought, was at an end. Here in my hand was the BIBLE.
As my fingers turned to chapter after chapter, visions of Pro Studio enlightenment danced in my head. It wasn't long before the pages of that book became dogeared, highlighted, and worn, as I devoured each word over, and over and over. Some chapters even became semi reality, as trust in a credentialed author became the word of "god". To this day, this book is referred to on forums by even other credentialed practicianers of the art. Although, over the years, I have become skeptical of so called "science", when associated with products whose design was enhanced by its use and tests of, although, that is another story which continues its chapters here daily.

During the next 10 years, my equipment procurements were dictated by the needs and finanical reserves of the moment. Every weekend, during my friend and mines adventures through recordingland, some need or new awarement would become obvious. Headphones, microphones, mixers, etc etc etc...the list was endless. Especially when computers were now part of the scenario, all though I had yet to fullfill even the minimum equipment equipment need that multitracking required to exploit its full power. Dreams of mixing eluded me for 2 more years untill such time I was able to afford a mixer with the capabilities required. Mics, compressors, FX, headphone amps, amps etc had to wait. Not to mention instruments themself, as I was STILL a musician. Wearing two hats was becoming a lesson in frustration. Still is.

Over the next 7 years, as life has it, things changed, and demanded more respect for ones position in responsibility to it, which equates to less income to spend on ones hobbies. Buying a home becomes a much more difficult endeavor than a mixer. Making sure that one does not lose his investment also becomes more important. Especially when employment has no guarantees of continuing. Hence my suggestion of a DEGREE in a PROFESSION. The depth of opportunity somehow seems appropriate when you become 60, although, at 16, it means nothing.

However, even I put my interests in recording at the forefront of decisionmaking sometimes, which in hidsight, was disasterous to aftermath sanity. I think back now, and it amazes me how an interest in something can dilute ones rational thinking. But you pay for decisions made in haste. Sometimes for years. Hence my advice to marrry rich. Love has its own rewards, however, if anything can destroy a relationship, its ones lack of financial responsibility or opportunity because of prior decisions. Ah yes, the University of Hindsight comes to thought. I possess a degree, of which has no value unless applied to momentary decisionmaking. It provides very little in the way of current income generation resource though it keeps future decisions from wrecking havoc on current lifestyle. Heed its lessons.

In spite of all the obsticles placed in ones path, sometimes it is pure obsession with a subject that dictates ones choice of pathways to nirvana.
I am also of this group. Obsession with ones desire to reach this destination, no matter how illusory, can and does fill volumes of self described journeys over ones chosen path, as clearly, mine is being displayed here. In that regard I can truely say, that my advice is qualified by years of participation in this quest. That is NOT to say that it in any way shape or form is pertinent to your position or dream. It only speaks truth from my perspective of this interest at large. Dreams are ok, but let me give you some direct input here.

If you think like a lot of kids that visit this site, that owning a computer, a few mics and a few other recording required elements puts you in a position of competition with "pro studio" facilities, or gives you the tools to learn the craft and art of recording at that level, I have one other bit of advice. Take on airplane building as a hobby. Its easier. And cheaper.
fitZ :rolleyes:
 
You know, I think I will just disregard everything you might have tried to input Ritchie, because it's not a whole lot of help, nor is it very logical. I understand you may be more than triple my age, but that doesn't mean that your advice is more valuable than anyone else's. I appreciate the person who posted before you, because they actually had some good advice. All I could comprehend from your post was negativity. I don't post a question just to have people say what I want to hear, I need advice. And your kind of advice isn't going to help anyone, amateur or not. I think it's not out of the question to charge people for a decent home-recording setup. I will have some practice before-hand, but once my skills exceed that of an amateur, I'll record for money. Maybe you and I can talk in a few years, after you retire, and we will chat up a storm about recording. But until then, I will just gladly ignore any input you might have. Thanks anyways,
Chris
 
Eh,... audio engineering and recording is nothing on par with brain surgery!

That analogy doesn't work with me. Better to compare it to... carpentry, maybe. :eek: ;)
 
RICK FITZPATRICK said:
If you think like a lot of kids that visit this site, that owning a computer, a few mics and a few other recording required elements puts you in a position of competition with "pro studio" facilities, or gives you the tools to learn the craft and art of recording at that level, I have one other bit of advice. Take on airplane building as a hobby. Its easier. And cheaper.
fitZ :rolleyes:

I read that whole thing. Wow. You've come a long way, so has the technology.

You have GREAT advice, Rick, I just think that you approach kids with such negativity that it just throws them off. I do appreciate reading what you have to say, though. You know what you're talking about.

Chris, don't just give up on Rick. He can teach you a lot. Like he said, too many kids come on to this board with the preconceived notion that $700 will get them a decent setup. Where they get this idea.. I have no fucking clue.

I've only been playing with recording for five years now. I really wish I had started reading into things earlier. I found this board a year ago. There is SO MUCH good information here, it's ridiculous.

Don't be afraid to ask questions, but don't forget to use the search feature first.
 
I understand, and I'm sure he knows a whole lot more about recording than the average guy on here, but I agree that he has a certain negativity towards me (or kids in general). But I do appreciate the advice anyone can give. I'm not entirely sure if this will be my career path, but if it were, I could tell you that it would be the most fulfilling for me. But I just don't know if the recording path is the smartest road to take financially. As some of you mentioned, and as the Bureau of Labor Statistics makes it appear, the sound engineer doesn't sound like a very high-paying job. Not that that is the highest priority for a job, but it's important. Anyways, I guess I'm just trying to say that I want to do this is a hobby, but take it as far as I can.
 
I just think that you approach kids with such negativity that it just throws them off.
That was..... ahem, the point.
Maybe I should have said.....".HEY kiddies, welcome to the world of pro recording, step right up.
Now, a word of advice...get yourself a SM-57 first. Then get an M-audio card and a PC clone and VOILA!! PRO RECORDINGS!!! You don ned no stinkin coustics, or business insight, or a great room...just the basics and YOU TOO will be a pro engineer in no time!! Yesseree, follow that dream and you too can be broke inside of a year, while you could have spent the time and money at college. Oh yea, disregard the fact that pro studios are dieing by the dozen, or high end recording is a thing of the past as every little tom dick and harry with a PC is eatin up the available client base cause they know it don't matter anyway cause all those little chickidees out there with $30 to blow on a CD of their favorite "band" of idiots who havent got a clue how to put the guitar on, doesn't give a damn about sonic quality. Only cute boys who can scream and jump up and down like a 10 year old throwing a tantrum. And hell, you can "fix" all those bad notes, and terrible singing with a plug in of some kind. Sure, thats what its REALLY about. Yesseree kids, with your SONIC FIX ALL thingamajig do all hear all and fix all plug in, you can make the worst band in the world sound like the Beatles or such. So there you have it. You can become RICH I tell ya!! All ya gotta do is hang with the local musicans and suck em dry everytime one of em gets their little ole egos pumped up by the girlies,and they think its time for the world to bow down and acknowledge their talented presence. See, thats what its about. Ego vanity suckers I tell ya. You just have to play to their egos!! Turn on that "Anti Suck" plug in and you have em in the palm of your hand! So take the word of an engineer whos been there....in fact, give ME your $500 and I'll buy everything you need...even some eggcrates for the studio..you'll look PRO too! Oh, don't forget the CD burner....you don need no stinkin Mastering engineers...just burn you masters loud...REAL loud..thats all that matters on the radio....hell, talent is a long gone concept..its LOUDNESS that matters...see...now
I tell ya...yea,...pro..! Its EASY!! :rolleyes:
 
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