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Universal Studios LA Guide - Which ticket and when to go?
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Hey guys, I just arrived in LA and I really want to see the Universal Studios Park! I also want to make a big studio tour that include Sony Pictures Warner Bros etc.
I am travelling on a budget so I really want to know what I ́ll spend my money for...
Which days would you recommend to visit, and should I get a VIP Ticket? I actually dont want to buy such an expensive ticket but if it ́s a "no brainer" than I am willing to think about it.
Do you have some information for me?
Top Comment:
if you want a studio tour that’s more in depth at universal you do need the VIP, but it being worth depends on how much that would cost vs a regular ticket + a tour you want to do elsewhere. if you just want the theme park and a less in depth than other places but still fun tour, the regular ticket is fine and if you go on a weekday, especially early to middle of the week, the lines are extremely small right now.
la la larks - Hallelujah (Special studio Live)
Main Post: la la larks - Hallelujah (Special studio Live)
Top Comment:
Uhhh... I think I'm in love with Yumi Uchimura.
Are LA studios worth the high cost of recording?
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I live in Boston and can easily step into a studio for $500+ a day.
At some of the studios in LA like Sunset Sound, Eastwest, A&M... they are charging $2500 per day.
I was thinking about recording local... and sending my band's audio to these studios to get professionally mixed and mastered by a good engineer through their LA consoles. I don't see the point of flying out there and doing the recording in those expensive studios.
So why do bands go to LA? Will I get better results that justify spending 5x more than I would up here? Worth saving up for years to afford it?
Top Comment: Here’s why (in my opinion) people use big budget studios in LA (or possibly Nashville, I’ve never recorded there): A lot of high quality producers and engineers like a lot of those rooms. They like those rooms because in many cases they came up there working sessions at some of those rooms. The familiarity and dependability of the gear matters. Think of it this way: A lot of studios in LA have a Neumann U67. But if you’re a producer in LA who really knows the console in Studio B at Sunset Sound and you know they have this one U67 that’s the slightest bit brighter you can request that one. Or maybe you really understand the reflections in that one specific room so you know (because you’ve done it before) that if you put two U47s in the middle of this room in an XY that it does this special thing that it doesn’t do in this other room. Etc. Those kinds of familiarities are really key. I’ve been to some really cool random studios in random cities that had some awesome gear, but sometimes that far out the gear just isn’t cutting it. Remember: Just because it’s a Strat doesn’t mean it’s a great one. Some instruments have a special certain something and audio equipment is no different. And because of that, a lot of the mics or consoles or rack gear with that special something made their way in high concentration to LA. Availability of techs and specialists. I’ve lived and worked in a handful of cities. One of the things that I think keeps a lot of work in LA (or I hear Nashville) is the fact that you have just a city full of people who know how to repair that gear. That’s one problem. So I used to live in LA. I knew like ten guys who intimately knew a vintage 1176 and could repair one without blinking an eye. Most of these guys had worked at UA at some point or learned from somebody who had or knew a guy, etc. In some other towns (maybe even major cities) you might have a hard time finding more than one or two people who have that specific expertise simply because LA was where these folks had to be to learn the craft in the first place. Having that expertise makes stuff run really fast. I was on a session once where a U47 stopped working. We made two phonecalls and it was back up and running within two hours just because there was at least one expert who lived like half an hour away. The record label is there. This is important: A lot of major labels are there and they LOVE going to the studio. It definitely feels cool to them. So I think labels also heavily push the LA thing. It’s more exciting to them to feel like they’re a part of it, so that in turn pushes clients to studios which in turn maintains the mystique of the LA studio experience. Anyway, all that is to say: That’s what you get out of a big fancy LA studio. It’s not necessarily going to make your record better and if you have a record you believe in that you think you can record for $200 a day and send off to get mixed: Fuck yes, do it. You can absolutely make a brilliant record that way. With patience and effort you can make great art anywhere (I can’t remember the album but there’s a Springsteen record he recorded by himself to an 8 track I think). But if you ever get the chance to do the big studio thing, that’s fun too and worth the experience.
Los Angeles Rentals
Main Post: Los Angeles Rentals