A jazz record for 25K? Isn't jazz a relatively "live off the floor" type
thing? They're usually recorded over 3 or 4 sessions. That's no more than a
grand per session in a great room. What would normally account for the
$21,000

Well, you have to pay the musicians, producer(s), engineer(s), food, drink,
transportion, lodging..etc.


John A. Chiara
SOS Recording Studio
Live Sound Inc.
Albany, NY
www.sosrecording.net
518-449-1637

I'm advising all my clients to not take the advice of anyone that can't
figure
out the Pro Tools LE manual.

You either have a very wry sense of humor, in which case a smiley would be
appreciated after a comment like that, or you are an asshole. Wonder which it
is?

The PT LE manual sucks, BTW, in case you don't have it... it's full of stuff
that does not apply to LE and they do not always make it clear what is only for
HD, etc. There are numerous instances I've been hit with where I'm trying to
sort out what LE will and won't do, compared to the HD or other PT setups, and
it's very hard to tell from the manual. And as clearly as I can: following
the damn manual does not make my LE setup nudge in increments that I can
control! I'm not saying it won't do it period, but my manual doesn't say how,
and what it does say, doesn't work. Perhaps it's in the little setup manual;
i have not looked there yet, and someone more courteous and helpful than you
said it is indeed there.

Back to the point. I've been running a (primarily analog until recently)
studio for about 10 years now, and in that time I have seen "getting signed" be
the kiss of death for many many bands, as in dozens, but I have NEVER seen it
be a good thing for them. Usually it goes like this: band gets signed; now
the label owns their ass. This apparantly did not occur to the band ahead of
time. For this they get some pathetic little budget that they could have just
pitched in amongst themselves and come up with. If they are really unlucky
they get a "producer" who is basically a glommer-on who just wants to party
with the band and maybe sow some seeds of internal discontent just for kicks.
If by chance things start to go half-well for the band, the label does not
provide any kind of REAL support, IE, tour support or a real budget for the
next record. If a major label shows any interest the indie gets all filled
with delusions of being Sub-pop and selling out and tries to play hardball with
the bands contract, basically tying up the band; they can't record, they can't
tour with any support, they can't go anywhere else. This drags on until the
band either breaks up or is no longer cool. Repeat ad nauseum.

Why... what is YOUR take on it, from personal experience?




Budgets?!?! Ha!!

-jeff (I've been advising all my clients NOT to sign with indies... the
budgets are so pathetic, they'd be better off selling som blood and paying
for
it themselves and signing a distro deal!)

I'm advising all my clients to not take the advice of anyone that can't
figure
out the Pro Tools LE manual.

You either have a very wry sense of humor, in which case a smiley would be
appreciated after a comment like that, or you are an asshole. Wonder which it
is?

The PT LE manual sucks, BTW, in case you don't have it... it's full of stuff
that does not apply to LE and they do not always make it clear what is only for
HD, etc. There are numerous instances I've been hit with where I'm trying to
sort out what LE will and won't do, compared to the HD or other PT setups, and
it's very hard to tell from the manual. And as clearly as I can: following
the damn manual does not make my LE setup nudge in increments that I can
control! I'm not saying it won't do it period, but my manual doesn't say how,
and what it does say, doesn't work. Perhaps it's in the little setup manual;
i have not looked there yet, and someone more courteous and helpful than you
said it is indeed there.

Back to the point. I've been running a (primarily analog until recently)
studio for about 10 years now, and in that time I have seen "getting signed" be
the kiss of death for many many bands, as in dozens, but I have NEVER seen it
be a good thing for them. Usually it goes like this: band gets signed; now
the label owns their ass. This apparantly did not occur to the band ahead of
time. For this they get some pathetic little budget that they could have just
pitched in amongst themselves and come up with. If they are really unlucky
they get a "producer" who is basically a glommer-on who just wants to party
with the band and maybe sow some seeds of internal discontent just for kicks.
If by chance things start to go half-well for the band, the label does not
provide any kind of REAL support, IE, tour support or a real budget for the
next record. If a major label shows any interest the indie gets all filled
with delusions of being Sub-pop and selling out and tries to play hardball with
the bands contract, basically tying up the band; they can't record, they can't
tour with any support, they can't go anywhere else. This drags on until the
band either breaks up or is no longer cool. Repeat ad nauseum.

Why... what is YOUR take on it, from personal experience?




Budgets?!?! Ha!!

-jeff (I've been advising all my clients NOT to sign with indies... the
budgets are so pathetic, they'd be better off selling som blood and paying
for
it themselves and signing a distro deal!)