Once again, it’s been a long while since I came over to this site. Not too many people are posting, which is odd to me…. I’d have figured that anyone with a little studio would be posting their thoughts and experiences with the recording arts. O well, more space for me!! I like to ramble, keeps me sane hehe.
First of all, a band that I tracked some live-off-the-floor demos got signed! They haven’t set it in stone, but I was told that they presented the demos to the label they were going for and it helped them secure the deal. Seeing as it was my first real session of live recordings in my small studio I was pretty happy. I hope to have a song from the sessions up very soon on my website… as soon as my studio is done going through a small renovation this week =)
Recently, I’ve been advised to start running my studio as an actual business in order to be able to benefit from the financial side and keep things legit when it comes to paying clients and purchasing gear that I could possibly benefit from come tax season. My significant other’s mother is a book-keeper and knows her stuff, and she has helped me more than I could have hoped for in this regard. She has started her own business on the bookkeeping front, so she told me where to go to register myself and whatnot. She is also doing all my tax work for free (I’m going to pay her whether she likes it or not)! I gave her ALL of my music-related receipts I’ve kept since the beginning of time, and I will be able to apparently reap the benefits once things are lined up. She did work for a buddy of mine who has a PA rental business, and his first tax return was something along the lines of $4k that he used to upgrade his rig. I could definitely use a return like that… wow.
So with my business in order, an invoice system put together, everything organized, a website up and running, and a steadily-growing client list, I’m ready to go!
However no studio owner ever goes a few months without a sever case of GAS (gear acquisition syndrome). So I started to think about my next large gear purchase. Monitors were on my list, as my Yorkville YSM1p’s lacked the low-end detail and hi-end clarity that I need in order to step up my game.
I’m very happy with my mic collection after purchasing two Shure KSM44’s, AKG D112 to go along with my Audix D6, i5, bunch of 57’s and 58’s, and a 421. The only mic I’m missing is a good ribbon such as a Royer 121. I figured maybe I could grab a pair of Fatheads for significantly less, but I know that I’d eventually get a great ribbon so why not skip the intermediate step? Obviously, I’m not including a vintage LDC because it simply isn’t in my budget and I can get by without one.
One actual instrument I’d like to consider is a nice amp!
When a client walks in and see’s a Mesa Triple Rectumfrier, the response is ALWAYS “Hey wow!!  Is that yours? Can I use it when I record? When can I come in???” My old guitarist in my band (that’s been getting airplay on the local radio even since we broke up from a demo I recorded) owned one of these amps, and since it was at my studio I was able to use it. It always produced a usable tone and often a great tone no matter what guitar was used. I own a Marshall JCM 2000, but it doesn’t match up when recording hard-rock acts. The Mesa will bring in clients, meaning anything else on this list won’t be far behind.
Another thing I’d like to look at doing is getting a great outboard compressor. Candidates are the API 2500, Smart C2, 1176, and the Distressor. I own an FMR RNC, but to be honest it’s so transparent that it does nothing for me or my tracks. I can get better sounds for the song quicker by using UAD compressors compared to running things through a patchbay messing with the RNC to get what I need (not transparent comp sounds), and then back into my PC. Blah. If I go through the trouble of wiring stuff up, I want to give the sound something special. With a box like the 2500 or the C2, I could also use it on the 2-buss to add some glue and vibe to the mix. I spoke with my mastering guy, and he told me that if it actually does give the mix some vibe he’d be all for it as long as I print a safe mix as well. He also told me he’d go for the Distressor because it’s so versatile and is a bread-n-butter type of unit. I have to find a store in Canada that will ship me some of these units to test them, and then just ship back what I don’t want. If anyone knows of a place, please PM me!!
Another item(s) I’m also considering is some of the ceiling panels from Real Traps for above my drum kit and mixing position. I have very low ceilings, and the drop ceiling isn’t the most absorbing material, although it’s not as bad as a drywall ceiling. So perhaps spending some cash on a few panels would be money well spent… but with something like this where so few people actually have them makes me very cautious. I doubt I could just return them after installing them and using them for a few sessions. The PVB from Real Traps has been great for my studio, so I’m sure I’d love the panels… we’ll see. It’s definitely in the future.
Also a few more panels from Gik… maybe a few of the diffusers would suit me better. We’ll see what Glenn or his staff have to say when I bring it up.
And finally, a desk!
I’ve went from wanting this crazy desk with room for my Axiom 61, desk space galore, racks upon racks etc… to wanting more of a mastering desk. Small footprint, simply rackspace, enough desk space for keyboard and Alphatrack and mouse, and that’s about it! I don’t need more in reality. I need the rack devices I do have right in front of me, and access to those three desk items. Problem is, it seems these desks cost more than the mixing desks. I went to local shops and it seems that they would even charge me more than ordering & shipping online from the US! So I think I’ll wait until I can afford it, and then make it happen by ordering from Sterling or Argosy. If this were to happen I’d have some planning to do anyways…