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If your project succeeds, the profits you make go back to them and you get a small percentage of what is made. If you can't pay, they own you and future rights.or they can take you to court, whatever. Why? Advances are basically loans.if your album doesn't sell, you OWE that money back to them-they don't lose a dime. In fact, we all laughed in their faces and told them to take a hike. My band, SPECTRE, was offered a $100,000 advance several years ago-if we were newbies, we would have been salivating, ready to sign-but we weren't, so we didn't. There have been so many labels and agencies that have depending on robbing from the newbies, taking advantage of those looking for their break and left them broke-beyond ruthless. And when it's time to sell (thanks to the BradLyons wrote:As to the labels facing tough times-in many ways, most of them deserve it. So now, artists invest their own money or have investors behind them that fund the studios or projects. Because of this, many decisions (such as the studios, mixing decisions, etc are decided BY the labels). BUT here's the kicker-that advance was meant to pay the cost of the production, sooooo your income is derived from where if you're the new kid on the block? It doesn't, unless you do more albums after you're known. If they don't do it, they go away.Īs to the labels facing tough times-in many ways, most of them deserve it. This is why you see companies like SSL and Euphonix diving into outboard processing gear, smaller control surfaces, etc. The industry has changed, and they know it. WHILE this is all going on, they are recording local musicians at a fair rate.the investor pays for the gear which one album pays for, then they (the artists) make additional money recording other groups. The artist stays in his home studio writing and recording, getting the tracks down-then hires out an engineer to come in (or sends their tracks to someone like myself) to mix them. THe investors pay for the new gear instead of the rented studio and engineer. I have designed a system for him that is EVERYTHING he needs for about $55,000. It's cheaper to do it this way, way cheaper.įor example, a particular client of mine who is a John Denver tribute artist did his last album in Nashville at a cost of about $85,000 in studio time. More and more artists are hiring their own engineers or learning to do it on their own, and doing quite well at it. Either way, the artists can focus more on quality at their pace instead of under the gun to record, mix and get out. Another method is still do it themselves, but instead of record labels going through distributors and control everything themselves. What happens is they buy the gear with their advance or investment, record the material at their own pace without being on a "per hour" clock, get it the way they want it-and bill the label.
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#Allaire studios new york professional#
I configure systems daily for home studios, professional studios and professional home studios.
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Some artists want that large studio where the label is flipping the bill, but what was said about artist home studios IS true. Why? The days of the LARGE format consoles are gone- you don't need them anymore. This is a common issue and will continue to happen.
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