discussion on client base.

[DeuceyBaby]

I'm a young but knowledgeable assistant engineer at a mid level pro studio in west Brooklyn (park slope). we record both to tape and pro tools, with 1 decent size live room, 1 vocal booth/amplifier room, 1 control room with a separate midi/composer studio, lounge and bar,we have a pretty good/stable client base with a rate of $75 an hour. our booking manager said if I were to do my own sessions during after hours, they would only charge me a 35 an hour cut for studio rent ($25 before noon) so I can go for maybe $55 with flexibility at my own discretion, and take home a little side money. it would also garner some respect from my senior engineer if they see me run my own sessions well, and make a good name for the studio staff.

 

so whats the best way to get new clients without undercutting my mentors base? In fact I am a little scared to ask him this question myself. he has taught me an amazing amount of techniques as is, and I don't want to bother him with the notion that I am preparing to 'overthrow' him or anything like that. Most of our client base already knows I am experienced enough about electronic equipment, signal processing and acoustics to make good microphone decisions and edit/mix a session well, and I also make beats for techno/hip-hop/pop artists, which can serve as a lure for potential clients. I go to some shows around new york city and met some pretty great musicians, but the majority of them already have a set producer they prefer to work with at another studio, and the rest are flaky bastards who trade business cards and never pick up the phone. im a little reluctant to 'promote' myself on the internet, for obvious reasons. I really want to take advantage of this offer I have, and help some musicians make good music in a great sounding studio for cheap. what method can I use to hook up with more artists? I have pretty good client base for beats, but most of them have little home setups that they work off of.

 

anyone?

[DontLetMeDrown]

Not knowing the specific details of your situation, I have to figure you are supposed to undercut them. That is how it it is at most studios: for the top dog they pay the most, next guy a little less, or they can work with the new guy at the cheapest rate.

[scarecrowbob]

If you are lucky enough to have a mentor, then that would be the best place to seek advice. Just be honest and ask questions and remember that a rising tide floats all boats.

[CN Fletcher]

 

I go to some shows around new york city and met some pretty great musicians, but the majority of them already have a set producer they prefer to work with at another studio, and the rest are flaky bastards who trade business cards and never pick up the phone.

 

 

Keep at it.

 

When you're not working hang out in the "musician bars"... expand your horizons from Park Slope to Williamsburg and Bushwick [Red Hook was good but now they've chased all but the best "successful" musicians away].

 

You're going to end up with "baby bands" but from there you can begin to find a following. ALSO [in capitals because it is VERY IMPORTANT]... DO NOT let them rush you!!!!

 

Anyone who is recording for $35/hr. [+ you] is strapped for cash and will want to work quickly... which means they'll want to cut corners. As you learn more you will have the ability to work faster, but at this point you don't. Work as quickly as you can, BUT make sure that EVERY sound you record is a "quality" sound that supports the musical statement.

 

Train your ears!!! You do this through actually sitting in the chair and learning what does and what don't work via experience of making them all fit together.

 

The MOST IMPORTANT thing you can learn [and I'm sure your mentor will concur on this point] is to Always Be Mixing!!! In other words make sure that every sound works in "context" with all the other sounds in order to minimize the decision process when you actually get to the mix phase of the project. The less you have to do in terms of "resurrective" engineering of the sounds in the mix the more you can focus on the creative.

 

You're going to get a ton of {censored} work with {censored} players for the next few years... but some of the players will be good and go on to have a "career". Those are the players you need to develop as "your clients". Stay in contact with them [Facebook is a wonderful tool I wish I had when I was starting to build a client base]... foster relationships... and after a few years you'll be one of those guys who has a "client base" that some snot nosed kid like yourself will be trying to chip away at.

 

Go to gigs... but NEVER hit on your mentor's clients. In a year or so, after you've brought in some projects talk to your mentor about cutting some overdubs on his projects... get feedback from your mentor about what he hears in your work... listen, learn, always keep a positive attitude no matter what hits the fan. Try everything!!!!! [which also helps to avoid "studio arguments"] but make sure you stick to your guns about not letting them push you into doing sub-standard work.

 

At the end of the day your job is to be "upper mediocre" at all times... competent always, genius on occasion and NEVER suck.

 

Best of luck with it!!

 

Peace.

[DeuceyBaby]

You're going to end up with "baby bands"

 

That's quite fine. I don't want to be star struck, I really just want to help young artists who are strapped for cash record in a great sounding studio, Which will probably endear me to them as they garner more success.

 

Thanks though!