can you still make recording/mastering money when every kid has some DAW at home?

Yeah but....

Everybody has a lappy in their bedroom, but..... knowing how to write good songs is a whole different matter, as is having the expertise to mix and master to professional standards. 

I believe it is an art to master and mix, just as playing an instrument is an art and takes time to learn and become good, so too with mastering. 

Those who take the time to learn this art will stand above their peers and the average mix. 

you know kids if they have an interest in something they soon will pick up mastering nd knowing when something sounds right!

 
I agree, because kids get into something and they have the time and energy to put thousands of hours into it. This will all turn out good. I think there is probably a short window in time right now for even more teachers like Garrigus, Anderton, and Groove3. There is big money on the table for those with the knowledge and the vision to put it together.. but it won't last long.
 
Full Sail and other expensive schools were and are geared toward a carrer in the music industry (the jobs aren't there right now)... teaching the DAW and mastering is where it is at right now. Someone who can come up with the next step above what is being done already can become wealthy. Guitar center is doing classes on Garageband. They see it but there is more and better to come.
 
J

bitflipper


Once everybody can do it, that's it, there is no more profession. That's why prostitution no longer exists as an industry.

you know it's really hard to find a really good one, in Spain they're probably the best still
but you have to search well.  If anybody can do some thing mediocrity is common.

I would think a large part of what's out there today wouldn't be distributed if not for home studios. Lots of those artists probably couldn't afford studio time and/or the label only signed them because production didn't really cost much. I don't think they represent a loss of benefit for big studios, at least, for the biggest part. They're a minimum risk investment for distributors, or self-distributed.

Plus, our standards sort of met halfway - digital allows you to get good sounding material recorded at home BUT the production values really went down the toilet. 

I guess there's a reason why the big boys making a living out of this and owning their own studio still hire engineers and producers. 

Being given the opportunity to hire a real producer, I'm not sure how many of all the self-produced artists would prefer to do it themselves.

Internet and these forums sort of twist our perception, in that, we're all so passionate about it. But the people I meet out there who are into the home studio business aren't a 10th as obsessed and deep into this as a lot of the folks are here. 

I always end up feeling like a total geek because I could probably talk about that stuff for hours, but it's obvious to me that this type of passion isn't all that common, even though everyone owns their little studio. 

While there will always be a "vibrant minority" of aspiring music makers who strive to actually learn both their instruments and their production tools and attempt to utilize both to their full potential, IMHO it is self-evident that really poorly conceived, performed and produced "music" (bless it's heart) has gained not just a toe...but an entire foot and possible ankle hold and is steadily heading "nadward" at a rapid pace.  I am continually baffled by such things as YouTube videos which purport to demonstrate...say the latest compressor or eq...only when the "really killer" track being used as an example starts playing it is out of tune...time...and so laden with "dirt" that making any sort of rational aural judgement on said compressor or eq is rendered moot.  Sorry chillun...but crapola is IN.

kc2ine


...DAW, workstation or both. Pro Tools, Ableton,  Sonar or whatever? 
I guess home studios have grown as mushrooms after rain recently
so why they would want come to your studio? 
They can record by themselves and promote on internet all for free....

Most definitely. The idea is to provide a service as well as knowledge that they don't yet understand. When someone comes to me for the services I offer, they come to me for several reasons. Here's 6 off the top of my head.
 
1. Ears and knowledge: The more you do this stuff with the right attitude and practice habits as well as having good mentors in your corner, the better you get. The ability to hear things the right way as well as fixing problem issues and creating the right sounds for the song is very important. Not every kid that goes to Staples or Sam Ash and buys a program is going to be able to get great sounds out of it like someone that has a real studio.
 
2. Engineer capabilities: When someone asks me to do something for them, they know that it's going to get done to the best of my ability and it will not leave here until we are both satisfied with it. You must also have options that have options that have options with alternatives on the table at all times. There can be no limitations and you must always find a way even if it looks dismal. Knowing what to do, how to react and how to keep a client comfortable based on what you are capable of is extremely important.
 
