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Attracting the Mix: Music Producers and Audio Engineers
All of us who currently own or have previously owned recording facilities can usually agree about which studios are on the “A” list for mixing the project. Mixing is generally considered the most important phase of a project and sometimes commands up to 40 percent of the project budget. It is generally done at a different studio than the one used for the recording of the project. The top contenders for mixing are the studios with the latest and most widely sought-after equipment, location, creative environment, bright staff, and let's not forget that all important Client List.
It's common knowledge that anyone can buy equipment and build a room to put it in, but very few studios are famous enough to become “household words.” What is it that makes the difference? What attracts the top creative producers/directors and audio engineers to a particular facility?
A simple answer is the Client List. Who has worked there? Who is working there now? What percentage of the top ten albums or television music this week was done there? Winners go where winners work. They attract each other, because an audio engineer's and music producer/director's fees and royalty percentage (points) from the project they are working on are based on their ability to creatively generate the hits. “Fine,” you say, “but how do I get to be one of those studios?”
Answer: primarily by word of mouth. Our industry is one giant “little old lady” who leans over her back fence to spread the word about what is going on in our industry. It is amazing how quickly the good or bad word travels about anything exciting. I have actually returned from lunch and found a message waiting from a client or competitor asking me why I was talking to a particular person in a certain restaurant—and the person inquiring was not even there. They had received a call from another industry blabbermouth who had seen me talking to a big client with whom they had a “close” relationship and were trying to find out what I was up to.
Let's assume that your studio is in a good location, with exceptional equipment, a very acceptable acoustic design, and a comfortable environment with all the required amenities. But, you don't have any hits on the charts, and you have never been nominated for any music award of any kind. What are the secrets for putting the right spin on your facility? Spread the word, have your staff talk up your facility, and hire a PR person to tell the world about your facility. That is the only way your potential clients will hear about what projects you are working on and which luminaries are working in your studio.
EDUCATE YOURSELF
Find out what projects currently in production could fit the M.O. of your facility. How to find out? From music trade publications and their seminars and charity events, A&R or project administrators, other studio owners, audio engineers, artists, producers, directors, and managers. As my partner used to say, “You got to hang out!” in order to win. You must develop an industry network of peers to find out what the demand is for your particular services. Join some of the audio trade organizations (NARAS, MPGA, SPARS, AES, and so on) and attend the meetings. Determine whom you need to know. Then, establish one-on-one relationships with them in any way you can. Figure out what you need to give them to get their business. Then they just might choose your facility over others. Your winning personality has a great deal to do with the outcome.
GIVE AND TAKE
You got to give to get. Focus on a project and determine the point person (engineer, producer, director, corporate client, or creative artist) who is responsible for the decision of which studio will be chosen for the mix. Use your industry network to find out what kind of equipment and studio environment this client likes best. I've always found that you can exchange “secrets” and usually find out the information you need to know by giving other industry information to your source in return.
BOTTOM LINE
Before approaching your contact for the gig, get in touch with the person responsible for the budget. How much do they have set aside for mixing? Where do they usually record? When will they be ready to mix the project? Does your contact know who can introduce you to them, or someone who might be able to influence their decision as to “where” to mix? What kind of variable project pricing are you going to be able to offer them during the time that they might need? Also, do you have the studio time available during the time they want to work, or can you move projects that are already booked into your facility to accommodate their time frame?
SUPPLY AND DEMAND
Once you've done your homework, the contest begins. Remember the part that the recording studio plays in the mixing of the project and what the possible motivations are to attract the top mixers. We all know who these talented guys and gals are or can easily find out by looking at credits associated with successful productions. What do they have in common? They are often eccentric and usually demanding. What are their personal quirks, and how well can you satisfy them? If it is a particular brand of English tea served in a china pot at 3 AM, then do it! Once they see that you really care, they will have a higher expectation of staying at your facility. One-on-one personal treatment is the most successful answer.
Some of them do it themselves. They build the studio of their dreams and are out of circulation for all but a very few projects. Don't waste your time. These guys have already established their sources and backups. The best you can hope to accomplish with these specialists is to be very friendly with them and get them to say nice things about your facility when asked.
Others like to move around. They carry their own outboard racks and monitors. They only work in rooms with a certain brand and model of recording console, will only mix on their own speakers, and can turn out that hit mix anywhere on the globe that meets their specifications. This group is very self-sufficient but needs your technical staff to electronically interface their exotic equipment with your control room—quickly and effortlessly. They are never at fault. It is always your problem or something wrong with your studio that has brought about any bad situation that might occur.
WHAT TO DO?
If they don't like your room, they will usually offer to rebuild it at your expense. Now, here's someone you might get to try out your room—for free! This is a challenge. If you give them everything you have heard they want, they just might give you a chance to show them that your studio has “got the goods” to make them confident and comfortable. The final test after they have had a trial session in your studio is how the recorded material from that session sounds on their speakers. They will listen in their car or other familiar setting that they use to be certain there is no “acoustical shading” caused by your room design or equipment. If you get past this test, you may have found yourself a new client.
A FEW HEADACHES
Many mixers, however, simply establish their favorite places to mix in various parts of the world. Most of them will only consider a new location if they have heard from peers whom they trust that it is spectacular. “Pure comfort—it feels good!” The latest gear. No hassles, no breakdowns, no interruptions, and instant gratification for any request that they subjectively determine is reasonable. But if you get one of them to say yours is a great studio, the rest will come. Count on it.
FIVE-STAR STUDIOS
Like a great hotel, a great studio is a mixture of look, feel, great people, reputation (aka “The Vibe”), and the charisma created by a history of successful recordings. To create this type of successful facility is almost like finding the lost chord. It is a matter of balance and understanding that leads to facility reputation. To maintain it is the ongoing challenge to which most successful studio owners become addicted. I've given you some tips, but there is still that sixth sense. What feels right and what will keep the clients happy?
At Record Plant, we used to say: “Give the client everything they need and want. Allow them no excuse for not making the best music they have ever made. If you accomplish this, it is very difficult for them to complain.” If you're lucky, you'll know it when you get there. You will quickly learn how to stay among those few studios the winning creative teams believe in and trust to be the best in your creative business niche. Give it a try.