AnonymousBosch said:One thing I might mention.
< Started recording on a Tascam 4 track cassette portastudio I... err... 'accquired'... when I was 15 or so. Still got 100+ tapes of songs floating around, including punk, hardcore, full on robo-80's dance music and really, really trying to be Prince. Haven't listen to them for 12 years or more. Would hate to imagine.
I've got many tape recordings. I have the best 4-track ever made. The signal to noise ratio is horrendous, I mean, really really silly bad! But yet...
With DBX Type II and hi-speed recording on chrome, you can do pretty good. It's still really bad, but what the hell. This is the 21st Century. Digital and perfect sound is here to stay forever from now on. These shitty recordings and recorders will die out this century. They won't be made again.
It's good enough.
Steve Hillage said 'perfection is the enemy of good enough'. I won't argue the merits of that statement one way or the other, but, it does say something profound.
Ha, I did some stuff on my 4-track too trying to be prince. You had to really be experimenting and pushing yourself if you were pretending to be him. Trying to be better than him. Ha.
You learn to play guitar. You maybe learn how to sing. If you're serious you start learning how to record. From there, it gets a bit hazy.
But we can get great results these days.
Every recording studio should offer a little helping hand with a local record producer, if they may. Just the local loud mouth blow hard like me. Sometimes it works, sometimes it don't. Like I said, zero or hero.
Even better if the guy manning the studio is the guy that has an idea to produce as well. But this is difficult because of conflict of interest. Really, how do you tell the singer to tone it down a bit when he is paying the bill later? He might get offended.
That is why some arsehole bloke your mate knows, but you don't know of course, but you heard about, and can come in for 50 quid, might be able to help you out, kind of thing.
I saved many sessions where people had spent silly money on vanity projects, and yet everyone was getting too well paid (read getting by) to mention anything. At the end of it all, you dig out the master tape and you are king. Really, I suppose, you are a mixer by this point, or rather re-mixer. No, mixer. Fixer.
And you still have 3/4 personalities behind you breathing down your neck, not to mention the guy that is giving you the 50 quid later if you are lucky.
On a good day/night, it works. And everyone is happy and you are the hero. For 50 bucks remember? But the money has been spent, and if you don't make it good, then you get to be the fall guy, and everyone cuts their losses. It's studio politics.
I know some very mediocre audio engineers that made, maybe not a living, but some kind of getting by thing, for a good while, going in and out of local studios when needed.
I even had a mate who made a go of it in North London, recording and rehearsal space.
I'm really not a very good business man.