If you’ve just joined us…
We’ve been talking about what a good AD (Acoustical Designer) brings to your project.
I’m really surprised, but The Man Cave has become something of a “sensation.” In a little under a month, I’ve gotten over 20,000 “reads” from places all over the planet, people just like you and I who are really interested in debunking all the myths that surrounds that hallowed land… “The Recording Studio.”
I’ve heard from musicians, techs, engineers, producers, designers, and Pro Music Hardware manufacturers.
I’ve even heard from a few different Cable TV networks, that want to get in on the act, and bring film crews out. I suspect that in part, it’s due to the “concept” behind this farm-oriented studio build. My build is pretty GREEN, as green goes. In fact, there are some who refer to it as the “Green Studio on Steroids.” But I can live with that… if I’m doing an old thing in a new way, I’m okay with it.
It’s about learning what works, without hemorrhaging money…
Here’s the deal;
We all want to record, but we all don’t have the means. Part of my adventure here at The Man Cave, is to travel down that path, and try to avoid those forks in the road that dead end into a confrontation with a “Big Bad Wolf” who wants to take all your dough!
So… this time, we’re gonna talk some more about what you need to make sure you do, to insure that the two of you not only get along, but achieve success!
- First, think about your studio needs and goals.
- Get an idea of the different spaces your project needs.
- Define the activities that will take place in these spaces.
- Nail down the dimensions that you need in these spaces.
- Figure out what you can live with, and without.
This was one of the hardest parts for me. It’s one thing to walk into somebody else’s million dollar room, it’s another to try and duplicate it, on a “french fry” budget.
Once you have the answers to all of these questions, then…
- Define your budget. And after you do that…
- Determine when you have to be operational.
I already had a building (3 in fact) but if you are looking for a new building, it’s a good idea to get your designer’s opinion before you make your move.
There are many things you may not think of that are necessary for a recording studio, such as adequate ceiling height to accommodate acoustical isolation, just to name one. If I’d had this talk with my designer before I started, I probably would have given up already.
9′ ceilings aren’t exactly coveted when building a “live space” that needs to breathe. And that’s exactly what I had, plus or minus a few inches.
- Figure out how you’re going to pay for everything.
It’s important to realize from day one that your budget will probably double, before you’re through.
Construction is not inexpensive, and you have to approach it like you were sneaking up on a sleeping bear.
Be respectful and don’t do anything rash, or you’re gonna get bit! I went in, thinking I had enough cash, but within weeks, it had doubled. By the time we get through, it will probably have tripled. And, I’ll be lucky if that’s as far as it goes.
- You have to have a good team!
Just like hit songs, the best studios are created when everybody works together, contributing 110% of their strengths. Your relationship with your designer is just like that. The client and the designer must work “together.” Every general knows that the key to good leadership is delegating responsibility, but don’t delegate decisions unless you really trust the person you’ve given authority to.
- Take an active role.
Recording Studios are like wombs. It’s a building designed to “give birth.” And, designing that building can be very satisfying and positive, but is also really hard work. If at any time you are uncomfortable with the design process, you owe it to yourself to communicate your concerns to the designer.
I talked to some of the most talented guys in the field. But, some of them were really, really egotistical guys.
(For me to say that is saying a lot, because I can be pretty difficult to deal with, myself.)
There were guys who almost immediately let me know that whatever they built would be a “monument to them.”
I don’t care if you’re the hottest thing to ever hit L.A. Talk to me like that, and all I’m gonna think is;
“Wrong Answer! Meet your new best friend, the dial tone!”
- Don’t EVER let the designer control the design of the studio to the point that it is no longer yours!
If you do, you’ll regret it. The key is finding that right “vibe,” that guy who knows just what notes to hit, to make sure that he’s in perfect harmony with you. Just like you, at his “thing,” he’s the artist. And, he’s a real creative guy, or you wouldn’t have hired him. So don’t restrict him so much that you are not getting the advantage of his full creative potential.
- I know… I’m a Jew… but get it in writing!!
Get to know the designer you’re hiring, and then… it’s important to have a written agreement. This agreement, or contract, should include the following things;
- The scope of work,
- The services to be rendered,
- The design and build schedules,
- The construction budget,
- THE ESCROW PROCESS, and most importantly…
- The Designer’s compensation.
Let’s face it, having a contract is important, not just for the designer’s protection, but also for yours. In fact, in almost every state in the union, it is illegal for an architect or general contractor to work on a project without a contract.
If he says your handshake is good enough, call a cop. He’s a crook trying to steal your money.
So there you have it. Everything I know about this, so far…
As you can see, Lexx’s “bucket ‘o’ knowledge” is pretty damned near empty, when it comes to stuff like this.
Stay tuned, as we try and figure out how to fill it with something besides the B.S. that some of those sales reps have been feeding us!
