Matthew Aidekman

I've included an image of what your dealing with

ABSTRACT: What's a forward thinking guy like me to do with a future ex recording studio? How does he incorporate more cutting edge art and music into his plan?

Hello my name is Matthew Aidekman and I need your advice. Something Adam Kendall said has stuck in my mind for a long while. I told him I owned a recording studio. He exclaimed, "people still go to those?" For the last year and a half, I've been hearing a chorus of 'yes'. Estate recording hasn't shut up in weeks. It's a great success. We turn record making from a DIY Recording "learning experience" in someone's basement into a luxury vacation that artists will never forget. We're friends they never leave. They leave with a product that never disappoints. It's not BS. We have no marketing department.

As a Maxer, I agree with Adam. In spite of us providing a great product, he's right. Great sounds are impossible with out experience but more and more, good sounds flow like water. (or sewage for our fellow Jersey residents) No sense harping on it. Soon, business models which refuse to adapt will be relegated to a sort of specialty boutique market. Uninformed and increasingly discerning clientele is not enough for me. The question of course becomes how to adapt. I've always wanted my studio to transcend the old dusty local music scene. I love my clientele but I'd love to transcend the band stickers, black rubber, black t-shirts and gaffers tape of the traditional music industry. I've always been truly inspired by this board. I want to contribute like Cycling, HarvestWorks, ElectroTap or Ircam. I want to facilitate camaraderie and community, make musical matches, and help forward thinking artists and musicians. if not all of that then some. I've been blessed with a great asset. What now?

What's a forward thinking guy like me to do with a future ex recording studio? How does he incorporate more cutting edge art and music into his plan? Comments, suggestions, volunteers, opportunities, ramblings, and thoughts are all welcome. I've got some of my own but I want yours.

ABSTRACT: What's a forward thinking guy like me to do with a future ex recording studio?    How does he incorporate more cutting edge art and music into his plan?  

Hello my name is Matthew Aidekman and I need your advice.  Something Adam Kendall said has stuck in my mind for a long while.  I told him I owned a recording studio.  He exclaimed, "people still go to those?"   For the last year and a half, I've been hearing a chorus of 'yes'.  Estate recording hasn't shut up in weeks.  It's a great success.  We turn record making from a DIY Recording "learning experience" in someone's basement into a luxury vacation that artists will never forget.  We're friends they never leave.  They leave with a product that never disappoints.  It's not BS. We have no marketing department.

As a Maxer, I agree with Adam. In spite of us providing a great product, he's right.  Great sounds are impossible with out experience but more and more, good sounds flow like water. (or sewage for our fellow Jersey residents)  No sense harping on it.  Soon, business models which refuse to adapt will be relegated to a sort of specialty boutique market.  Uninformed and increasingly discerning clientele is not enough for me. The question of course becomes how to adapt.  I've always wanted my studio to transcend the old dusty local music scene. I love my clientele but I'd love to transcend the band stickers, black rubber, black t-shirts and gaffers tape of the traditional music industry.  I've always been truly inspired by this board.  I want to contribute like Cycling, HarvestWorks, ElectroTap or Ircam.   I want to facilitate camaraderie and community, make musical matches, and help forward thinking artists and musicians.  if not all of that then some.  I've been blessed with a great asset.  What now?

What's a forward thinking guy like me to do with a future ex recording studio?    How does he incorporate more cutting edge art and music into his plan?  Comments, suggestions, volunteers, opportunities, ramblings, and thoughts are all welcome.  I've got some of my own but I want yours.
-matt


you-think-im-a-dinosaur

what about an art residence ? experimental sound art oriented ?

a place where artist could work for a certain amount of time and get technical support ?

s sound art residence. there are not so many around the world.

a studio where you usually record a guy singing some tune with his guitar , could maybe also become the place where somebody could experiment/play/record stuff done with his freshly designed semsors embedded siut.

or have a room for sound spatialization design.

none of the good old stuff needs to disappear, we always need a recording studio. i think adding "modularity" in such a space is the key for an experimental lab.

at Interaccess in toronto for instance they have a tiny tiny lab, it is designed in such manner that it can host workshops, have an artist do research, get a group of kids do circuit bending etc...

you could also teach workshops in there that are related to audio technology from recording techniques to dsp to max/msp/jitter patching etc....