3. Trust/belief in their engineer: If you can't trust or believe in your engineer, you have no business hiring him. Period. You need to have unconditional trust that this individual will be able to cover all the bases and solve problems in a timely fashion, create something from nothing, always have suggestions, never run out of ideas and he/she is always one step ahead in the process. The trust you give here is the equal to trusting your parents watching your child. You have to believe that the engineer has you at the top of the importance chain and that he/she will do whatever it takes to make you happy within reason. You have to believe that anything can be fixed and that anything can be done without limitations. As grim as some things may look, there is always a way. Stay positive and always be as honest as you can.
 
4. The right gear: Sure, some people can get incredible results out of cheap gear. I've heard it, you've heard it...we've all heard it. However, when you put a person with credibility in a room with all the right stuff, that's where the real magic happens and the quality of the project changes to spectacular. Keep in mind here, you can have the best gear on the planet...if you don't know what you're doing it doesn't matter what you use....it will all still be bad.
 
5. Qualifications/familiarity on your style of music: You'd not go to an engineer that primarily records and mixes rap for a rock project unless you knew for sure this individual could handle it. Knowing how a certain style of music is supposed to sound is important. This also reverts back to #1, ears and knowledge. Always be as honest and up front as possible. If you don't know something about a style, or are not familiar with a style, tell them. If you started the project and find you're stuck on something, buy a little time, tell them you have a few ideas you are going to work on for them for their next visit and contact someone more knowledgeable in this style than you are and question them.
 
6. Mastering: It's simply not needed if you are going to release things for your head that won't be in the public eye...or sold to the public. You can do this yourself and have fun while learning and experimenting. However, if you are releasing for sales and really want to make a great first impression, you need to hire an extra set of ears that knows the deal. The extra ears alone can make or break your project. When I master something for a client, I don't just take their mix and master it. I have a listening session where I listen for errors and report back to them with my findings. They can choose to ignore my advice and we proceed with the mix, or they can fix the stuff until the errors and issues are gone. If it takes us numerous tries to get it right, so be it. When you get done working with me, you'll not only learn something as I will teach you how to fix your mixes (if you take the advice) you will gain trust in me as well as a friend. I have numerous repeat clients just for this service alone because it makes an incredible difference.
 
So to sum it up, yes, a kid with a DAW can do lots of stuff. But when it's time to stop thinking about everything and really concentrate on one thing or a few things instead of EVERYTHING, guys like me are the ones you come to. When you can stop worrying about all the hats you have to wear and allow someone else to focus on the stuff you are not quite as good at, it makes a world of difference and relieves the stress in your world....which in turn will just about ALWAYS make for a better sounding album. :)
 
-Danny

This is a story about a local band, and more to the point, a few musician from that band.... 

A few years back, they won a contest and went from local coffee houses and pizza joints to opening on some big MTV stages for a while. (1 yr maybe)  As part of the deal I think they got a record recorded in a nice studio and enjoyed the (almost-broke) rock star dream for a short time. 

I don't have all the details but now, they are back, the MTV deal is done, they didn't sell enough to get the deal extended and the band I think has broken up. 

Somehow, 2 of them figured this short stint gave them the street cred needed to open a studio to record other bands. I have not heard anything from the studio, and it's been open now for less than a year.  they seem to have invested a fair amount of money into the gear and the building. Wishing them the best.

Studio's here in NC don't tend to last very long. I've seen many of them come and go in the time I've been gigging around the state. Some of them were very well appointed with gear, but making money to keep the doors open and the lights on and the rent paid is another story. 

One studio was a band's hobby studio but they did some small outside work.
Another was a front for bootlegging tapes for the black market. they got busted and the owner spent 5 yrs in federal prison. But before he did the bootlegging, he actually recorded some decent albums for some regional bands. His probation prohibited him from going anywhere near recording gear. 
Another, just 2 miles up the road from me here, also did some really nice local bands recording, but lack of business forced them to close. It's a church now. 

The big houses like in Nashville, NYC & LA that have been in business and have a good reputation will likely continue to operate as long as they handle the business end properly.

They can record by themselves and promote on internet all for free.... 

yeah, but their recordings sound of sh!t !


LOL