Starting your own company is never an easy decision. There are so many factors to think about, so many areas of expertise to consider. Is the idea good enough? Is this area ripe for success? How much overhead will this take? How can I obtain loans? Can I handle all the responsibilities of a business owner? Does anyone know what the hell a “business model” is? These questions become even more volatile when you enter the ultra-competitive market of recording studios.

These days, any kid with a computer and a little spare cash can put together a “studio.” Digital distribution and independent marketing tools are reshaping the way major labels obtain and release music. The allure of the grand recording studio is fading. Creating a truly viable and self-sustaining studio is a monumental challenge.

Mike Clark, the late proprietor of Southern Tracks Recording in Atlanta, once said “I can tell you how to wind up with a million bucks in the recording studio business. Start with 5 million.” Some in the industry might view him as an optimist.

Despite the treacherous waters that surround the business, there is opportunity. Georgia has a long history of musical greatness that reaches new heights with each passing year. Our cover story looks at some of the recording studios and production companies that have propelled Georgia into the national spotlight. Viewed as an entity, this sub-culture of recording aficionados and virtuosos can serve as a how-to guide to DIY business, complete with words of wisdom and, just maybe, some friendly competition. If you think you have what it takes to start your own studio . . . also known as insanity . . . then read on!

Boring Ol’ Budgets

Starting a studio is going to cost you money. Bummer, huh? Unfortunately, there is no way around it. If you are starting your own recording venture, you will need to do some financial planning. Not the retirement kind of financial planning . . . the business plan kind.

First, think of all the expenses that accrue getting your studio off the ground. You will need a space, equipment, an employee or two, and maybe some coffee. As the old saying goes, you have to spend money to make money, so be prepared to spend…and spend some more. Greg Quesnel, manager of Southern Tracks Recording in Atlanta suggests that “if you cover all your bases and do your budget absolutely correctly, you will exceed that budget by 200 percent.”

“Have the finances to ‘tough it out’ for a year or so until you become established,” offers Bill Tullis of SoundsAtlanta. Like any other business venture, you should not expect to turn big profits your first year in operation. What you want to do is survive long enough to eventually thrive.

Start with the space. There is no need to get all “grand cathedral” with it, just a spot where you can set up shop. You will want to look into the very basics of studio engineering to get a feel for soundproofing and design, but again, think minimally at first. You’re looking to get off the ground, not top Augsperger.

“Start at home, because large studios are scaling down,” says James Pinkstone of Nickel and Dime Studios. “It’s easier to make your overhead if your overhead is also your rent at home.” As recording equipment becomes more affordable, recording venues are being redefined. Many artists do not want to spend months in some ritzy studio just for the name value. They want to find a good spot with good equipment and a great engineer. If you’ve got the knack, they’ll gladly record in your mother’s garage.

Next comes equipment. If your name is Jack White, skip ahead, as you seemingly can put an old four-track in front of an air conditioner and produce a hit single. If your name is anything else, you should buy some decent and modern equipment. Joey Stuckey, Macon mogul and owner of Shadow Sound Studios says, “Having great gear is very important,” but adds “You also must understand how to use it within the context of your clientele.” Get the best equipment you can afford, and spend the time necessary to familiarize yourself with all aspects of it. But be smart about how you spend.

This means not buying a 64-channel SSL console for the 8’ x 8’ control room you set up in your basement, or a rack full of Ibanez guitars for a hip-hop studio. It means finding an overhead budget that is right for you and maximizing the equipment you get with it. It means making sure you get the right kinds of equipment for targeted clientele.

A good computer or two, fast and powerful, is a must for any studio. Microphone selections can be crucial, so you will want to spend time investigating the right mics for the types of projects you will be recording. You will need processors and equalizers, a console and monitors, compression and rack mounts. You may want to have an inventory of musical instruments, at least the very basics like a drum set or keyboard. And cable. Lots and lots of cable. Try not to get too tangled.

Practice Makes Perfect
It doesn’t matter how much you invest in equipment - any musician can buy recording equipment and set up their own little home studio. But it won’t be successful without a gifted engineer running things. After all, what’s the use of owning the newest and greatest Pro Tools Suite if you cannot maximize its potential? “It’s the knowledge of recording and how to use the equipment properly that makes the difference,” says Bill Tullis. You need someone who has recording running through his or her veins. Someone who eats, drinks and breathes analog synthesizers, pristine monitors and XLR cable. Someone who listens to albums for the mix level as much as for the music itself.

“You must have an almost unhealthy obsession with music and recording it,” says Stuckey. He has been recording since high school. At a time when most kids just want to fit in and look cool at school, Stuckey wanted to record sound effects for radio programs. It was that passion that started him on a nearly two-decade journey that has culminated in a dream job. Someone like that is who you need running the engineering side.