interaction design is a growing business so you could also become an "interaction design studio" and work for corporations to design their latest interactive video ad display piece. you could become rich .

but i am sure that is not what you want :)

anyway ill b curious to see what you make of this nice looking place.

what about an art residence ? experimental sound art oriented  ?
a place where artist could work for a certain amount of time and get technical support ?
s sound art residence. there are not so many around the world.
 a studio where you usually record a guy singing some tune with his guitar , could maybe also become the place where somebody could experiment/play/record stuff done with his freshly designed semsors embedded siut.
or have a room for sound spatialization design.
none of the good old stuff needs to disappear, we always need a recording studio. i think adding "modularity" in such a space is the key for an experimental lab.
at Interaccess in toronto for instance they have a tiny tiny lab, it is designed in such manner that it can host workshops, have an artist do research, get a group of kids do circuit bending etc...

interaction design is a growing business so you could also become an "interaction design studio" and work for corporations to design their latest interactive video ad display piece. you could become rich .
but i am sure that is not what you want :)

anyway ill b curious to see what you make of this nice looking place.
best


> what about an art residence ? experimental sound art oriented ?

> a place where artist could work for a certain amount of time and get technical support ?

> s sound art residence. there are not so many around the world.

> a studio where you usually record a guy singing some tune with his guitar , could maybe also become the place where somebody could experiment/play/record stuff done with his freshly designed semsors embedded siut.

> or have a room for sound spatialization design.

> none of the good old stuff needs to disappear, we always need a recording studio. i think adding "modularity" in such a space is the key for an experimental lab.

> at Interaccess in toronto for instance they have a tiny tiny lab, it is designed in such manner that it can host workshops, have an artist do research, get a group of kids do circuit bending etc...

> you could also teach workshops in there that are related to audio technology from recording techniques to dsp to max/msp/jitter patching etc....

> interaction design is a growing business so you could also become an "interaction design studio" and work for corporations to design their latest interactive video ad display piece. you could become rich .

> but i am sure that is not what you want :)

> anyway ill b curious to see what you make of this nice looking place.

i like these comments alot. something i wish i had the capacity and 

you could also include more barbecues. those are always a big hit.

karl-otto von oertzen wrote:
> what about an art residence ? experimental sound art oriented  ?
> a place where artist could work for a certain amount of time and get technical support ?
> s sound art residence. there are not so many around the world.
>  a studio where you usually record a guy singing some tune with his guitar , could maybe also become the place where somebody could experiment/play/record stuff done with his freshly designed semsors embedded siut.
> or have a room for sound spatialization design.
> none of the good old stuff needs to disappear, we always need a recording studio. i think adding "modularity" in such a space is the key for an experimental lab.
> at Interaccess in toronto for instance they have a tiny tiny lab, it is designed in such manner that it can host workshops, have an artist do research, get a group of kids do circuit bending etc...
>
> you could also teach workshops in there that are related to audio technology from recording techniques to dsp to max/msp/jitter patching etc....
>
> interaction design is a growing business so you could also become an "interaction design studio" and work for corporations to design their latest interactive video ad display piece. you could become rich .
> but i am sure that is not what you want :)
>
> anyway ill b curious to see what you make of this nice looking place.
> best
>
>
> --
> karrrlo
>
>
>
i like these comments alot. something i wish i had the capacity and 
determination to do. 

you could also include more barbecues. those are always a big hit.


Quote: PKM wrote on Fri, 05 October 2007 20:55

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> you could also include more barbecues. those are always a big hit.

Quote: PKM wrote on Fri, 05 October 2007 20:55
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>
> you could also include more barbecues. those are always a big hit.
>
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how is a poor max artist to afford time in a luxury studio?

axiom, to be honest, we're not... block rates are pretty cheap for new jersey and VERY cheap for NY. we just focus on making the experience amazing. performance is key.

maybe I can run some shows and do live recordings. we figured out we could fit about 45-50 people comfortably in the live room. artist in residence actually sounds very attractive

axiom, to be honest, we're not...  block rates are pretty cheap for new jersey and VERY cheap for NY.  we just focus on making the experience amazing.  performance is key.

maybe I can run some shows and do live recordings.  we figured out we could fit about 45-50 people comfortably in the live room.  artist in residence actually sounds very attractive


Quote: Matthew Aidekman wrote on Fri, 05 October 2007 23:01

> axiom, to be honest, we're not... block rates are pretty cheap for new jersey and VERY cheap for NY. we just focus on making the experience amazing. performance is key.

