[gtbuba]

Where will we be 5 years from now? Seems to be not such a good decade
from 2000 to 2010 for a number of reasons. A few being 911 slowed
things up. around 2000 also the internet might have been ok for some
musicians,but a few of my friends who owned music stores could not
compete with internet stores and ebay. Speaking of ebay they sure
enjoy sticking it to their sellers as much as they can get away with.
Did they study Enron. In Music some of the biggest acts of this decade
were rap. I love RnB. Rap... no comment. Being a modest musician is
not even important anymore. If you are a singers. Voice lessons? No
just LOB a frikin note up and autotune will hook you up. When I
started playing bass in the 60's it was 7 years before REO's first
guitarist took my band into a recording studio for my first serious
recording. Now a days due to cheap equipment a novice with no training
can fart into their home recording studio and put it up on the air
waves on the internet for instant gratification. The lyrics today
make the 1960's band "Doug Clark and the hot nuts" seem like bubble
gum band.
Recording labels have finally gotten theirs. No sales mass theft of
all recording artists and they thought back in the 1980's a CD player
and Dat machine would ruin them.
......Aaaah last and fighting for the least. The Recording Studio
industry. The home recording revolution that started in the 1970's
with the Teac 3340 4 track has come of age in the 2000's with major
label recording projects in people's living rooms. Most all bands
record themselves. Every man woman and child has his or her own
recording studio.
Ok I feel better. Sorry about my major rant. Tough year for me.
Downsized my storefront studio this year. Tornado hit my building
doing 50k of damage. Swimming pool poped up 10k of damage. My
recording engineering Chops I feel like I am at the top of my game
with no one to record. My cat? So tell me wise gents what do you
think. What's in store for the recording business 5 years from now?
GT.

[nmm]

On Sep 28, 11:52*pm, gtbuba wrote:
Where will we be 5 years from now? Seems to be not such a good decade
from 2000 to 2010 for a number of reasons. A few being 911 slowed
things up. around 2000 also the internet might have been ok for *some
musicians,but a few of my friends who owned music stores could not
compete with internet stores and ebay. Speaking of ebay they sure
enjoy sticking it to their sellers as much as they can get away with.
Did they study Enron. In Music some of the biggest acts of this decade
were rap. I love RnB. Rap... no comment. Being a modest musician is
not even important anymore. If you are a singers. Voice lessons? No
just LOB a *frikin note up and autotune will hook you up. When I
started playing bass in the 60's it was 7 years before REO's first
guitarist took my band into a recording studio for my first serious
recording. Now a days due to cheap equipment a novice with no training
can fart into their home recording studio and put it up on the air
waves *on the internet for instant gratification. The lyrics today
make the 1960's band "Doug Clark and the hot nuts" seem like bubble
gum band.
*Recording labels have finally gotten theirs. No sales mass theft of
all recording artists and they thought back in the 1980's a CD player
and Dat machine would ruin them.
* * ......Aaaah last and fighting for the least. The Recording Studio
industry. The home recording revolution that started in the 1970's
with the Teac 3340 *4 track has come of age in the 2000's with major
label recording projects in people's living rooms. Most all bands
record themselves. Every man woman and child has his or her own
recording studio.
* Ok I feel better. Sorry about my major rant. Tough year for me.
Downsized my storefront studio this year. Tornado hit my building
doing 50k of damage. Swimming pool poped up 10k of damage. My
recording engineering Chops *I feel like I am at the top of my game
with no one to record. My cat? So tell me wise gents what do you
think. What's in store for the recording business 5 years from now?
* * * * * * * * * * * * * * * * * * * * * *GT.


Just my guess is that "Recording Studio Operators" are going to have
to become Impresarios. Take on acts , record and produce for free but
with contractual obligations for the result products.

It's going to be hard to find tech savy young bands that will want to
bother with "going into a Studio", and paying hourly rates, day rates
or any rates at all. This is going to be done on a laptop and listened
to as an MP3 download. Look up all the recent articles about the sale
or state of "Abbey Road" and other such studios.

Now the smaller studios sole operators and small partnerships such as
many of the people who post on this board, can get into the business
model of putting the whole act together. You have a roster of
musicians, songwriters, and the facilities to put together a polished
end product. Your income now has to be derived further down the line,
not from selling time, but selling what you produced, or getting a
slice of that pie.

Look at the pop model that has been going on with all these talent
shows. It's more contrived, but if we are the ones doing the
'contriving' how bad is that?

NMM

[[email protected]]

On 2010-10-04 said:
Just my guess is that "Recording Studio Operators" are going to have
to become Impresarios. Take on acts , record and produce for free
but with contractual obligations for the result products.
It's going to be hard to find tech savy young bands that will want
to bother with "going into a Studio", and paying hourly rates, day
rates or any rates at all. This is going to be done on a laptop and
listened to as an MP3 download. Look up all the recent articles
about the sale or state of "Abbey Road" and other such studios.
Now the smaller studios sole operators and small partnerships such
as many of the people who post on this board, can get into the
business model of putting the whole act together. You have a roster
of musicians, songwriters, and the facilities to put together a
polished end product. Your income now has to be derived further
down the line, not from selling time, but selling what you produced,
or getting a slice of that pie.
RIght, but then that means doing a lot of legwork, and
figuring that one in ten might net you enough of an income
from the percentage of the total package, which means one
would need to get a flat cut of everything they do,
performance, sales of the music itself, merch, etc. I
looked at that model, and sort of backed away from it.


I've been trying to think about how that bodes for even the
future of a good remote truck.

