Far Heath Recording Studio

"You don't get a second chance to make a first impression."------------------------------------------------ -------------------------Why work in a professional recording studio and pay their rates when you can get a PC, a cheap recording package and DIY your own music in a bedroom or garage? If you have to ask that question at all, it may be the biggest clue as to why you are not yet earning a living from your music - and probably never will! There's an old saying: "You don't get a second chance to make a first impression." Never is that more true than when presenting music to record labels or as a songwriter; to music publishers, artists or their management. If you have created and crafted a great song as a writer or a band/artist, then surely it deserves the very best presentation before being heard by any other ears, to give you a fighting chance to "make it" in the music business and stand out above the zillions of other wannabes. Perhaps it is very true that you only ever get out what you are prepared to put in....................... But if you are a seasoned musician, artist, producer or songwriter and experienced in choosing a recording studio, what should you be looking for when handing over your hard-earned cash for studio time? 1. Experience. If a studio has only just opened its door, you do not want to be paying to be a guinea pig and risk being victim to teething problems, technological gremlins and even inexperienced ears. 2. Experience. An engineer who has only ever worked on thrash metal with ear bleeding guitars and drums, or perhaps a dance/RNB specialist who only uses programmed drums and couldn't mike up a real kit if his life depended on it, is probably not going to be the person to help you create beautiful folk, pop, country or jazz music! 3. Experience. Check out the list of clients who have used a particular studio, and see how successful they have been/are. If a studio names record labels among its clients, then there's a good bet they know what they are doing and deliver results within budget and within deadline. Record labels don't often waste money and have a wealth of experience in choosing where to record their artists. 4. Equipment. If a studio advertises a list of state of the art gear, it is worth making quite sure they really do OWN that gear, and that it will definitely be there when you want to use it - and not off in the repair shop or back in its usual home because they actually rent it and their list of equipment is part fiction! Check their microphones are actually right for your project too. 5. Location is important too. If you have to travel hours every day before and after recording sessions, then you may well be "spent" before you even get into mixing. The environment you work in will have a huge impact on the end result. Is it totally soundproof from the external elements? Is it ground floor load in? Is there natural light? Air-con? Ample and free car parking? It all makes a difference to your state of mind and easing the stress and tensions when recording. 6. Price. A major factor of course, but choosing a studio based on cost alone is never a clever move. It is said "you get what you pay for." But often that is not actually the case when hiring a studio these days. Some people think you have to pay "London prices" to get album quality. Not true. There are some cracking studios in London, as there always has been. But more and more bands and record labels today are choosing to base themselves in rural facilities to create their next project, rather than battle against travel delays, high cost of fuel, hotel accommodation and car parking to work in towns and cities. Not to mention the high overheads that London-based and town centre/city studios will ultimately pass on to their clients. At Far Heath, you really can "Go Wild In The Country," at a fraction of the cost of most town/city studios, but with the peace of mind that the recording equipment, outboard gear and acoustics really are world class. The studio was closed for 4 months in 2007 for a total refurbishment, and the control room has been completely re-designed and re-built to the highest specification by world-renowned studio designers White Mark Ltd (the guys responsible for the acoustics at such illustrious studios as Real World, Strong Room, Hit Factory in New York etc). Great attention was paid to ensuring the monitoring is truly accurate. The machine room now houses the noise making elements of the studio, hard drives etc. are kept out of the control room. The only thing you hear is the music. The proof that Far Heath delivers far more than value for money, and an enviable International reputation is their forthcoming 21st year anniversary celebrations - for the studio and Chief Engineer Angus Wallace. With studios closing almost daily around the UK, it is fitting testament to the quality and growing solid reputation of this oasis in the green fields of Northamptonshire, that they are now into their third decade since opening the doors in July 1987. Far Heath is still the studio of choice for major and indie record labels, chart and classic artists, new young bands and budding songwriters, from across the UK, USA and Europe, many of whom have used the studio for many years. You may not be able to buy experience and success, but you sure can hire it at Far Heath............... "You may not be able to buy experience and success, but you sure can hire it at Far Heath..............."Selected clients of Far Heath Recording Studios:Bands and Artists:The Prodigy Spiritualized The Fall Wishbone Ash Seafood Love and Rockets Alan Moore Emerson Lake and Palmer Toyah Wilcox The Stranglers (remix) Bob Marley and the Wailers (remix) Lucie Diamond Natacha Atlas / Transglobal Underground Sherman Robertson Bill Nelson The Telescopes The Sweet (remix)Record Labels:Polydor E.M.I. Creation Beggars Banquet Fierce Panda Double Agent Kooky Big FeatSound Design Clients:Sony Playstation Audi Volkswagen Seat Mell Wade Films Ltd Habitat for Humanity RJDM Animations National Homebuyers