timbo101 said:
then for as you say it is a lot of fun but also full of headaches too.The most frustrating thing is being a bit clueless but I guess that only gets better over time and through experience.If I did have an
Having done the "pro studio" thing several times with mixed success, I have to say that most of my frustrations were due to people, and issues that people brought to the table.
If a compressor acts up, I can fix it, replace it, or not use it. If a guitar player, as an individual paying customer or as a band member I'm recording, I couldn't do much about it. I could make suggestions, give advice, but the temptation to smack said guitarist in the head with his guitar and wrap his guitar strap around his neck and testicles, would not be a good way to enjoy repeat business.
You'll find that's not an isolated story... most people who own, or have owned, or worked in pro recording environments will probably say that most of the frustration are people related, whether employees, relatives, customers, vendors, and fire inspectors
The most difficult thing for most in running a for-pay recording studio is to remember that it's a business first, a play environment second. There are no favors. Only services, and money billed for said services. You might give a forgetful guitar player a pick or a strap, but other than a few rinky dinky things remember that your goal is to make money while providing the best service that you can.
I've watched two friends run from the pro studio environment back to the home studio environment in a dirt-poor fashion because they forgot this very basic concept - and it's very easy to do.
timbo101 said:
expensive studio I would not have a clue what to do with it any way so its better that I start off small.At the end of the day I only
I've done mentoring before and to all the "kids" who came through my pro studio(s) thinking they needed to buy an SSL or Neve I've said the same thing over and over (and I say it here a lot too, trying to drive the point home) - the gear is only part of the equasion. Personally, I think learning on dysfunctional, poorly designed equipment is the way to go - it forces you to think "out of the box" more often than not, and solve problems that the top end consoles have a wizard-like button for.
Say, you want to reverse the polarity of a mic for a specific recording. Some consoles have a button to push, some consoles don't. The ones that don't you quickly solder up a reverse polarity patch cord - one end wired correct, the other end T and R are deliberately reversed.
timbo101 said:
thing I might do due to my lack of experience in mastering the final recordings is take my finished tracks to a studio to be tweaked to the optimum before I get them pressed and printed.Anyway thanks again
Many of us can help you when you get to that point. I believe this BBS has a mastering forum, but last time I checked (last year?) it was buried with a bunch of horribly mixed MP3s to which I lost interest, being an elitist snob with no free time
Ya, you know what I'm talkin about...
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