Booking Policies:
Attended sessions are when you are here in the studio with me. Unattended sessions are when I am working alone in the studio on your project when you are not here, following your instructions as to what work you want done.
For most sessions, a deposit to hold the time is required. For new clients with short sessions, I may ask for pre-payment in full. This guarantees that we are going to get down to work. For unattended sessions, the same applies, as I need a retainer before I can start working on your project. Some static tasks like tape transfers can be estimated exactly. Music production that is being directed by the artist cannot be accurately estimated, e.g. I don't know how many takes of your vocal you will need to do until you like it.
Billable time starts at the appointed time. Please endeavor to be on time for your session. I will be looking for you and calling during that time. If you need to postpone, do that at least 24 hours in advance.
At the end of the session, you are expected to pay the balance due before leaving the studio. If we are working on a big project continuously every day, I typically will take an initial payment, installments every week, and a final payment.
Session files and high-resolution mixes will be released after the balance due is paid.
Unattended sessions/working remotely- I will work on the list of things you request, be it mix revisions, editing changes, etc. All work performed is work billed, carefully logged. Payment due for work performed is not contingent upon which work you use or prefer vs ideas that are rejected. While I am working efficiently by the hour to meet your satisfaction, my submissions to you are not an audition, it is billable time. If we wrap the session, stop the clock, and you leave, the session is considered ended. If you need further work done and request new files or changes after you leave, then that will start a new unattended session, billable in fractions of an hour against your balance.
For most sessions, a deposit to hold the time is required. For new clients with short sessions, I may ask for pre-payment in full. This guarantees that we are going to get down to work. For unattended sessions, the same applies, as I need a retainer before I can start working on your project. Some static tasks like tape transfers can be estimated exactly. Music production that is being directed by the artist cannot be accurately estimated, e.g. I don't know how many takes of your vocal you will need to do until you like it.
Billable time starts at the appointed time. Please endeavor to be on time for your session. I will be looking for you and calling during that time. If you need to postpone, do that at least 24 hours in advance.
At the end of the session, you are expected to pay the balance due before leaving the studio. If we are working on a big project continuously every day, I typically will take an initial payment, installments every week, and a final payment.
Session files and high-resolution mixes will be released after the balance due is paid.
Unattended sessions/working remotely- I will work on the list of things you request, be it mix revisions, editing changes, etc. All work performed is work billed, carefully logged. Payment due for work performed is not contingent upon which work you use or prefer vs ideas that are rejected. While I am working efficiently by the hour to meet your satisfaction, my submissions to you are not an audition, it is billable time. If we wrap the session, stop the clock, and you leave, the session is considered ended. If you need further work done and request new files or changes after you leave, then that will start a new unattended session, billable in fractions of an hour against your balance.
Digital Assets a/k/a Your Files:
Starting Out:
I record in Cubase. I can also record on Pro Tools if absolutely necessary. If you need to go back and forth with a studio that has a specific DAW, let me know so I can work in the right program. If you have a sample rate preference, tell me from the start. I will usually record on WAV files at 24-bit, 88.2kHz unless there's a technical reason that requires another resolution and speed.
I keep a backup or two of all the project files and recordings while we are actively working on your project. I will try to keep a backup of your files forever, as I am often the first person asked for backups. That said, you should also have a full backup of all the session files on your own hard drives. If you lose your files, I may have to charge you some studio time to get files copied for you again.
I record in Cubase. I can also record on Pro Tools if absolutely necessary. If you need to go back and forth with a studio that has a specific DAW, let me know so I can work in the right program. If you have a sample rate preference, tell me from the start. I will usually record on WAV files at 24-bit, 88.2kHz unless there's a technical reason that requires another resolution and speed.
I keep a backup or two of all the project files and recordings while we are actively working on your project. I will try to keep a backup of your files forever, as I am often the first person asked for backups. That said, you should also have a full backup of all the session files on your own hard drives. If you lose your files, I may have to charge you some studio time to get files copied for you again.
Getting Mixes:
I will make rough mixes of progress of ongoing work. Ideally I will run off a mix before we move onto the next song, so that when we've wrapped our session, the mixes are done as well. For roughs and final mixing, the files are clearly marked with version number and the date, so we can keep track of everything.
