Is this Studio as badass as i think it is???

Only $40 an hour? The guys over at gearslutz would have a field day bashing this guy for not charging enough. I told a guy starting out that 20 bucks an hour is reasonable and I got slammed, hard. But seriously, isn't that some really high end gear for that price?
 
That is an excellent equipment list for that price, which would beg the question.....why? The equipment list is VERY solid if they actually know what they are doing with it. I did notice one interesting thing though..... They have more preamps (not even counting the nasty ones in the control 24) than they have mics. Also, they have a few solid mics, and the rest are very basic, if not just plain cheap. It just seems interesting to me that given some of the rest of their outboard etc.... that they only have one top tier mic.
 
40 on the site, 45 for sam rivers to do it. I'll probably catch alot of heat for saying this, but regardless of popular belief, i believe (MUSICALLY) that limp bizkit is one of the most creative rock bands of the 96-06 decade. this was due entirely to sam and wes, and to have rivers (who recorded along with lethal alot of bizkits stuff in-house) record us, im confident in his experience and knowledge. hes a hero to me (i was 11 when they hit big), and this is pretty unreal for 45.
 
xstatic said:
(not even counting the nasty ones in the control 24)
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nasty preamps? I always thought the consensus was the Focusrite Class-A preamps were pretty decent.

So this $40-45 WITH an engineer, instrument costs, etc.?
 
bennychico11 said:
nasty preamps? I always thought the consensus was the Focusrite Class-A preamps were pretty decent.

So this $40-45 WITH an engineer, instrument costs, etc.?
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yep

he said three songs solidly engineered, mixed and mastered would cost about a 1000.
 
i think it might be a case of this is equipment readily available to them, although it may be owned by other studios. I know the studio i help at sometimes lends equipment to other studios.
I would go for it though, although im not a big fan you cant knock the sound quality of Limp Bizkits CD's so this engineer must know what hes doing! :)
 
Equipment-wise, it looks great. Looks like they have everything there to handle whatever you might throw at them from a technology standpoint.

But really, nowadays I don't think it's as much about the gear list. I mean it would be one thing if it was an all-Behringer studio or something :D. But for the most part, the amount of affordable recording gear out there has moreless leveled the playing field in many ways, compared to ten years ago, for example.

What I'd be looking at is the engineer's resume, along with actual samples of projects produced there. It's all about whether you like the sound of other projects that have gone through there, because when the day is done there won't be a single listener that will care whether you used their M-149 or their mxl-2000 if you catch my drift. The important question is: Do you like the quality of the work they churn out?

.
 
guitarboi89 said:
you cant knock the sound quality of Limp Bizkits CD's so this engineer must know what hes doing! :)
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Yea they have excellent engineering and it was all in house (by either lethal or sam [this guy] the last three or four albums, he's the bass player too :)
 
since i have the luxury of recording good (not radio quality) songs, im going to take him all of our originals and we're ganna sit down and pick three that are marketable to radio stations and record companies. Hopefully i'll get some connections from this, but thats all icing on the cake compared to our necessity of getting a professional demo made.
 
So Sam only costs 5 bucks an hour? Something just doesn't seem right here. I mean in a place like that I'd think the 40 wouldn't even cover the rental cost of the studio itself, not to mention having a famous musician as your engineer. Also does anyone else agree that 3 dollar bill didn't really sound all that great production wise?
 
jonnyc said:
So Sam only costs 5 bucks an hour? Something just doesn't seem right here. I mean in a place like that I'd think the 40 wouldn't even cover the rental cost of the studio itself, not to mention having a famous musician as your engineer. Also does anyone else agree that 3 dollar bill didn't really sound all that great production wise?
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the famous musician is also the owner.
 
jonnyc said:
Also does anyone else agree that 3 dollar bill didn't really sound all that great production wise?
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Compared to sig other? I agree, they are both so different musically its really hard to compare them in great detail. You can just tell they spent 10 times more on sig other then 3 dollar.
 
bennychico11 said:
nasty preamps? I always thought the consensus was the Focusrite Class-A preamps were pretty decent.
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Well, the "class A" preamps in the control 24 are old pre silver series Focusrite. They sound nothing like the Blue series, or even the Red's. Personally, I am not a big fan of the Focusrite Platinum stuff. It does have a fair price though. Luckily, the studio seems to have plenty of outboard pre's so the onboard ones from the Control 24 do not have to get used. Plus, you can avoid the horrid internal A/D converters in the Control 24. There are a lot of reasons why so many Control 24's were bought, and then quickly resold;)
 
xstatic Plus said:
What? Who told you there were Converters in the C24?
You were misinform my man, highly misinform.
I love the pre's on the C24, I use them all the time and get great results.
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The Control 24 audio is analog, isn't it? The pre's are routed and output as individual analog signals. The primary function of the Control 24 is a control surface requiring the ProTools cards/interfaces and all the A/D - D/A is done there.
 
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