There’s two theories on all that jdet. Some artists opt for home/private studio sessions especially for control of quality and costs. This is presuming the studio is up to industry standards (whatever those are) and the artist is capable to perform at his/her best in that environment. Then again other artists go with a label picked studio and engineer, producer etc… thinking it will be a huge weight off their shoulders and a better “pro” session. The strength behind this plan of attack is the view that says. “I have my publishing and writing monies from radio/airplay.” Sales will go to the label for reimbursement of costs of production, off the top, before any splits, unless the contract is structured otherwise, so it looks like a 50/50 coin toss and a gamble on folks actually buying the CD either download or physical copy. Most first release artists are willing to toss the coin on that when it’s thought through.
From my experience a “hit” song pays a lot more in airplay than sales, so that goes to the plus column in making that decision.
It’s good that they like her sound as is. I’m sure the label choice for engineer/producer would know his/her stuff. It looks like a great ‘first label’ deal actually. If that’s the whole gist of things.
Defining ‘Revenue’ in the terms above will be key. Is revenue gross? net? adjusted for???
This is where the finest of print is written. You might also know that small independents often will sell a contract to a major label as soon as the first sign of a ‘hit artist’ is clear. Be aware of that. That’s where a lot of Indies ‘cash in.’ This has implications for the future. Watch for anything in the contract regarding it’s sale.
If the 50% going to Ardvark is for the cost of promo, distrabution to online sites etc., and mastering.
That would sound like a real cool partner to me.
I like the idea of holding back on pressing CDs.
50% of something is much better an 100% of nothing.
How many songs do they want on the one CD and can Ange continue her solo indie efforts on the side if she finds herself bord?
Thx for the post Rob. I’m thinking you might make a great salsman for Ardvark! 
How many songs do they want on the one CD and can Ange continue her solo indie efforts on the side if she finds herself bord?
Their only stipulation was the CD would be at least 45 minutes, we've not really got as far as working out the exact listing yet. She played through all her new material live to them and it was almost an 60 minutes live. I think it'll work out at around 13 tracks.
Ange is expecting to be allowed to continue indie efforts... but I'm expecting us to have to fight about that one to a certain extent when it comes to the small print.
This is presuming the studio is up to industry standards (whatever those are) and the artist is capable to perform at his/her best in that environment
I think we're okay on both those points. Just...
It's really all very exciting!
Eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeek!
I really don’t know what else to say!
where’s Tom?
where's Tom?
Dunno... gettin' kinda worried here. I haven't seen the Professor around for some time now...
D
We should email him. (I’m sure he’s busy doing school stuff…I hope that’s the case anyway)
He’s probably in his laboratory
Nah - I haven’t been able to log in, and lots of family stuff of the less nice sort is going on too. Ugh.
Ange, you have no idea how happy I am for you. I have one question. Why not record the tracks in a good studio, with good mics and preamps and a good room, with a good engineer? I can tell you this - the product is likely to sound much more professional, and this may be your one shot at a serious career. Do not skimp at this stage. Think of it this way: your home recordings and performances and radio appearances got someone’s attention. They seem legit. Time to ratchet it up now. Go all out. Nothing less is worth it.
Go look for a good room locally, with credible people who have done some recordings you like. Ask around. Ask everyone you can find to ask. Get some prices. Then come back and hit us up for loans.
BTW, the deal they are offering you looks nonstandard at first glance. Not that that’s a problem, but it is worth figuring out what their business model is.
Ohboyohboyohboy am I just tickled for you. So’s Mary. Good God, I wish I were in your band. 
A studio would be lovely, but we just can’t manage it financially at this stage without Aardvark fronting the cash for it.
What we can do however is get a couple of new microphones. Currently looking at:
LDC for the vocals:
http://www.thomann.de/gb/rode_nt1_ms180_bundle.htm
SDC for the guitar:
http://www.thomann.de/gb/the_tbone_sc180.htm
We’re also going to carpet the room, and set up a curtained booth to try and increase the room quality…
I love the NT1-A. Specially for the price. Make sure you can return it if you need to though. I suspect it may be a tad on the “upper airy” side for Ange’s voice. That pop filter will help tame some of that though. Keep her at least a foot away and slightly off axis. Might be just awesome. The best thing going for it though, is it has an extremely low self-noise figure. It is one QUIET microphone. Caution: It WILL pick up the sound of a flea farting in a quiet room… specially if you have gobs too much preamp gain.
Consider the NT-2A or NTK as well… excellent mics… The Shure KSM series are great… as is the SM7B dynamic. Bubbagump has put out some fantastic vocal tracks recorded with an SM7…
I’m not familiar with the T-Bone SDC. However, I have recorded my bud’s Gibson J-200 bunches of times with an NT-1A and got great results. About 18" from the guitar, pointed at about the twelfth fret. Don’t pull any Townshend moves though…
Loud… quiet… loud… quiet… “SIT STILL!!!” “Take two…” 
And watch the string squeaks!
