Pro Audio Review - June 2008 - (Page 44) STUDIO | X-Audio By Strother Bullins Acoustics, Art, and Business At Home t is not news that home-based studios LIFESTYLES OF THE RICH (AND NOnow dominate the business of pro SO RICH) AND FAMOUS (AND NOT-SO audio. Yet, on a regular basis, I find FAMOUS) Our industry’s many tracking to mixing myself surprised and impressed by the large percentage of residential record- (and, often, mastering) businesses are generally ing rigs used to record commercially owned by one pro who works full time as a prosuccessful and/or especially notable singles ducer of audio content. As such, their facilities do not have to be elaborate, as they exist to serve in this, the late 00s. Why should I be surprised? Since I was the needs of one primary user, themselves. Most a wee pro audio type, I was encouraged to of these production spaces are in residential believe that a proper recording environment (on pricey commercial property) combined with all the correct and incredibly esoteric choices in gear comprised truly great albums and singles. Yet today, late in the new millennium, such an audio production mindset is largely sentimental, progressively wrong and, at worst, stings of elitism. Interestingly enough, the task of compiling the monthly PAR column ‘Single Slice’ has been my continued education in the possibilities of audio production excellence in the home, or what BUT DON’T BE A TREE is primarily residential space. FALLING IN THE FOREST My ‘teachers’ are each and For all the gas you can save as every producer, engineer, mixer, a home-based audio pro in 2008, or mastering engineer that I getting yourself out to local gigs interview regarding his or her should be even easier. That’s own work. Appropriately, Daughtry's self-titled debut featuring the hit single 'Home' where you’ll find your peers as More and more, these profesfeatures Pro Tools editing work largely done at the home of prolific, well as new gigs and become sionals are working in their own commercially-successful producer Howard Benson. more familiar with local talent home facilities, if not for most of while enjoying some live music. the project, for a substantial part of it. Yes, they often work in the largest rooms — alongside, underneath, or over typi- Along with being present in the local and loveliest commercial studios, too — cal living space where owners live, eat, sleep, music scene, attending pro audio conventions as well as state, city/metro, and colbut even the biggest major label budgets and pay bills … even raise kids and pets. Our growing community of ‘home legiate-sponsored musical events (many of can’t squelch the appeal of, for instance, doing vocal ODs, or at least their subse- pros’ create their own creative and capi- which are free to attend) are also good quent edits, at home in boxer shorts. For talistic synergy in their non-traditional, ways to keep up with the aural happenings example, could producer Howard Benson ‘post-storefront’ world. In essence, this (and production possibilities) around you. Finally, don’t forget to try to play in a have edited Chris Daughtry’s vocal tracks new biz model allows the rich and the anywhere [‘Single Slice,’ PAR March not-so rich, and the famous and the not-so band yourself, or at least work directly with 2007]? Sure. But he chose to do a great famous to comfortably coexist within this performing musicians, as ‘actually doing it’ deal of that work at home. (No idea about dramatically broadening ‘singles’ audio is the most direct way to encourage continued artistic production. market of ours. the boxer shorts scenario — I didn’t ask.) IT JUST MAKES SENSE If 2008 is good for anything so far, it is the best year ever to work as an audio pro from home. Here in America, last time I filled up my car with fuel, it cost me nearly $4 a gallon. Conversely, high-speed Internet for a month costs the same as my full tank of gas (and I drive a small car). Further, cheap national and international phone plans abound. I can even buy new, cool audio gear for my rig without waiting for, or paying for, physical shipping (i.e. plug-in direct downloads)! Then, of course, there are the alluring tax benefits for homeowners who have a ‘home office’ (which is all I will say here as, personally speaking, quarterly payments to the IRS is more than plenty of involvement with this particular government agency). So where do you really need to go to be a pro in 2008? Possibly nowhere. If my personal habitat is conducive to live instrument tracking, other artists and musicians will visit so I can record and produce them. In turn, I can reach out, too. For instance, I can roll a modest location rig to live gigs and particularly desirable acoustic environments where musicians do their thing … and then roll back home to work on the tracks. If my home spot is conducive to mixing or mastering, and I have the skills, clients can provide their tracks via FTP; in turn, I provide complete mixes and masters to them … all without burning a single ounce of gasoline. 44 | ProAudio Review | June 2008 www.proaudioreview.com http://www.proaudioreview.com
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