Most clients prefer the convenience of having a high-quality mp3 of their mixes uploaded to a private cloud folder, and I send a link where you can download the files or stream them on your phone. Currently I am using Google Drive. Once a song is done, full resolution files can be uploaded or copied to a hard drive for wherever they need to go. Mind you the links are not permanent! If you have a sound file that you listen to repeatedly on the link I've sent, please download that file rather than stream, as I periodically purge the archives of non-active work.
The link to your client folder will be the same if you are an ongoing client. If I upload new files, the link remains the same. However, you may need to refresh your browser in order to see the new files. Some browsers appear stubborn need more than a refresh; you may need to open a new window and visit the link there. If I have deleted your folder, then you should get a 404 error. I am happy to upload your files again, but please remember to download if you want to keep them.
I will make rough mixes of progress of ongoing work. Ideally I will run off a mix before we move onto the next song, so that when we've wrapped our session, the mixes are done as well. For roughs and final mixing, the files are clearly marked with version number and the date, so we can keep track of everything.
Most clients prefer the convenience of having a high-quality mp3 of their mixes uploaded to a private cloud folder, and I send a link where you can download the files or stream them on your phone. Currently I am using Google Drive. Once a song is done, full resolution files can be uploaded or copied to a hard drive for wherever they need to go. Mind you the links are not permanent! If you have a sound file that you listen to repeatedly on the link I've sent, please download that file rather than stream, as I periodically purge the archives of non-active work.
The link to your client folder will be the same if you are an ongoing client. If I upload new files, the link remains the same. However, you may need to refresh your browser in order to see the new files. Some browsers appear stubborn need more than a refresh; you may need to open a new window and visit the link there. If I have deleted your folder, then you should get a 404 error. I am happy to upload your files again, but please remember to download if you want to keep them.
Sending Files to Tape Vault:
Send uncompressed or zipped files via www.wetransfer.com to [email protected]
Send uncompressed or zipped files via www.wetransfer.com to [email protected]
Getting Session files vs Stems:
A session file is the project file opened by the Digital Audio Workstation, like Cubase or Pro Tools. It's a relatively small file with all the mixer settings, and then the sound files are in a separate folder. The sound files themselves typically are an unmanageable mess without the project file to put everything in the right place. Session files need to be opened in the same DAW they were tracked in with all the same plugins. The DAW session has all the faders, plug in, effects and so on, and is completely recalled when you open the file.
Stems are submixes of individual instrument groups, with their mix treatments permanently applied, so they are mostly unchangeable once rendered. A stem can also be of one channel rendered out. The idea is that when you play all the stems together at the same level, it will sound the same as the final mix. In music production, having stems provides a way of being able to edit the song or change a mix a little even if you don't have the original session with the DAW software, plugins, settings, and whatever else is in the original session file. Additionally, a simple bounce or "consolidated" copy of each audio track can be rendered in order to initiate an entirely new mix of the untreated files.
Stems are rendered out however you like, either in a few stereo pairs of instrument groups, or can be of each track. A new batch of audio files of the session are made. All the rendered files start at the same point in time so they line up in sync.
Getting the session files to take away is a matter of a cloud upload or copying files to a hard drive, which can be done as a background task. Making stems requires some work, and therefore incurs billable session time.
Note that the word "stems" used here is a general term for rendered files, not the new open source 4-track file format called Stems.
A session file is the project file opened by the Digital Audio Workstation, like Cubase or Pro Tools. It's a relatively small file with all the mixer settings, and then the sound files are in a separate folder. The sound files themselves typically are an unmanageable mess without the project file to put everything in the right place. Session files need to be opened in the same DAW they were tracked in with all the same plugins. The DAW session has all the faders, plug in, effects and so on, and is completely recalled when you open the file.
Stems are submixes of individual instrument groups, with their mix treatments permanently applied, so they are mostly unchangeable once rendered. A stem can also be of one channel rendered out. The idea is that when you play all the stems together at the same level, it will sound the same as the final mix. In music production, having stems provides a way of being able to edit the song or change a mix a little even if you don't have the original session with the DAW software, plugins, settings, and whatever else is in the original session file. Additionally, a simple bounce or "consolidated" copy of each audio track can be rendered in order to initiate an entirely new mix of the untreated files.
