Also, has that studio ever recorded/mixed your type of genre? I worked with a studio that was owned by someone that played in a famous band in my area. I suspect, this studio had only recorded rock/metal because they didn't know how to mix in the congas or timbales. After the band decided to pay for extra studio time that night, the tech says "We can't have the studio run late because of the apartments next door." And everybody that heard the final mix said you couldn't hear the congas and the bass was too boomy. Never went back to that studio.
Oh yeah, that's a good one! And you're right: the genre thing also applies to the studio, and not just the engineer. That's too bad about your experience with that studio, I'm sorry to hear that happened.
Yeah, I like to see it included, but the other side of that is that if you expect them to set up for you outside of your studio time, that often translates into asking them to run setup for free - and depending on how much time you've booked with them, and how much setup you require, that may or may or may not be worth it for them.
You can also look at this as… the bulk of what you’re paying a studio to do is accomplished during the setup. This is the time an engineer takes care of the technical stuff a musician would rather not. The workload during tracking is relatively light in comparison.
@@jamesseabrook3631 To some extent, yeah, I think I agree. But I also think a good engineer will actually be doing a lot during tracking too - it's just a different type of workload really. So for example: I listen critically and will coach my clients on performance and use some psych tricks to help them get a better performance, while also taking notes on takes, prepping and sometimes doing quick comps as we go - plus organizing the session, doing basic editing as we go, queuing up processing so it's ready to go when they walk back in, and more. Depending on the genre, this will often look a little different, but I think a good engineer does a lot during the recording process so that things will be as far along as possible by the time you walk back into the control room.
@@CatoNoise I understand what you're saying, and I don't mean to discount the work we do during tracking. It is very involving and engaging, especially if we are also wearing the producer hat. However, musicians tend to dismiss the time they aren't actually playing or performing as less relevant. It's a constant conversation I have with clients helping them understand why setup/soundcheck time is just as valuable and therefore deserves to be considered "part of the session." I suspect @englishoakrecording has never actually worked in a studio that was booked 24 hours every day in 8 hour blocks and doesn't fully appreciate what the studio does for it's clients. :) More conversations like this are hugely beneficial to that understanding.
Thankyou Cato, appreciate this 🙂
Thanks - I'm glad you liked it ^_^
Also, has that studio ever recorded/mixed your type of genre? I worked with a studio that was owned by someone that played in a famous band in my area. I suspect, this studio had only recorded rock/metal because they didn't know how to mix in the congas or timbales. After the band decided to pay for extra studio time that night, the tech says "We can't have the studio run late because of the apartments next door." And everybody that heard the final mix said you couldn't hear the congas and the bass was too boomy. Never went back to that studio.
Oh yeah, that's a good one! And you're right: the genre thing also applies to the studio, and not just the engineer. That's too bad about your experience with that studio, I'm sorry to hear that happened.
I've always found it odd when the studio's set up time is within the session timeframe.
I’m glad I’m not the only one that thought this.
Yeah, I like to see it included, but the other side of that is that if you expect them to set up for you outside of your studio time, that often translates into asking them to run setup for free - and depending on how much time you've booked with them, and how much setup you require, that may or may or may not be worth it for them.
You can also look at this as… the bulk of what you’re paying a studio to do is accomplished during the setup. This is the time an engineer takes care of the technical stuff a musician would rather not. The workload during tracking is relatively light in comparison.
@@jamesseabrook3631 To some extent, yeah, I think I agree. But I also think a good engineer will actually be doing a lot during tracking too - it's just a different type of workload really. So for example: I listen critically and will coach my clients on performance and use some psych tricks to help them get a better performance, while also taking notes on takes, prepping and sometimes doing quick comps as we go - plus organizing the session, doing basic editing as we go, queuing up processing so it's ready to go when they walk back in, and more. Depending on the genre, this will often look a little different, but I think a good engineer does a lot during the recording process so that things will be as far along as possible by the time you walk back into the control room.
@@CatoNoise I understand what you're saying, and I don't mean to discount the work we do during tracking. It is very involving and engaging, especially if we are also wearing the producer hat. However, musicians tend to dismiss the time they aren't actually playing or performing as less relevant. It's a constant conversation I have with clients helping them understand why setup/soundcheck time is just as valuable and therefore deserves to be considered "part of the session." I suspect @englishoakrecording has never actually worked in a studio that was booked 24 hours every day in 8 hour blocks and doesn't fully appreciate what the studio does for it's clients. :) More conversations like this are hugely beneficial to that understanding.