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Thread: cant find an hour anywhere !

  1. #1
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    cant find an hour anywhere !

    Boy, this is a high-quality problem. I can't find an hour of studio time anywhere in this town!

    And I finally found out who's booking all my studio time. Who do you think?

    It's not The Usual Suspects. It's not the musicians, we usually can't afford that stuff. And it's not the animation people either, we have a couple of the big ones in the next town over, and they do voice-overs and stuff like that, but mostly they book entire weeks at a time, and if you ask they'll tell you, we're booked for the next month.

    So guess who's booking the slots by the hour, in volume?

    The video game people! They got these little sounds they attached to things, and they're usually words, and they translate these words into 40 different languages and sell in a hundred countries all over the world.

    I had no idea this stuff was that big.

    And these people have money too, they're bringing in $5,000 microphones and such. I was over there talking to the engineer asking if they knew what they were doing, and the guy says no, they're just kids.

    I don't know, maybe I'm in the wrong business. I'm about to find out. For those of you following my Saga or doing vocals right now, on 18 songs, and there's eight more in the hopper, and 12 more after that. Then we'll have a catalog.

    I'm now officially a record label haha. I told my friends and they go "I'm sorry". lol - I have dedicated and enthusiastic friends.

    Let's see we recorded some trumpets, that was fun, oh and a genuine B3 with a full-size Leslie, that was fun too. We did the background chicks, they're done... in a few short days we'll be ready for the mix room. They have wonderful Subs over there, you can dial in the kicker frequency quite precisely.

    So that's me, full-time musician now, and I can't find an hour of studio time anywhere in town, because the damn video game kids have more money and more clout than I do.

  2. The Following 4 Users Say Thank You to nonsqtr For This Useful Post:

    Canadianeye (08-23-2019),Northern Rivers (08-23-2019),Retiredat50 (08-23-2019),Rickity Plumber (08-23-2019)

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    They must be little independents. The actual game companies don't have kids that don't know what they are doing recording their audio. Plus, successful game companies have their own motion capture and sound studios. The video game industry generates more money than the music and film industries combined.

    The most profitable entertainment product of all time is Grand Theft Auto V. And every year the game industry gets bigger and makes more money.

    Congrats on your progress!

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    Quote Originally Posted by nonsqtr View Post
    Boy, this is a high-quality problem. I can't find an hour of studio time anywhere in this town!

    And I finally found out who's booking all my studio time. Who do you think?

    It's not The Usual Suspects. It's not the musicians, we usually can't afford that stuff. And it's not the animation people either, we have a couple of the big ones in the next town over, and they do voice-overs and stuff like that, but mostly they book entire weeks at a time, and if you ask they'll tell you, we're booked for the next month.

    So guess who's booking the slots by the hour, in volume?

    The video game people! They got these little sounds they attached to things, and they're usually words, and they translate these words into 40 different languages and sell in a hundred countries all over the world.

    I had no idea this stuff was that big.

    And these people have money too, they're bringing in $5,000 microphones and such. I was over there talking to the engineer asking if they knew what they were doing, and the guy says no, they're just kids.

    I don't know, maybe I'm in the wrong business. I'm about to find out. For those of you following my Saga or doing vocals right now, on 18 songs, and there's eight more in the hopper, and 12 more after that. Then we'll have a catalog.

    I'm now officially a record label haha. I told my friends and they go "I'm sorry". lol - I have dedicated and enthusiastic friends.

    Let's see we recorded some trumpets, that was fun, oh and a genuine B3 with a full-size Leslie, that was fun too. We did the background chicks, they're done... in a few short days we'll be ready for the mix room. They have wonderful Subs over there, you can dial in the kicker frequency quite precisely.

    So that's me, full-time musician now, and I can't find an hour of studio time anywhere in town, because the damn video game kids have more money and more clout than I do.
    Far and away...commercial music is the biggest segment of the recording industry. Sound design is what pays, nowadays...because...nobody steals downloads of commercials or video games.

    At home...I have an AVID C-24 console and an 8 core Power Mac...with ProTools 10 HD software. The PT 10 HD is also one of the files I can take home from the studio I subcontract. What I do...is bring home a WAV mix of what I did that day...and...play with it until I know what I want to do "for real". Actually, I just came up with a nice 6 string overlay I just can't reproduce the way I first did it...so...I'll put that track onto a pen drive...and load it into the main tracks, Monday. I won't be diverting any time to re-learning it.

    If you can do it...get yourself an Avid board....plenty on E Bay. With a computer/etc...maybe $15K USA.

    https://www.google.com.au/search?q=a...w=1280&bih=666


    BTW: I play everything...home and in the studio...through the board using AKG K-712 PRO headphones....
    Last edited by Northern Rivers; 08-23-2019 at 03:34 AM.
    If you don't practice...you'll sound like it. And, if you don't tune, your life will sound like it, too. Listen to the intervals. That's where it all hides from you.....