Stems are rendered out however you like, either in a few stereo pairs of instrument groups, or can be of each track. A new batch of audio files of the session are made. All the rendered files start at the same point in time so they line up in sync.
Getting the session files to take away is a matter of a cloud upload or copying files to a hard drive, which can be done as a background task. Making stems requires some work, and therefore incurs billable session time.
Note that the word "stems" used here is a general term for rendered files, not the new open source 4-track file format called Stems.
Studio Stuff:
In the Tape Vault, it's a small place. I can record bands with 4-5 members, which can get crowded if everyone comes into the control room to listen. The control room is comfortable working environment for two, three persons, including me. In the tracking room I can accommodate 3-4 people when there's a drum set and guitar players, etc. and one more through the glass in the control room with me.
Most projects are 1-2 people doing overdubs or mixing. I would not recommend having guests as there is no room.
Hyde St Studios, within which Tape Vault resides, has some space to hang, like the back alley garden, the common area by the kitchen, the couch out in the hall outside my studio. You're welcome to make yourself comfortable there, if space inside my studio is limited.
Hyde Street has three bathrooms, a vintage kitchen, filtered water, a coin-op soda machine, drip coffee and espresso maker, microwave oven, and a refrigerator. I will make coffee or tea for you anytime. There are two corner stores, and a variety of restaurants on Larkin St a block away.
Tape Vault Studio has been configured in a way that allows us to begin work within minutes, as drums, amps and mics are permanently set up ready to go. If we need more room for more players, guests, or space to dance around, we can book our session in Hyde St Studio A. That is available to rent by the hour or by the day as a lockout. Hyde Street's room is a more traditional setup where everything is set up and struck at the end of every session, so there is naturally more time needed to get everything wired up and mic'd, headphones, set up drums, amps, baffles, and so on.
Hyde St Studios is a business since 1980 that currently operates one studio on site, Studio A. The other studios in the building are rented from Hyde St by sole proprietors running their own businesses, like Tape Vault. I am probably the longest-standing tenant now that I've been here over 20 years. We are a friendly cast of musicians and entrepreneur engineers that cross paths in the hallways and chat around the coffee machine. We generally mind to ourselves, but often musicians coming in for sessions will run into other musicians they know in other studios and spontaneous collaboration and a sense of community is kept alive.
The studio is in the Tenderloin neighborhood. Historically, it has always been a bit gritty. For the time being, I escort my clients to and from their cars. Once we go inside the building, it's like a cocoon of music and creative activity.
Most projects are 1-2 people doing overdubs or mixing. I would not recommend having guests as there is no room.
Hyde St Studios, within which Tape Vault resides, has some space to hang, like the back alley garden, the common area by the kitchen, the couch out in the hall outside my studio. You're welcome to make yourself comfortable there, if space inside my studio is limited.
Hyde Street has three bathrooms, a vintage kitchen, filtered water, a coin-op soda machine, drip coffee and espresso maker, microwave oven, and a refrigerator. I will make coffee or tea for you anytime. There are two corner stores, and a variety of restaurants on Larkin St a block away.
Tape Vault Studio has been configured in a way that allows us to begin work within minutes, as drums, amps and mics are permanently set up ready to go. If we need more room for more players, guests, or space to dance around, we can book our session in Hyde St Studio A. That is available to rent by the hour or by the day as a lockout. Hyde Street's room is a more traditional setup where everything is set up and struck at the end of every session, so there is naturally more time needed to get everything wired up and mic'd, headphones, set up drums, amps, baffles, and so on.
Hyde St Studios is a business since 1980 that currently operates one studio on site, Studio A. The other studios in the building are rented from Hyde St by sole proprietors running their own businesses, like Tape Vault. I am probably the longest-standing tenant now that I've been here over 20 years. We are a friendly cast of musicians and entrepreneur engineers that cross paths in the hallways and chat around the coffee machine. We generally mind to ourselves, but often musicians coming in for sessions will run into other musicians they know in other studios and spontaneous collaboration and a sense of community is kept alive.
The studio is in the Tenderloin neighborhood. Historically, it has always been a bit gritty. For the time being, I escort my clients to and from their cars. Once we go inside the building, it's like a cocoon of music and creative activity.
