Recording Studios - How do you choose?

[Nicko]

[quote name='Truckstop' timestamp='1448359123' post='2914646']
Maybe open your studio to rehearsal slots too?

The place my band used to use was also a recording studio. Place had bands in every night; probably 2 nights a week recording, and the rest of the time rehearsals.

Kept the money rolling in and because the bands that used it to rehearse in were familiar with it they would all record there aswell.
[/quote]

This for me. If you are used to the place and equipment and get to know the engineers why would you go anywhere else? We are a covers band and about to record some promo stuff. We're not looking anywhere except where we rehearse.

[bassix]

I judge studios purely on the artists they have worked with and the results achieved. I find it particularly annoying that some studios fail to list who they have worked with in the past leading to time wasting investigation on my part or they drop off my radar entirely.

[leftybassman392]

[quote name='Roger2611' timestamp='1448302647' post='2914301']
...Far Heath in Guilsborough and The Lodge in Northampton...whether both still exist I don't even know!
[/quote]

Yup - used both of those at one time or another. Far Heath was pretty good in the day (although a bit down-homey IMHO), and we used it for numerous demos (in which role it did us just fine). That was getting on for 20 years ago though so as to it's current state I have no clue. Used The Lodge much more recently when producing a talented young band; excellent facility of it's type but the guy who ran it was a bit of a prick TBH (so much so that I wouldn't recommend it to anybody on those grounds alone). Not sure about their status either.

In general terms it occurs to me that running an everyday commercial studio is a much tougher proposition than it was even 10 years ago - people look at what they can do with a laptop, a few decent mics and an interface in a rehearsal studio or performance space and wonder why they need to cart all their stuff out into the sticks (if you've ever been to Far Heath then you'll understand) and subject themselves to the rigours of the studio, AND pay a sizeable 3-figure sum at the end of it.

I'm afraid I don't have an easy answer for you Tom, but I wish you all the best with it. As a start, you could do a lot worse than offering a great service at a reasonable price, flexibility and an approachable manner - oh, and make sure you provide decent coffee (no, seriously...) - in an otherwise even field little things can make a difference. If you have a website then keep it current, interesting and informative - for many people it will be their first point of contact. All sounds fairly obvious I'm sure, but you asked!

Edited November 24, 2015 by leftybassman392

[cheddatom]

yeh, i really appreciate all the replies and i've had some great advice by PM too. I think my most obvious failing at the moment is an out of date website lacking in content.

Regarding coffee - I have no idea! I hate the stuff. I do have lots of Yorkshire tea though, and tend to go the extra mile with lifts from the station etc.

Regarding rehearsals - I'm in partnership with a rehearsal studio so they send all their business my way (it's a bit more involved than that but you get the idea)

I do wonder if it's a viable proposition at all really, but I absolutely love recording and mixing so I'll keep it going as long as I can!

[Jakester]

I've done a fair bit of recording for a weekend warrior. All of mine has been as drummer though, but I think the point is as valid for any instrument or ensemble - it's all about the sound.

I've had two good experiences and the rest vary from mediocre to downright awful. The bad ones were because the engineer wasn't prepared to listen to us (and me in particular) about the type of sound we were looking for.

I have pro gear, well maintained and tuned that sounds like drums. I wasn't prepared to cover it with tissue, tape etc just because the studio was more familiar with Pinstripe heads.

At the places it went well, the tech was prepared to listen to me and accept that I was right about how my drums sounded. One in particular said it had been a learning experience for him too.

It's galling to be paying money and then be told you don't know what you want. So for me it's a willingness to work with the band and not simply stick to what you think is right.

[cheddatom]

I've had a couple of experiences like that in the past Jakester - one engineer refused to let me use my distortion pedal on bass! I was young and so just huffed and put up with it, but I should have walked out without paying the guy.

[Lo-E]

I tend to choose based upon the house engineer. I'd rather pay for a good set of ears than a room full of the latest equipment. In the interest of full disclosure, I used to work, many years ago, as a recording and live sound engineer, so if I'm paying for studio time I want to be sure the person behind the desk is better at it than I am.

In addition, I prefer a space big enough to track the full band live, or at least the full rhythm section. That takes a back seat to the skills of the engineer, though.

