The Superficial importance of a studio's image

[DavidATX]

Alright...so everyone knows that quality of your recordings draws people into your "commercial" studio usually...but I often think (know) that when a band that hasn't heard much of what you have done or any at all comes to do a studio tour...their impressions of what a studio should look like plays a role in if they choose you or not. I am not saying its the biggest factor at all...but a lot of wannabee rock stars have this impression that a studio is supposed to look like the pictures they see in all those guitar magazines that get off to.

I am just wondering if anyone agrees with me? My studio, set in an old limestone house from the 1920's is not exactly built out like many of the larger studios I worked at before owning this studio. Also, because of my limited budget for outboard gear there isn't as many blinking lights for the prospective client to oooh and ahhh at.

And I know some of yall will say, well, forget those that just look around and go off what they see rather than what they hear in choosing (or not) your studio. That is great, except I need those "filler" sessions to pay the overhead.

Do yall run into this problem? Should I do something about it? Mind you, I dont have the money for leather couches hahaha

[Moon Unit]

Alright . . . this is how you do it:

If you live in a big market, then chances are there will be at least a few studios that you can rent out and freelance at . . . and chances are at least one of them will look impressive enough.

Have prospective clients meet up with you at that studio . . . quote them your hourly rate for engineering plus studio rental.

Wait for them to squirm at the price . . . then tell them: "BUT if you're looking to save some $$$ cash money, then I ALSO have my personal studio," and quote them your (lower) rate there. This will implant in their head the idea of "fancy looking studio = more $$$."

If you're lucky, they just might take you up on the offer of working at the rental studio. Then you can work your way in to the ranks of the "freelancer" . . . whooooooo! And if not, they'll probably be much more receptive to working with you in your home studio, since they can save so much money, and because they have that mental image of you at that fancy studio, they'll think you're hot shit.

[Mr. Dipity]

If you're lucky, they just might take you up on the offer of working at the rental studio. Then you can work your way in to the ranks of the "freelancer" . . . whooooooo! And if not, they'll probably be much more receptive to working with you in your home studio, since they can save so much money, and because they have that mental image of you at that fancy studio, they'll think you're hot shit.

Moon Unit, has anyone told you, you are a sneaky bastard?

[I'm Painting Again]

thats a great tactic..

[DavidATX]

Haha, that is pretty funny and smart. Only hole in the plan is most either call or e-mail first...and want to know rates right then and there to see if they can even afford it...I guess you could dodge that question like a politician...but they are usually demanding.

[Moon Unit]

It's only sneaky / dishonest if you advertise yourself as a "studio."

It's totally legit if you advertise yourself as an Engineer. Better yet an Engineer "with a studio."

. . . or several. Hell, if someone calls and wants to see "your studio" or wants pricing on "your studio," ask them:

"Which one? Would you like to see my Personal studio where I can save you some money? Or would you like to check out one of the studios where I freelance?"

Use their budget as a guide. If they're destitute, then be upfront with them that your personal studio is nothing fancy to look at, but that you can save them a ton of money if they're willing to make that tradeoff.

Mind you, I've never actually tried this method, but I will, and I'll let you know how it works.

[DavidATX]

Haha, definitely let us know how it goes...

But this is kind of getting away from my original thoughts. It has more to do with what people perceive as what a studio should look like...and the backlash received for not being that.

thoughts?

[Mr. Dipity]

It's only sneaky / dishonest if you advertise yourself as a "studio."

I'm not disagreeing. It's a good way to position yourself, and not dishonest at all.

Mind you, I've never actually tried this method, but I will, and I'll let you know how it works.

Probably the first thing to do is to network with 'hi-faluting' studios and find one whose's owner you get on with and is willing to work with you. After all, they will be giving the studio tour that will initially sell you to the client.

[OM15.2]

Haha, definitely let us know how it goes...

But this is kind of getting away from my original thoughts. It has more to do with what people perceive as what a studio should look like...and the backlash received for not being that.

thoughts?

first up although most of us would maybe think we don't make superficial judgements there's that saying "dress for the job you want to have, not the one you've already got." It IS shallow and superficial but unfortunately people are swayed by style over substance and everyone does it to one degree or another.

