Major Artist budgets typically run $300,000 to $1,000,000 or more for a finished master tape. Sound unbelievable? The money goes many places such as multiple engineers and producers, recording in several cities, heavy travel costs, extensive preproduction (songs may be "scratch"-recorded in three or four styles or "feels" before starting in on the final cut, remixing the project two or three times, using players and singers which are recognized solo artists, full live orchestras, spending an entire day singing one or two songs, multiple personnel such as producers, executive producers, arrangers, vocal coaches ... the list goes on.

Very limited budget - Some singers have their own accompaniment or sound track resources. Their only costs are for the studio at an hourly rate and minimal other costs. Other singers may desire simply a piano accompaniment, involving just an accompanist plus studio time.

Getting Informed on Costs

• Studio Rates / Accommodations Rates / Cost for Product (CDs, cassettes) / Song-Writer Royalty Rates / Cost of "leasing" accompaniment tracks / Total Package costs. These are the known and predictable factors in the process. Visit our Info Request/Artist Profile page to get informed on these costs.

• Sound Track Production - It is not possible to quote prices on production without discussing a number of related factors. It is best if the arranger can see or hear the song to get some prior feel for the production time required. Feel free to discuss your needs with our staff to get a feel for your specific production costs.

Cost Considerations

If a studio quotes one price for all its sound track production, this should raise a red flag.  The studio is probably not equipped to handle many styles of music. Track 'A' may take 5 or 10 times as long to produce as track 'B.'  This suggests a wide range of costs.  Here are some of the variables which affect the cost of producing a sound track.

1) Length of track - It should be obvious that longer tracks will take more time to produce.

2) Tempo changes - Many tempo changes or ad lib tempos (rubato) can add considerable production time. This is characteristic of Symphonic styles in particular.

3) Preproduction - This refers to time spent prior to entering the studio.  It includes

a) Arranging or writing out the 'score'

b) 'Incubation' time; Projects with higher budgets often allow time to experiment with different 'feels,' instrumental sounds, etc.

c) Co-arranging, involving arranger and artist

4) Improvization - Some keyboardist/arrangers are very skilled at improvization.  Sometimes the 'improv' ideas are better than ideas arranged on paper.  Often improvized 'sweetening' is expedient in order to keep budget costs contained.  A word of caution though.  Styles such as Big Band and Symphonic, for example, are too complex to improvize with any success.  Generally speaking, the more instrumentation - the greater the number of instruments or layers, the less likely improvization will be successful.

5) Perfectionism - This intangible quality is the one ingredient that is often most difficult to predict.   But it's very real.  It's the quality that drives the cost of major artist projects into six-digit figures.  It can account for a rather wide range of pricing which is unrelated to all other factors.  The artist probably has the best feel for how high the target is set.  Early in the process, the producer attempts to discover the degree of perfection which the artist would like to attain.

6) Layering - A major part of the Eagles Nest success with MIDI is the meticulous craftsmanship that goes into creating each instrumental sound.  But there's another dimension seldom discussed.  Let's illustrate.  Most producers using MIDI sounds to create full orchestra, will play all string parts simultaneously.  The problem?  Dynamics.  All notes grow loud and soft together.  An orchestra doesn't behave that way.  The cello dynamics move independent of the violas, violins and basses.  Eagles Nest strings sound so convincing because time is taken to play parts independently.

Similarly, three live trumpets don't play identical dynamics ... nor identical vibrato rates.  It is possible to play all trumpet and trombone parts simultaneously using split-keyboard sounds.  But the problem?  It's not real.   Layering takes time ... and patience ... and computer memory.  But it's a big part of the realism of EaglesNest's 'old-world' craftsmanship.

7) Live Instruments - The cost of a live rhythm section and MIDI rhythm is pretty much a toss-up.  Other factors determine how to approach recording the rhythm section.  The cost of professional orchestra quickly gets into thousands of dollars.  MIDI orchestra (strings and brass) cost just a fraction of live pro players.

 

Other Considerations

Rhythm Sessions - Recording more songs creates greater efficiency.  Two factors account for this:  1) Set-up time and tear-down time is the same regardless of the number of songs recorded, and  2) Musicians generally expect a minimum number of hours when they book a session.

Mixing Live with MIDI on the same song -  Drums, bass and guitar when used with rather full orchestra texture, can be recorded quite successfully using MIDI sounds.   Very few listeners can tell the difference, in fact.  But a few artists can tell the difference.  In this case, it may be advisable to rerecord any or all of these rhythm instruments after the track has been completed - not before.  Why?   It is much easier to rerecord rhythm instruments than to record MIDI sounds on top of live rhythm.  The reasons are basically technical, and somewhat complex.  But they relate to the multitude of subtleties involved in recording and editing many orchestral instruments.  The whole process is much easier when using the computer sequencer as opposed to playing each orchestral layer directly to tape - a process which could use many more tape tracks than using the computer to combine layers.

Logistics Imposed by Distance factors -  Over 90% of Eagles Nest projects are recorded with just one trip to Colorado.  Via telephone, it is possible to pinpoint tempos and keys precisely.   Some artists may prefer to leave all arrangement ideas in the hands of the arranger.  Other artists have specific thoughts in mind which also can be discussed via telephone.  There are several things the artist can do to assist in the communication process:

1) General Comments - Indicate any instruments you prefer not to use.  Indicate which instruments and styles you like the most.

2) Specific Samples - Compile a cassette of musical samples you really like and send to the arranger.  This can do more than anything else to make sure artist and arranger are on the same page.  You may have a specific sound or 'feel' in mind for a song.  If you have specific ideas for a song we'll