[Jakester]

[quote name='cheddatom' timestamp='1448378651' post='2914902']
I've had a couple of experiences like that in the past Jakester - one engineer refused to let me use my distortion pedal on bass! I was young and so just huffed and put up with it, but I should have walked out without paying the guy.
[/quote]

Again I think it just comes down to ensuring your expectations are matched by the sound guy. I can see that if you were an unknown quantity and rocked up expecting to use the studio's bass amp and cab for heavy distortion without having discussed it first then the studio might be justified in having qualms.

So in answer to your question, what I'd be looking for is a good chain of communication so that all parties knew where they stood.

[Roger2611]

[quote name='leftybassman392' timestamp='1448376224' post='2914869']
. Used The Lodge much more recently when producing a talented young band; excellent facility of it's type but the guy who ran it was a bit of a prick TBH (so much so that I wouldn't recommend it to anybody on those grounds alone).


[/quote]

I think I know exactly who you mean I did some marketing for the studio about 25 years ago and one of our main recommendations was that "he" not get involved with customers

[JTUK]

[quote name='Jakester' timestamp='1448377220' post='2914881']
I've done a fair bit of recording for a weekend warrior. All of mine has been as drummer though, but I think the point is as valid for any instrument or ensemble - it's all about the sound.

I've had two good experiences and the rest vary from mediocre to downright awful. The bad ones were because the engineer wasn't prepared to listen to us (and me in particular) about the type of sound we were looking for.

I have pro gear, well maintained and tuned that sounds like drums. I wasn't prepared to cover it with tissue, tape etc just because the studio was more familiar with Pinstripe heads.

At the places it went well, the tech was prepared to listen to me and accept that I was right about how my drums sounded. One in particular said it had been a learning experience for him too.

It's galling to be paying money and then be told you don't know what you want. So for me it's a willingness to work with the band and not simply stick to what you think is right.
[/quote]

I think it depends where you are coming from...
You can be an ok player... working in a studio with an ok engr.
I don't assume just because someone sets themselves up as a studio
engr they are going to be any good at it.

If that was the level of the studio, I'd rather put my time...and maybe money,
if a home studio where time was what the guy could give. So with direction and help
they'd get their eventually, rather than having to hit the clock or overrun in cost.

UNless the budget was reasonable, I'd also opt for live... and then keep an eye out for the
overdubs which rack up the cost.

I'm expected to get my parts done in a day and half, along with the drums and keys, whereas
a gtr will get 3-4 days..
Don't get me started on the singer..

[ironside1966]

[b]If you are looking to get more business you need to ask you self a couple of basic questions.[/b]
Who are my prospective clients?
Do the prospective clients know about my studio?
If you are unknown you could run a battle of the bands competition with free studio time has a prize. Use social media, you could offer the good respected bands in your area incentives just to get your name out there. You may just need to spend more time networking.
If they do about you why do they not use my studio?
A lot of studios are just surviving or closing down, so you are doing well just to be around.
What is the competition like? Are they busy, better or cheaper? It’s not what you think it’s what the prospective clients may think that counts. Are they more established or better at advertising? Pricing is important if you are too cheap the people who know the value of a good studio will just assume you are low rent those that don’t will go elsewhere.
Find new markets, you could offer gift packagers, do voice over servicers, think outside the box.
If you are on the budget end of the market you a competing with students and hobbyists offering their services for free on next to nothing so you need to educate prospective clients on why they should pay extra and use you rather than just going with the cheapest. Saying that there are many home studios that can produce tracks just has good if not better than your average budget studios, I count my self has one of them but we need not be enemy’s why not encourage people like me to record drums and other loud instruments in your studio rather than take the hit and miss approach of a laptop in the reversal room.
Just a few ideas

[cheddatom]

most appreciated ironside. I have actually had a few guys come in to use the studio just for drum tracking, and then take home the stems, which is fine.

I think communication is my biggest problem - not reaching enough people, or not often enough

[charic]

Try and offer something different that might get people talking.

A few cheap cameras around the rooms so you can throw a making of on top will definitely make Facebook/YouTube and will probably get more views than the recording itself for very little effort.

Very easy advertising!

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