Trouble with that model for small studio operators is that
one has to do a lot of networking, and have the expertise to
do the live act promotion, the marketing, the sales, whole
ball of wax, plus keep the studio busy 24/7 with clients.
PRetty big job for the small operator. Most of us who work
the control room side of the glass do so because we enjoy
that part of it, but aren't heavily into the marketing and
pr side of the business, but we're going to have to become
quite a bit more savvy with that side if we want to survive.


Look at the pop model that has been going on with all these talent
shows. It's more contrived, but if we are the ones doing the
'contriving' how bad is that?

rIght, now how do I contrive it to pay the rate I"ve gotta
have for a day's work with my remote truck?






Richard webb,

replace anything before at with elspider
ON site audio in the southland: see www.gatasound.com

[gtbuba]

On Oct 4, 11:26*pm, wrote:
On 2010-10-04 said:
* *Just my guess is that "Recording Studio Operators" are going to have
* *to become *Impresarios. Take on acts , record and produce for free
* *but with contractual obligations for the result products.
* *It's going to be hard to find tech savy young *bands that will want
* *to bother with "going into a Studio", and paying hourly rates, day
* *rates or any rates at all. This is going to be done on a laptop and
* *listened to as an MP3 download. Look up all the recent articles
* *about the sale or state of "Abbey Road" and other such studios.
* *Now the smaller studios sole operators and small partnerships such
* *as many of the people who post on this board, can get into the
* *business model of putting the whole act together. You have a roster
* *of musicians, songwriters, and the facilities to put together a
* *polished end product. Your income now has to be derived further
* *down the line, not from selling time, but selling what you produced,
* *or getting *a slice of that pie.
RIght, but then that means doing a lot of legwork, and
figuring that one in ten might net you enough of an income
from the percentage of the total package, which means one
would need to get a flat cut of everything they do,
performance, sales of the music itself, merch, etc. *I
looked at that model, and sort of backed away from it.

I've been trying to think about how that bodes for even the
future of a good remote truck.

Trouble with that model for small studio operators is that
one has to do a lot of networking, and have the expertise to
do the live act promotion, the marketing, the sales, whole
ball of wax, plus keep the studio busy 24/7 with clients.
PRetty big job for the small operator. *Most of us who work
the control room side of the glass do so because we enjoy
that part of it, but aren't heavily into the marketing and
pr side of the business, but we're going to have to become
quite a bit more savvy with that side if we want to survive.

* *Look at the pop model that has been going on with all these talent
* *shows. It's more contrived, but if we are the ones doing the
* *'contriving' how bad is that?

rIght, now how do I contrive it to pay the rate I"ve gotta
have for a day's work with my remote truck?

Richard webb,

replace anything before at with elspider
ON site audio in the southland: seewww.gatasound.com

I found a few good clients running my storefront 5 years. 3 clients I
am now starting to work with in my downsized home studio. One is a
country singer I am playing bass for. We are opening up a big country
act this weekend. Heck.
Mixing,tracking, CD dubs, bass lessons, buy and selling equipment. It
is tough.

GT.

[km6xz]

With any business, to have sales that sustain you, you have to solve a
problem that the client perceives as a problem, one that he values
enough to pay to have it go away. No matter how good you are, how
great your facilities or prices are to your mind, all that matters in
business is the perception of the potential client and how much he
values his problem be taken away by you.
I am afraid you are thinking too much in terms of the lifestyle and
hobby aspect of recording from a past period and environment. If you
can't think of a set of problems you can solve for clients who want
them solved, what about doing something more pleasurable such as
recording as a hobby, have fun, and seek something else for the
income? There is little need or desire for recording services now, it
is a fact, and wishing for the return of another era is not going to
change the whole society which generally does not care.
A few people will figure out a niche service to provide based on an
identified need(from the client's perspective) and do well, but very
few do this.
How would you go about finding some narrowly defined specialty service
that fits the needs of specific potential clients? What traits and
skills can you offer that are unique. For example, success in anything
is based on perceived uniqueness. The rarer a set of skills for which
there are problems they can be applied to, the higher the income and
demand. Top athletes get much more than those perceived as lower rung,
despite on any given play, the lower perceived ranked player might
excel.
It is very hard to become generally known as the go-to-guy in
recording. Even a top 50 among 100,000 is not likely to have a secure
income. But the top is an easier ranking to achieve when the skill set
and target audience is more narrowly defined. Don't try to compete on
general terms, compete where you have an advantage, which is combining
some typical skills you might have that are pretty rare in
combination. Say you are into recording...along with 200,000 others.
You might have an advanced hobby in rebuilding old aircraft....along
with 50,000 others. But you might be 1 of 10 pro recording engineers
who also have a network of aircraft builders, publications, clubs etc.
That is pretty unique. What if you looked around and found that air
shows and rebuilder clubs were seeing fewer of the rare old birds
showing up at the meets. You might figure out that if you were to
create a library of quality recordings of the sounds of some of those
craft would be of interest to film companies, selling CDs at meets,
mail order, licensing etc. I suggested the same sort of thing to a
friend who was a middle rung recording engineer, never quite getting
the national acts he aspired to and was feeling despair in not ever
being able to make it a career. In this case his inside hobby, with
years of expertise, was model railroading. He parlayed that
combination of fairly routine interests and knowledge into being rare
well regarded as the go-to guy if you were a manufacturer who wanted
to license classic locomotive sounds for their models, or films,
selling tapes(that was a while ago), and CD at hobby shows. He has
carved out a real niche and earns, has more free time and travel
opportunities more than he ever did as a music recording engineer.

There are so many ways to make it, or at least be happy and secure
that require a new way of looking at the task and goal. A typical job
and education path really does not work much anymore as a way to a
good career with some stability and growth.
Good luck