Musical Recording Studio
BOP007/November 1999
Market
Recording studios offer complete recording facilities in an acoustically controlled environment. They accommodate any combination of musicians and instruments, up to the physical capacity of the room. They may have rehearsal facilities, although commercial studios usually do not.
Two acoustically separate rooms are used. This is necessary for the engineer to hear the sound from the speakers independently from the natural acoustic sound of the instruments or vocals. The rooms are visually connected with a double glazed window. Musicians perform in the first room and the sound created is picked up by microphone. Equipment is housed and the mixed sound may be heard in the control room, the nerve centre of any recording studio, where all the different sound sources are mixed and controlled. A range of modern technology is important, eg samplers, sequencers and computers. Commercial studios may also have additional rooms like offices, kitchen and recreation areas to create a comfortable and creative environment. A third acoustically separate room may be needed where the recording engineer can check the quality of the recorded sound.
A studio can provide equipment of varying sophistication, eg a multi-track tape recorder can be 4-track, 8-track, 16-track or 24-track and either analogue or digital (analogue can go up to 32 and 64 track). Digital is popular, but many top recording studios still also use analogue multi-track recordings. Indeed, many studios offer analogue 'synced' up to digital: using one track from the analogue multi-track to carry a 'sync' code. Other equipment includes microphones, a loudspeaker system, several pairs of headphones and a headphone amplifier. An ordinary power amplifier can be used, but risks blowing the headphones.
Musical instruments and the services of a freelance producer may be provided, depending upon the size of the studio. If several studios are available, booking requests normally require details of the use to which it will be put, the number of musicians expected, instruments required and what sort of balance the producer wants to hear. Clients may wish to listen to a tape produced by the studio to decide if they are comfortable with the studio's 'sound'. Depending on the size of the business a number of separate studios can be made available offering different recording facilities.
Assuming the studio will be managed on a commercial basis, availability to clients will be at an hourly or daily rate. Recording studios charge upwards of
£35 per hour, £175 per day and £1,800 per week for 24-track digital recording.
An engineer’s fee is usually separate. Tape hire and DAT (Digital Audio Tape) cost will be charged, although some bands may bring their own. Copying can be offered for around £30, depending on the number of copies made, quality,

format, etc. Some 8-
16 track studios will only charge £12-£20 per hour or £90-
£120 per day if their overheads are low. Alternatively, a local studio could be set up as a co-operative or community enterprise. This may be developed in conjunction with the provision of other local arts activities such as drama or video.
Market conditions are subject to change and thorough up to date market research should be carried out before any business decisions are made.
Customers
Clients can include record companies using the studio facilities as a master studio, agencies specialising in commercial jingles, and television production companies. However, the main users are likely to be local contemporary music bands.
Projecting the right image to the target group is essential and the type of customer attracted will have a direct bearing upon equipment costs. Professional bands and large corporate bodies seek a more professional production, require the best facilities, usually from a large residential studio and are prepared to pay higher booking fees. Smaller studios will generally be used by new and amateur bands who need somewhere to rehearse and require 3-track demonstration tapes to send to record companies and venue managers. They will be unable to afford the fees charged where top of the range recording equipment is used, so they provide a market for cheap recording facilities. They tend to be in the younger age group and will need use of facilities at evenings and weekends.
Competition
The market is extremely competitive. At the bottom end, local colleges may offer facilities. Many bands have their own porta-studios as they are cheaper in the long term than studio hire . As the technology becomes cheaper more people are prepared to initiate their own home recordings. At the other end of the market, the major record labels will either have their own top quality recording studios, or hold a deal with a large recording company.
The needs of the region where the studio is located should be considered.
Towns of a million or so people usually have a small single studio, or perhaps two in competition. This is in comparison to the BBC's sixty recording studios in
London alone. The precise location should avoid considerable outside noise, eg airports and be accordingly insulated, especially if in a busy town centre.
Introductory offers like free sessions and discounts should help attract custom initially, although clients are also concerned with factors like warmth, comfort, refreshments and ease of transport. By providing more than just recording facilities, the business may stand a better chance in this competitive market.
Promotion

Reputation is vital; offering a high standard of expertise at reasonable cost will build up a solid customer base. To attract local bands, advertising can be carried out in the local press and directories. Local newspapers may even have their own musicians' column. Relatively cheap and effective advertising can be carried out by distributing stickers, cards and posters to local music and record shops. They may be agreeable to giving further details of the studio when enquires are made. Forming links with and advertising at local music venues can prove beneficial in developing contacts with local music promoters, and provide a way of meeting new bands without a record label or recording contract who need recording facilities. Alternatively, if the studio aims at the national market, advertising in the national music press with its wider circulation, as well as in trade magazines such as 'Music Week', 'Studio Sound' and in pop magazines, would be wise.
Start Up Costs
Location and size will influence the initial expense. Following this, further expenditure is necessary to ensure the premises are adequately soundproofed; an expensive exercise, which could easily match the entire equipment budget.
Outside windows should be triple glazed, internal windows double glazed. Any doors should be replaced with fire doors and the edges sealed as this is a potential sound leakage path. An extractor fan should be fitted for ventilation, though this may require the help of a professional acoustic designer as it could be quite noisy.
Tape and associated items will form most of the running costs, so it is imperative to buy exactly the kind of cassette recommended by the manufacturer. The studio should have at least an 8-track recorder, because although the sound quality of 4-track recorders can be excellent, it is restrictive. A 24-track recorder would be necessary for a professional level. Beginning from scratch, the start up costs are relatively high. A 4track recorder ranges from £270-£1,500, an 8-track from £800-£3,200, a 16 track from £2,200-£7,000 and a 24-track from £4,000-
£9,000. Costs will be higher if digital audio equipment is chosen; digital recorders cost between £650-£11,000. Many analogue multi-track tape recorders are available second-hand, though the equipment should be thoroughly tested before buying. As this equipment is expensive, such an investment makes slow and poor working unacceptable. Each recording should be technically satisfactory with the first take.
A good selection of headphones and microphones is required. For professional use, headphones cost between £90-£220, and microphones £110-£2,200. The better models of microphones, such as a large diaphragm capacitor, are particularly expensive; there are cheaper alternatives, eg classic models of dynamic microphones (ab out £80). However, most bands expect studios to have some specific industry standard microphones for specialist uses, eg an AKG
D112 (always used on bass drums), the Shure sm 57s or sm 58s used on snare drums, toms and for brass sounds.

