#1
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Need a contract for studio sessions? (lost files issue)
I have not heard of having a contract with a studio in the Nashville recording scene but surely it has been done and I'm a nobody. What comes to mind is... what if the studio, somehow, loses or screws up the session files beyond repair prior to their delivery to the artist? It would be the studio's fault, obviously, but if you don't have a written contract, could you make a claim for damages (costs of the session, including all the players)? For a small artist, this would be severe loss.
Regarding this issue, have you ever heard of somebody losing/destroying the files like this? Also regarding this, do most/any studios have redundancy built into the recording process? I know they have backups after the files are written but is there redundancy such that the files are being written to two hard drives?
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Bill |
#2
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You’ll never get a studio to sign off on that. In fact, most studios (including the one i manage) claim no responsibility for files & put the onus of storage & backup on you. The basic deal: you don’t own the files/ recordings until they are paid for in full, so if something did happen, they aren’t yours yet. Once you pay for them, you are 100% responsible for storage & backup. So if something happens once you own them, they’re your responsibility.
Digital files are pretty sturdy. I’d spend your energy prepping for the session, not worrying about file management. And, bring a hard drive with you for your files.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#3
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#4
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Right. And it’s covered in my response. If you never paid, you never owned the files. If you did pay, it was your responsibility to insure they were backed up. Believe me, the lawyers cover the bases.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#5
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What if you have paid up front but the files were never delivered?
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#6
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So with that in mind First given you have posed what appears to be a before the fact hypothetical ?you might want to disclose some more detailed info Like: #1 are you actually planning a trip to Nashville to record ? #2 are your songs county ? If not what about a local studio ? #2 if so, are you planning on recording demos, or a full set of finished songs to be ready for mastering and or release ? If one of the former I can only relate my single Nashville recording experience I recorded 4 demos in a studio just north of Nashville proper There was no written contract so legally it would be considered a verbal contract , if there were some kind of issue.. But there wasn't We spent 2 hours on 4 songs I paid the 3 session players immediately after recording, in cash $100 per hour so $600 for that . I was actually trading finish carpentry work on the studio for the studio and owner/engineer time... The studio owner was the recording/mixing engineer and also played bass So-No money exchanged hands for those services .. I had sung scratch vocals during the 4 sessions which was done live style with everyone playing at the same time to my vocals I had to leave right after the recording session and came back the next morning to dub in the finished vocals. We then did the finish mix for all the tracks. He then cut a data CD of the finished PT session files as well as an MP3 -to- CD to give me and also put them in his separate backup files location. I do not know if he was recording to two different drives or not Seems to me though if you are considering going to Nashville perhaps the best bet would be to call around to some studio's and ask them these questions
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2024.3 Sonoma 14.4 |
#7
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On the question of dual backup, that will vary from studio to studio. Many went through a phase of mirror-image RAIDs at one point but I think many discovered that management of the RAID slowed down the performance of the collective virtual drive. At the studio where I work we once used RAIDS but have since gone to extremely fast solid state drives with automated backups and do manual session backups to at the end of the session. Our automated backups go to a second drive in the same case and our manual backups go to a NAS (Network Attached Storage) with a managed RAID.
Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#8
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It was likely your responsibility to ask for the files. You can check the studio policies, but knowing from experience from dealing with this for my studio & talking with my lawyer...once clearly laid out, there is little wiggle room on the onus of responsibility. The problem comes when it becomes an "archive", e.g. the studio is holding onto the files because you didn't take them. Almost no studio has a policy that says they will archive your sessions, and has all kinds of wording to indemnify them of any responsibility if they are holding onto your files while they wait for you to take them. I think the one scenario you have a solid case in is if you finished the session, then immediately asked for the files & they said "oops, they're FUBAR". The sad fact is that we live it a litigious society, so any studio is putting the burden of backups & file corruption squarely on the renter/artist. It sucks, and I know I go above and beyond to make several copies of everything to avoid disaster. Now, in 30 years of doing this, I've lost more tape than digital files. The tape was gone forever, the files I had backups of. Almost no one paid for extra tape to make safety copies. Of course, no one expected the tape to go bad either (sticky shed), but who knows how they were storing them. Once you hand over tape you just have to assume they get stored properly. So, all that said, I do find it odd that no backup was made. Because, regardless of the policy, every engineer I know makes a quick backup for clients to make sure they can deliver the files. Not delivering is a great way to lose a customer. Was this a small/independent/one man studio or an established commercial facility? It just seems odd & I have thoughts about another scenario that may have played out & now they're covering themselves.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |