When clients complain, what didn't do the job, was it the engineer, the tools, the producer, or the artist?
It is a huge dilemma for us studio people. Whenever a new issue of Mix Magazine or some online publication glorifies some new interface, mic, or piece of hardware, we studio owners drool. But afterwhich, we ask three questions. 1. Can we afford it? 2. Can we get it locally for 'warranty purposes'? 3. Will it attract more clients, hence make us break even, or profit from it?
It is not a joke to stay afloat in the world of recording studios, whether you're talking high end, mid-end, low-end or even ghetto-style. Each component you invest in the studio must have a substantial effect on the record process, but at the same time, we don't want clients to be charged exuberantly for the stuff we purchase. If a studio charges say, P1,200.00/hour, can the clients appreciate the presence of a Neumann U67 and an SSL preamp to justify the price? While most professional ears can hear the difference between high end, midrange and cheap gear, apparently, this is not what most clients pay for. Clients pay for results and comfort, and for these two factors, you have different price points to cater to those needs. And sadly, in the local setting, it was not always about competence in production, but more of necessity and achieving a bare minimum for your mix to go on air.
I really pity a lot of sound engineers. You don't know how much these people miss their families while they tweak on a mix or work on a project til the wee hours. As engineers work on your band's CD, they work 100% of the time while the vocalist is waiting for his turn to track. You warm yourself up, while the engineer is already struggling against lack of sleep. The sad part is, they get the blame for the artists' lack of creativity or blandness of arrangement. Producers in the local setting care more about profit than creativity, so that means less time in the studio. It is like trying to make full stomach out of a value meal.
While artists, in most cases want a good grasp of their craft from the record engineer's perspective, remember that engineers can only do so much. They are paid to hit record, edit, and capture whatever crap comes in to the mics. Whatever sounds are heard in the studio is a product of the source, and the engineer is paid just to capture that. Crap source = crap recording, crap settings = crap recording. Plain and simple.
The biggest dilemma I see in investing in a recording studio is simple = Pinoys want a Porsche but at the price of a Corolla.