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    Quote Originally Posted by Northern Rivers View Post
    Far and away...commercial music is the biggest segment of the recording industry. Sound design is what pays, nowadays...because...nobody steals downloads of commercials or video games.

    At home...I have an AVID C-24 console and an 8 core Power Mac...with ProTools 10 HD software. The PT 10 HD is also one of the files I can take home from the studio I subcontract. What I do...is bring home a WAV mix of what I did that day...and...play with it until I know what I want to do "for real". Actually, I just came up with a nice 6 string overlay I just can't reproduce the way I first did it...so...I'll put that track onto a pen drive...and load it into the main tracks, Monday. I won't be diverting any time to re-learning it.

    If you can do it...get yourself an Avid board....plenty on E Bay. With a computer/etc...maybe $15K USA.

    https://www.google.com.au/search?q=a...w=1280&bih=666


    BTW: I play everything...home and in the studio...through the board using AKG K-712 PRO headphones....
    Yeah yeah, I got all that. HDX with the full Genelec home theater setup, Waves and a gazillion other plugins... The problem is I have neighbors lol. A 1 watt tube amp is actually pretty loud driving a 12" speaker. I can do basses and keyboards at home, vocals require a booth and guitars of any kind are too loud. So I just take my Marshall over to the local place whenever I have a full day's worth of stuff, which is most days these days... let's see this week I'm there tomorrow, in the vocal booth Saturday and Sunday and Monday, and next week guitars again on Tuesday and Thursday. Then we have another round of drums coming up the first week in September, so that's four full days, ... like that.

    I do whatever I can, and anything I can't do I bring people in. I can't play drums, I could never get that discombobulated limb thing the drummers do, so I found a young kid from Berklee School whose name will become a household word when I get through with him, and one of our background chicks is an undiscovered Sheryl Crow - I have to keep all these people busy so they don't get sucked into the industry vortex. We just have to get to the catalog, after that it's smooth sailing.

    I know a lot of jingle guys, they never get out of their house, they work on their own, it's a real shame too cuz some of them are real good. I know a lot of people from Nashville doing that right now, one of my friends is doing most of Tesla's stuff... but I'd like to be an incubator, I like bringing up young talent.

    I found a top-notch engineer, they brought him in to do some drums for us one day and I just snatched him right out of the studio, gave him a new job. Now he's working for me pretty much full-time. He's just a kid but he's real good. It's a win-win, the interns get to empty the trash and sweep the floor over at the studios, but with us they get a CV that most people would give their left nut for.

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    Quote Originally Posted by Retiredat50 View Post
    They must be little independents. The actual game companies don't have kids that don't know what they are doing recording their audio. Plus, successful game companies have their own motion capture and sound studios. The video game industry generates more money than the music and film industries combined.

    The most profitable entertainment product of all time is Grand Theft Auto V. And every year the game industry gets bigger and makes more money.

    Congrats on your progress!
    Thank you!

    We're being told we have to book 4 weeks out right now, which is very unusual.

    You can kind of plan for the studios, because the budgets are on cycle. They get a burst whenever they get a budget, and after that it goes back to steady state.

    I know relatively nothing about the video game industry, I'm not entirely sure why they would require high quality audio (I mean, 5.1 but they could probably get away with cheaper mics).

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    Most video games are stereo and 5.1/7.1. As for good mics, a lot of video games have tons of voice acting and it has to sound good.

    The video game industry is highly competitive and has a lackluster musical score or bad sounding voice acting is sometimes enough to sink a game.

    Modern video games are not like the old Nintendo era games where you have a team of 3 or 4 people making them. Seeing the credits you would think it was a major motion picture.

    Here is an example of credits for a game called Skyrim:



    Lots of people involved. Tons of voice actors and they have a huge musical score.

    And here is the soundtrack for the Skyrim, three and a half hours of music.


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    This is how I do a song:

    It begins with a noodle, usually it's three or four minutes Within an hour's worth of goofing around. By the time I identify which three minutes, I already have an idea for the song almost to the first thing I do is put the Tempo and the structure into Pro Tools.

    Then I isolate the "parts". Usually when I'm noodling I'm hearing all the parts at once, so the guide usually has to be teased apart. So it goes from "a" guitar to two rhythms plus lead.

    Then the bass and keys go on, and after that we have a guide track that's sufficient for the drummer. Then we get the drum track, and then we run a mini mix on it to see if we have to start over or if we can save any of the tracks from the guide. Usually we have to start over.

    But by this time the parts are well-defined, so at this point we just go into the studio and execute.

    The oddball stuff, well, those are one offs, and sometimes we get lucky and sometimes we don't. We just got very lucky this morning, I got a beautiful sax track from Arno Hecht! My buddy used to produce gigantic shows like Bon Jovi at The Meadowlands, and he just went back to New York, dropped in at the studio, came back with a beautiful song. He was all excited he goes dude I want you to produce this... and I'm listening... and listening... and at the end of it I go, this needs nothing, send it over to Bernie Grundman and have him master it, and let me know when it's ready for the radio.