If you want to be the engineer of your own studio, master your craft. This takes a great deal of focus, and like most things, a tremendous amount of practice. You can teach yourself with a great work ethic, or you may consider school, an internship, or just bugging your engineer buddies until they let you come down to their studio to intern or watch them work. “Do not be afraid to say you do not know something,” says Stuckey. “Learn and spend time keeping up with the latest in technology.”

In this business, you may be able to skimp on décor or work without a receptionist, but you absolutely cannot skimp on the engineer. If the subtle differences in tone created by five centimeters of mic placement are lost on you, find someone who makes it the main topic of their morning conversations.

Find a Niche and Nail It

Space? Check! Equipment? Check! You have an engineer with chops? You bet! Now all you need to do is find something to record. Some studios focus on one specialty. Others are “Jacks-of-all trades.” To stay successful in the recording industry, you may have to be a little of both. Whether it’s demo recording, live tracking, mastering, full album production, voice over recording, or scoring for commercial work, specialized clients offer many opportunities for niche studios.

Developing a niche will allow you to hone your skills and develop a sound that is unique. Specializing will give you the opportunity to be really good at one or two things and may save you money as well. Different recording niches can require different kinds of equipment and talents. An upstart studio may be best served picking one and mastering it. “Odd as it may seem, the various categories of audio recording tend to be mutually exclusive, so for us, focusing on one area is essential,” says Greg Quesnel.

But if you want to remain successful and viable over a long period of time, you may have to diversify. This means taking on new and different projects, branching out into new venues. Diversity expands the pool of possible clients.

Nickel and Dime Studios near Avondale Estates is a good example. James Pinkstone, the studio manager, says album production is their specialty, but is quick to point out that Nickel and Dime does more than that. “We are versatile, and we pretty much do it all,” says Pinkstone. “Albums are just the most fun because they’re the easiest to really dig into and get attached.”

On the other hand, SoundsAtlanta focuses on, well, everything. “I felt the need to fill a niche in the market with a turnkey operation,” says Bill Tullis. The studio offers pre-production, full project production, mixing, mastering, remote recording, and agency production. Diversity has been the niche that has allowed Tullis to remain stable in the recording industry (or as stable as you can be in this crazy industry).

If you are going to offer a wider array of services, you or your engineer will need the skills and equipment necessary for the job. This could mean additional training and investment, longer hours, and more commitment. In the end, the “engineer’s prowess is the key to diversity,” says Tullis.

Find Waldo. Now Find His Friends.

After you’ve picked your niche, or lack thereof, you will need to find clients. One hazard you may run into as a young recording maestro is “missing the forest for the trees,” or, let’s say, spending too much time looking for Waldo. Confused?

For our purposes, Waldo is the Big One - the well-established music icon, the next superstar performer or national ad campaign. Waldo is a young Rhiana or Green Day waiting to be discovered. Waldo is instant exposure, instant legitimacy. Waldo is it, and everyone is looking for him or her.

How many times have you tried to find Waldo in a Where’s Waldo book? Do you remember how long it took to find him? Now, can you remember anything else of note from any of the illustrations? If not, you were looking too hard for Waldo.

If you spend too much time looking for Waldo, you may miss many other opportunities that are literally right in front of your face. One hit album, jingle, or movie score can literally transform a studio overnight into a must-record Mecca, but a stable full of consistent acts can be just as valuable.

Constantly be on the prowl. Go to every local club you can find. Send interns (e.g. your brother or best friend) to out-of-town shows. Learn the scene. Sign up for newsletters and attend industry events. Eric Heil, owner and chief engineer of The Loft Studios in Atlanta says “spend your time developing relationships in the industry because it really is ‘who you know’ or more accurately, who knows you.” You have to get your name out there.

For example, Nickel and Dime sponsors Smith’s Olde Bar’s “Open Mic Madness” tournament. What better way to find a new client than to sponsor an event that caters to possible clients?

If you can help a small band on their way up, they will hopefully remember you. They will tell their friends, and your business will grow. If you provide good, reliable and affordable service, they will return to you with their next project. Advertising and marketing is important, but word of mouth is always your best advertising.

If you are more interested in ad agency business, seek out local companies looking to record jingles, radio ads, or podcasts. Contact agencies that utilize independent studios and offer a deal. Do whatever you have to do to get projects in and your name out.

When you’re just starting out, it is not as important who you record so much as that you are indeed recording. Quality may trump quantity, but quantity may just keep you afloat long enough to find quality. You cannot be too picky, and you cannot be a snob. Just because you do not like someone’s song doesn’t mean others won’t.

To The Victor!

Now that you’ve had a little advice from some industry pros, it’s time for a little encouragement. Keep your head up. The recording industry can be brutal, with studios opening and closing frequently. You have to be willing to stick it out. Says Heil, “You had better want it more than anything else in the world and be prepared to sacrifice anything and everything to have it.” There will be rough patches in your road, but if you establish a nice space with good equipment, keep a talented engineer on hand, find a comfortable spot in the recording spectrum, and constantly seek new opportunities, you may survive . . . and even thrive!