Comments on: Advise on getting rid of hums in the studio http://www.prosoundblog.com/2005/11/15/advise-on-getting-rid-of-hums-in-the-studio/ Rants of a professional drummer and recording engineer. Sun, 05 Feb 2012 18:40:47 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: mediaguru http://www.prosoundblog.com/2005/11/15/advise-on-getting-rid-of-hums-in-the-studio/comment-page-1/#comment-117 mediaguru Thu, 17 Nov 2005 12:43:00 +0000 http://prosoundblog.com/?p=184#comment-117 There have been many times where a client of mine said "man you must have spent $20,000 in equipment." Then inform them I had $30,000 in cable, not including each end of each cable at $4.00 each. There have been many times where a client of mine said “man you must have spent $20,000 in equipment.” Then inform them I had $30,000 in cable, not including each end of each cable at $4.00 each.

]]> By: NickBenn http://www.prosoundblog.com/2005/11/15/advise-on-getting-rid-of-hums-in-the-studio/comment-page-1/#comment-116 NickBenn Thu, 17 Nov 2005 07:16:00 +0000 http://prosoundblog.com/?p=184#comment-116 I'm convinced that one of the biggest hidden costs in a studio is decent cable. (I'm sure pros are used to that, but to those of us with home/project studios, that can be a big surprise at first.)<BR/><BR/>A few years ago, Hustickerdu and I, with another bandmate of ours, toured an awesome studio in Albuquerque. (The guy who runs the studio has a <B>really</B> rich father, who's underwritten many money-losing business ventures for his sons, and I'm sure the studio is no exception; there's no way - in Albuquerque, anyway - that they could charge high-enough rates, and book enough business, to pay off the investment in this place.)<BR/><BR/>Anyway, while we're walking around, checking out the 100-foot long echo "alley" (which they use for re-recording tracked material, to get a more natural reverb), and the sliding walls filled with sand, and the orchestra-size recording rooms, the owner has to keep reminding us not to step on the few visible cable runs - all of some space-age, vacuum-sealed, magical cable.<BR/><BR/>Sheesh. All I want is something a couple of steps up from Hosa, for crying out loud.<BR/><BR/>(On the plus side - for me - I've managed to take a little business from that studio, by being <B>much</B> cheaper for recording and editing voiceover work for Flash-based training material. The studio guys would basically give that work to an intern, with predictably bad results, but their rates reflected the sunk cost in the studio.) I’m convinced that one of the biggest hidden costs in a studio is decent cable. (I’m sure pros are used to that, but to those of us with home/project studios, that can be a big surprise at first.)

A few years ago, Hustickerdu and I, with another bandmate of ours, toured an awesome studio in Albuquerque. (The guy who runs the studio has a really rich father, who’s underwritten many money-losing business ventures for his sons, and I’m sure the studio is no exception; there’s no way – in Albuquerque, anyway – that they could charge high-enough rates, and book enough business, to pay off the investment in this place.)

Anyway, while we’re walking around, checking out the 100-foot long echo “alley” (which they use for re-recording tracked material, to get a more natural reverb), and the sliding walls filled with sand, and the orchestra-size recording rooms, the owner has to keep reminding us not to step on the few visible cable runs – all of some space-age, vacuum-sealed, magical cable.

Sheesh. All I want is something a couple of steps up from Hosa, for crying out loud.

(On the plus side – for me – I’ve managed to take a little business from that studio, by being much cheaper for recording and editing voiceover work for Flash-based training material. The studio guys would basically give that work to an intern, with predictably bad results, but their rates reflected the sunk cost in the studio.)

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