    I so Envy these old Jazz cats, they can pull a killer track out of their butts without even thinking about it, I mean, it takes me a hundred takes to get a killer track, and these guys...

    I heard the tape. Tommy recorded the whole thing on his iPhone. They're sitting around smoking weed, and then the piano player goes "so Tommy, what do you want in your song", and he says a few things about grit and the feel of the city and so on, and then I hear Arno in the background saying "we can do that", then about five seconds later the piano player is back, "so you ready? Wanna do this?"

    That's just how it is with these guys, their pre-production consists of 5 Seconds of verbal Exchange lol

    Well, I'm working on my time to Market. Six months is entirely too long. 3 months is even too long. The part I really like about this whole process is writing the song. I'd like to write the song, assign it a Tempo and structure, and then hand it off.

    Right now I'm producing stuff, and that job mainly entails just showing up in the studio when your musicians are there (and coordinating to get them there in the first place). It's not like being a Hip Hop producer, it's a totally different job. All these hats are temporary, I can't sing and there are certainly better guitar players and as soon as I find an admin type I'm going to give them the calendar and scheduling responsibility. Right now I'm the one that has to get on the phone and find the open slot at the nearest Studio, which is a time-consuming activity especially when there aren't many slots. It takes time away from producing, which takes time away from actually making good music. As soon as I can find people to fill these very shoes, I'm out of here. I'd like to focus on writing music, and finding the young talent that can play it.

    Right now we're bootstrapping back into the commercial space, there are definitely Market niches that aren't being filled oh, and we're going to fill them and use that money to do the fun stuff, and the stuff that helps people and builds careers.

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    Quote Originally Posted by nonsqtr View Post
    This is how I do a song:

    It begins with a noodle, usually it's three or four minutes Within an hour's worth of goofing around. By the time I identify which three minutes, I already have an idea for the song almost to the first thing I do is put the Tempo and the structure into Pro Tools.

    Then I isolate the "parts". Usually when I'm noodling I'm hearing all the parts at once, so the guide usually has to be teased apart. So it goes from "a" guitar to two rhythms plus lead.

    Then the bass and keys go on, and after that we have a guide track that's sufficient for the drummer. Then we get the drum track, and then we run a mini mix on it to see if we have to start over or if we can save any of the tracks from the guide. Usually we have to start over.

    But by this time the parts are well-defined, so at this point we just go into the studio and execute.

    The oddball stuff, well, those are one offs, and sometimes we get lucky and sometimes we don't. We just got very lucky this morning, I got a beautiful sax track from Arno Hecht! My buddy used to produce gigantic shows like Bon Jovi at The Meadowlands, and he just went back to New York, dropped in at the studio, came back with a beautiful song. He was all excited he goes dude I want you to produce this... and I'm listening... and listening... and at the end of it I go, this needs nothing, send it over to Bernie Grundman and have him master it, and let me know when it's ready for the radio.

    I so Envy these old Jazz cats, they can pull a killer track out of their butts without even thinking about it, I mean, it takes me a hundred takes to get a killer track, and these guys...

    I heard the tape. Tommy recorded the whole thing on his iPhone. They're sitting around smoking weed, and then the piano player goes "so Tommy, what do you want in your song", and he says a few things about grit and the feel of the city and so on, and then I hear Arno in the background saying "we can do that", then about five seconds later the piano player is back, "so you ready? Wanna do this?"

    That's just how it is with these guys, their pre-production consists of 5 Seconds of verbal Exchange lol

    Well, I'm working on my time to Market. Six months is entirely too long. 3 months is even too long. The part I really like about this whole process is writing the song. I'd like to write the song, assign it a Tempo and structure, and then hand it off.

    Right now I'm producing stuff, and that job mainly entails just showing up in the studio when your musicians are there (and coordinating to get them there in the first place). It's not like being a Hip Hop producer, it's a totally different job. All these hats are temporary, I can't sing and there are certainly better guitar players and as soon as I find an admin type I'm going to give them the calendar and scheduling responsibility. Right now I'm the one that has to get on the phone and find the open slot at the nearest Studio, which is a time-consuming activity especially when there aren't many slots. It takes time away from producing, which takes time away from actually making good music. As soon as I can find people to fill these very shoes, I'm out of here. I'd like to focus on writing music, and finding the young talent that can play it.

    Right now we're bootstrapping back into the commercial space, there are definitely Market niches that aren't being filled oh, and we're going to fill them and use that money to do the fun stuff, and the stuff that helps people and builds careers.
    Where could I listen to any of this? I played Astroids a cupla of times, and I remember my parents getting the kids "Pong". Have you ever listened to the soundtrack of "Avatar"? I was somewhere reading in another area and heard it in the background. I think I lost a couple of IQ points just hearing it

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