However, second point, a studio choice can be very subjective can't it? It's really making art (or something), it's all about the vibe. If you have a lovely room, can play me fantastic examples of your work (in my genre), and you're a bloke I can get along with then personally I'd prefer to record in your 1920's limestone house than some superslick commercial studio where I don't feel comfortable. That's just me everyone is different.

What you need, besides a nice tidy professional place & the points mentioned above, is something unique that sets your place apart and makes people want to record there, it doesn't have to be 'commercial' or have lots of expensive gear. Last time I recorded we did it with a guy just starting out who had rented rooms in an old magistrates court... still set up as a magistrates court!. Had the jury section, judges bench, place where the accused sat - plus he had these life sized cut outs of dolly Parton & other famous people in the public viewing area, It was just totally crazy and messed up but we couldn't not record there once we'd seen it. (plus there was a GREAT pub down the road)

Point is bands/artists often make these decision for the strangest reasons, as long as you've got the basics covered you just need something compelling and unique to set you apart (& that can be just about anything...)

[bigtoe]

"I am just wondering if anyone agrees with me?"

yes...i mean a lot of musicians don't know this from that so they go on what they think is important: analog tape, 414's, ribbon mics, compressors, protools...

me? i personally can't stand something totally messy and disorganized- i think it reflects on how the session will go. if i were someone looking for a studio i'd check for dust and see how they document their sessions as a starting point.

all it takes is one bad experience in the studios that rely on racks of vu's and not service to totally change a client for life though.

Mike

[cgarges]

I think in a lot of situations, that's totally the case. And perception can mean a couple of different things. You and I know that a session done on a 32-input API is probably gonna be easier to get to sound really great than one done on a 72-input Allen & Heath, but the 12-foot wide console is gonna make a bigger impression on clients who don't know anything about the technicalities. Whenever I have a new client at a studio, I try to make sure that there's a U87 on a big boom stand in the corner of the studio if the studio's got one. I don't use a U87 that often, but there's something about seeing one on a stand somewhere that legitimizes a studio because even people who don't know have seen that mic in so many videos and "Behind The Music" episodes and stuff.

I also agree with Mike's comment about a studio looking neat. Of course, it is possible to make your studio look busy by not having EVERYTHING put away and neat. Again, how much studio experience your client has can be a big factor. A studio that looks busy when they come to check the place out might be a plus for certain people. The other side of that, is that a studio that looks cluttered is generally not too cool. Like, not dusting or taking out the trash doesn't really make a place look busy. but having recall sheets or track sheets or take sheets out might.

Chris Garges
Charlotte, NC

[superluminalmagus]

With minimal investment, you could put some knobs and LEDs in a rackmount box. Get a few racks full of this potemkinesque stuff to fool the clueless.

[JGriffin]

With minimal investment, you could put some knobs and LEDs in a rackmount box. Get a few racks full of this potemkinesque stuff to fool the clueless.

Once again, funklogic.com to the rescue!

[DavidATX]

Haha, that one is good too. On a similar note, after doing this for 7 years or so...I have always wanted to make the faceplate of a piece of geat with a HUGE knob that needs to be turned with two hands...above it it says "SUCK" and goes from 0 to 10. Whenever a band member has some dumb ass comment or idea...I say "Sure, do me a favor and go over and turn that knob from 0 to 7." hahaha.

[djimbe]

What I cna't believe is the number of people who want to book time without a tour. We don't do lotsa business, but about 1/2 come by for the first time on the first day of their session. Much better when people stop by early and get an idea of where they'll be working. There's been a few "Oh...you don't have one of THOSE?" but very few, and most seem taken with the "living room chic" vibe we try to instill. I try to explain that we built the place for us to work in and we fell most comfortable and productive with current arrangement, and also illustrate how the setup promotes the sounds they've heard on material that was done at our space. Always seems to put new people more at ease with what they see...