> maybe I can run some shows and do live recordings. we figured out we could fit about 45-50 people comfortably in the live room. artist in residence actually sounds very attractive

maybe some partnerships with existing instutuions could be create so that "poor artists" could receive some financial support.

i also believe that partnerships with international institutions could be possible.

there are som any new things going on in interactive art, maybe your studio could become an experimental lab/research place etc...

plus if u are close to NY there is a solid max community you could easily connect with ( if not done already )

maybe your studio will become the first "Maxmspjitter Art" lab in the world ! ( just kidding )

Quote: Matthew Aidekman wrote on Fri, 05 October 2007 23:01
----------------------------------------------------
> thanks for the ideas so far....
>
> axiom, to be honest, we're not...  block rates are pretty cheap for new jersey and VERY cheap for NY.  we just focus on making the experience amazing.  performance is key.
>
>
>
> maybe I can run some shows and do live recordings.  we figured out we could fit about 45-50 people comfortably in the live room.  artist in residence actually sounds very attractive
----------------------------------------------------

maybe some partnerships with existing instutuions could be create so that "poor artists" could receive some financial support.
i also believe that partnerships with international institutions could be possible.
there are som any new things going on in interactive art, maybe your studio could become an experimental lab/research place etc...
plus if u are close to NY there is a solid max community you could easily connect with ( if not done already )
maybe your studio will become the first "Maxmspjitter Art" lab in the world ! ( just kidding )


I think pro engineers and pro studios have a very important, legitimate place in the world. Unless I was in a bitter mood about my own failed attempts at pro engineering, I didn't mean you or your studio are dinosaurs -- I think I was commenting on how relatively difficult it is to get unsigned bands or musicians to pay for real experience and knowledge.

One of the experiences that led to me giving it up -- I spent time with to a musician helping him plan his budget, sorting out what he was looking for, and describing different ways to achieve his goals. He liked my recordings, he wanted to work with me... Then I got the call: He met guys who would record him for free if he built their studio website. How do you compete with *free*? Was I supposed to negotiate by offering to pay him to work with me? That's just one example of why I was surprised you have good clientele. (Though I shouldn't be. I know other engineers and studios that do well as the industry falls apart.)

I think your most consideration is what you *want* to do. If you're happy being a traditional engineer with a traditional studio, make it work. Less dedicated and less talented people will fall aside. Do you *want* to be a performance space? Do you *want* to be a non-profit host to underprivileged musicians? Or do you like setting up microphones and finding cool sounds? I think those are the real questions. Do what turns you on, the rest will fall into place.

That being said, if I had that space and wanted to "remain relevant", I might do something like partner with an existing non-profit organization and seek funding to bring in artists for residencies, with part of the mission being that they benefit from the kind of recording services you provide.

I think pro engineers and pro studios have a very important, legitimate place in the world.  Unless I was in a bitter mood about my own failed attempts at pro engineering, I didn't mean you or your studio are dinosaurs -- I think I was commenting on how relatively difficult it is to get unsigned bands or musicians to pay for real experience and knowledge.  

One of the experiences that led to me giving it up -- I spent time with to a musician helping him plan his budget, sorting out what he was looking for, and describing different ways to achieve his goals. He liked my recordings, he wanted to work with me... Then I got the call: He met guys who would record him for free if he built their studio website.  How do you compete with *free*?  Was I supposed to negotiate by offering to pay him to work with me?  That's just one example of why I was surprised you have good clientele.  (Though I shouldn't be. I know other engineers and studios that do well as the industry falls apart.)

I think your most consideration is what you *want* to do.  If you're happy being a traditional engineer with a traditional studio, make it work.  Less dedicated and less talented people will fall aside.  Do you *want* to be a performance space?  Do you *want* to be a non-profit host to underprivileged musicians?  Or do you like setting up microphones and finding cool sounds?  I think those are the real questions.  Do what turns you on, the rest will fall into place.

Well, as a Maxer, I'd want to try and control everything via robots and an uber-patch that, in turn, controls them.

Then I could finally take over the world with my robot army... controlled from my Evolution UC-33.

You think I'm a dinosaur.