Best of luck!
D
Hi robswan:
You shouldn’t try to make your room too-too dead…
You should attempt to have some room reflections on your tracks…
If the tracks at too dead/close they’ll sound like pencil eracers stuck in your ears…
Not unless that is an effect you want your tracks to sound like…
That’s just something to consider or keep-in-mind… when conditioning a room for tracking…It takes a lot of trial-and-error to get it just right…
You can always kill room reflections…
but you can never create it on a track… after-the-fact…
Bill…
[EDIT]
Many rooms/studios I’ve had the oppertunity to track in used cedar or spruce boards on the walls…
OR
cedar and spruce boards in combination…
Then…
lots of acoustic traps to control the standing waves and wall/floor reflections… Then…
you gotta search the room out for the “Sweet-Spot”
to place the mic…
Can I say…
it takes a lot of luck to get it just right…
Anyway…
Nah - I haven't been able to log in, and lots of family stuff of the less nice sort is going on too.
Ugh.
Ange, you have no idea how happy I am for you.
I have one question.
Why not record the tracks in a good studio, with good mics and preamps and a good room, with a good engineer?
I can tell you this - the product is likely to sound much more professional, and this may be your one shot at a serious career.
Do not skimp at this stage.
Think of it this way: your home recordings and performances and radio appearances got someone's attention.
They seem legit.
Time to ratchet it up now.
Go all out.
Nothing less is worth it.
Go look for a good room locally, with credible people who have done some recordings you like.
Ask around.
Ask everyone you can find to ask.
Get some prices.
Then come back and hit us up for loans.
BTW, the deal they are offering you looks nonstandard at first glance.
Not that that's a problem, but it is worth figuring out what their business model is.
Ohboyohboyohboy am I just tickled for you.
So's Mary.
Good God, I wish I were in your band.
Woooooooop, I got my Guru back
Thanks for your support
but rob is right, there is just no way we could afford a studio, he has looked at one locally but although it would not be extortionate...£20 an hour, there is just no funding, it would still work out to be a few grand and I am not willing to get my family in to more debt (credit card has taken a beating this year already) nope....can't be done. but... we have had the offer of a sponsors mic for
£150 so at least i will have a better mic, all i need to find then will be another hundred or so to get a flute mic and as they are mixing and mastering, it will be a lot better quality than i am producing at the moment, not quite studio standard but it is a step up....I know it might not be good enough, but at least I would not have lost anything...what if I invest and don't succeed!
Ange x
I’ve been making some phone calls. We’re going to look around a local studio and have a chat with an engineer on Saturday.
I agree with Tom; the idea of getting Ange out of the house and into a studio with an engineer and a Neumann U87 has to be worth looking at.
I have faith that we’ll be able to shift the upfront costs to either Aardvark, the studio, or a third party venture capitalist in return for a small percentage and end up with a far better CD…
I don’t know what it’s called in the UK but over here I could walk into most any studio with an artist like Ange and a label deal and ask for a “spec” session. Everyone works on the project with no up-front pay and when the label picks it up everyone gets paid. I’ve done full blown 10 song projects this way.
It helps to have a track record and folks know you but you need to just lay the deal out and find a studio/engineer/owner that will work on speculation. There’s very little ‘spec’ here in this deal actually. I’m presuming the label will want to own the masters though. I haven’t read enough of the deal to know what’s what though.
I might also suggest you find out who your label engineer is going to be and get to know him/her and ask them for direction and advice. They may know of someone you can work with locally even.
what if I invest and don't succeed!
That's wise Ange!
I mean, we all know you will succeed.
In fact your succedding now with your very sweet and intresting songs.
BUT to the point of creating music sales could take some time.
And having well engineered / produced mix's, doesn't stamp anyones music for automatic sales.
It just gives them a little better chance.
I swear Ange I've seen great artists and their songs only sit and not move at all.
And I believe if you think about it, you have too.
There is no reason for you to rush into anything.
Your only going to get better and better at what you do.
ps, having TomS in your band works for me! If you have a band. Ange the solo artist is fine too.
what if I invest and don't succeed!
What if Da Vinci, Marconi, Edison, Bell, Franklin, Carver etc... all asked that same question and then chickened out?
You'll never know if you don't try... It's only money. You can always sell one of Rob's kidneys or something...
D
used cedar or spruce boards on the walls..
OR
cedar and spruce boards in combination..
Just download your spruce and cedar plugs
Oht'oh someone will come up with those now!If you want a room sound. Wouldn't it be better on the master track.(kit exception maybe) Sounds like your suggesting a room on each track.
Ange? I’ve seen no problem with your voice tracks at all. On the guitar, make sure you record with new guitar strings, experiment and test mic placement.
You could always pack your songs and send to pop to mix for you.
And make sure you turn off the dryer!