Further equipment includes a split recording console: this has a complex routing system, essential for multitracking. Samplers can be purchased for £600 up to
£2,800+. Porta-studios cost around £150-£1,000. Cables, stand, multi fx, compressors, noise gate, noise filtered PWR distribution and racking for the above will also be required.
These are example costs and should only act as a guide. Thorough research into costings should be carried out before any business decision is made.
Training and Qualifications
Previous industry experience is essential. Some training or experience in sound and electrical engineering is necessary to become fully aware of studio operations, potential dangers and how to get the best out of the equipment. City
& Guilds operate a certificate in Audio Engineering. Some colleges offer
Diplomas in Sound Engineering and Music Technology. Many of the degree courses in Music include music recording technology options, while specialist degrees are offered in Music Technology, and Music and Sound Recording.
Short or weekend courses may be offered at some colleges.
The APRS runs an Education and Training Initiative in conjunction with the Music Producers
Guild (MPG) which provides APRS Accreditation for specific courses. This scheme has seen the launch of METTA-b – Music, Entertainment and Technology Training Board – which aims to improve the availability of information on recording, music technology and music business courses. Accredited courses include: Music and Sound Recording (Tonmeister) at the University of Surrey; Higher Education Diploma in Recording Music Technology and Music Business
Studies at The School of Music, Surrey; BA (Hons) Sound Technology at Liverpool Institute for the Performing Arts; MA Audio Production at The University of Westminster and BSc (Hons)
Music Systems Engineering (MUSE) at the University of West England. A number of courses from the University of Salford’s School of Acoustics and Electronic Engineering are also accredited, including: HND Audio and Video Systems, BSc (Hons) Video and Audio Engineering,
BA (Hons) Popular Music and Recording, BSc (Hons) Audio Technology and BSc (Hons) Music
Acoustics and Recording.
In-depth knowledge of the local music scene is important. Information on amateur bands can be found in student unions, music magazines, radio stations, or by talent spotting at local gigs. Good communication skills, technical knowledge and self-motivation are important. It is also crucial to be a team player, as everyone works together to raise the programme material to its best possible standard.
Legal
When developing the premises for a studio, local authority planning permission will be necessary. Compliance with local authority sound proofing regulations and the Noise At Work Regulations 1989 is required. The premises should be safe and meet all fire regulations and the requirements of the Electricity At Work
Regulations 1989. Employers' and Public Liability insurance are mandatory.
With recording systems it is important to lay down standards of equalisation so that recordings made on one machine are playable on another. The standards

used are those of the National Association of Radio and TV Broadcasters
(NARTB); trade associations should be contacted for advice. Different laws are specified for different tape speeds.
The unauthorised reproduction of copyright material for sale or public performance is a serious offence under the Copyright, Designs and Patents Act
1988. This affects the artists, recording company and broadcasting authority concerned. To make use of copyright material permission must be obtained from the copyright holder or their agent. Booking forms filled in by the bands often allow the studio to ensure that music used does not breach copyright law.
Recordings usually remain the property of the person who authorised the recording; so if the music is to be used for something else, it should be negotiated separately. Areas of ownership and responsibility should be clarified prior to entering into an agreement. Advice can be sought on legal aspects of recording copyright from the Mechanical Copyright Protection Society.
All businesses are subject to a wide range of legislation and will be affected in different ways.
This section is intended as a starting point and it is important to seek professional legal advice before business decisions are made.
Further Information
BOP 24 Music Management
BOP 204 Record Label
BOP 205 Band
BOP 210 PA Hire
BOP 212 Music Promoter
BOP 213 Record Producer
BOP 217 Music Publishing Company
UK Market Synopsis 2 Record Industry
‘Music Business International’
‘Music Week’
‘Music Week Directory’
‘Studio Sound’
United Business Media International
Tel: (020) 8309 7000
Association of Professional Recording Services Ltd
PO Box 22
Totnes
Devon
TQ9 7YZ
Tel: (01803) 868 600
Website: www.aprs.co.uk
E-mail: info@aprs.co.uk
Performing Right Society/Mechanical Copyright Protection Society
29-33 Berners Street
London
W1P 4AA
Tel: (020) 7580 5544

Freephone hotline: (0800) 068 4828
Website: www.prs.co.uk
Website: www.mcps.co.uk
E-mail: info@mcps.co.uk