FREQUENTLY ASKED QUESTIONS
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Every project is different, and will be evaluated individually.
The typical rate is $95/hr, but this can be adjusted up or down based on several factors (size/length/scope of the project, the number of engineers/assistants required for the session, the length of the booking, the size of the ensemble, etc).
For projects produced by Transient members, we usually arrange a package rate based either per song or per project. This usually involves more time but is more cost effective per hour. This is often the best option for bigger budget and/or more time consuming projects.
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We do not have a standard day rate. Sometimes we can give a discounted/package rate for a larger block of time.
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Usually there are no additional expenses for an engineer or “tape” (we don’t use actual tape), instrument use, etc.
A specific piano tuning for your session (if you want it) is an additional cost (typically $200-250).
There are no “hidden” fees.
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There is street parking only.
Do NOT park in the lot in the back of the building or you will be towed.
Street parking on side streets south of the building is usually available and free. Keep an eye on street signs. There are usually paid meter spots on Lincoln. During standard business hours parking can be tricky, so leave extra time to account for it.
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Usually it’s best to arrive a bit before your session start time - load in is typically 15-30 min before the clock starts rolling depending on what is happening before your session start time and who is at the studio.
Sometimes we can accommodate earlier load in on a different day but this entirely depends on the schedule.
If you absolutely need it, you may incur an additional expense.
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Make sure you have your engineer’s contact information (phone is best) before you arrive as load in time can be hectic.
At the front door (the west awning with 1803), search the list for “Transient Sound” to be buzzed in. Each individual engineer is listed as well, but ringing them may not give you access depending on who is running the session.
The interior door (Unit 111) is not marked, so try to stay in communication with your contact person as you are entering for your session.
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If you have heavy/bulky equipment, it is best to load in through the alley at the back of the building. It is the first door on the SE corner of the building. The first door on the alley closest to the Metra tracks.
There is no buzzer at the back door, so make sure you have your engineer’s phone number.
Several businesses share the building with the studio so beware that this can be very congested depending on the time of day.
For smaller loads/single trips, you can enter through the front door on Byron and bring your equipment down the hallway.
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We run backups through the course of the session, but we do not archive your material indefinitely. We recommend bringing your own drive to back up your session to the day(s) of your session, especially if you are completing the project at a different studio.
Project sizes vary greatly, but most fit comfortably on a 250-500GB drive.
Make sure your drive is USB3 or faster and is formatted for Mac.
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It is best to bring your own drive to back up your project over the course of your session.
If additional time is needed for your backup after your session has ended or at a different time, an hourly fee may apply.
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Every project’s mixing demands are different. There is no standard rate.
We can give an estimate or decide on a package rate depending on the nature of your project.
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Project sizes vary greatly, but most fit comfortably on a 250-500GB drive.
Make sure your drive is USB3 or faster and is formatted for Mac.
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Although we are not a specialized mastering house, our engineers are familiar with and experienced in the technical and aesthetic parameters of mastering your music, and may in some cases be your best and most cost effective choice for the job.
Rates will vary depending on the parameters of your project.
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Usually the answer is yes.
We do our best to facilitate the efficiencies of a multi-day session. Short sessions booked across multiple days may incur an extra fee if the setup conflicts with other bookings.
We always try to keep things flowing as efficiently as possible.
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Qualified outside engineers are welcome.
Usually, however, one of our staff engineers needs to be present for the duration of the session to guide on technical matters and assist the session, so discounts are typically not given when an outside engineer is used.
Outside engineers are paid directly by the client separate from studio fees.
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Every session is different, but typically the bigger/more complex the setup, the longer it takes.
One thing that sets us apart from other studios is that we like to do a good amount of presetting before musicians/clients arrive (for no additional cost) enabling sound check to run faster and more efficiently.
For a typical jazz trio-quintet, we are starting to record within 45-75min after session start time.
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Yes. But some of the instruments (synths etc) are kept off site for space reasons. Please check that the instrument you are interested in is available/on-site.
We try to keep all of our instruments in good condition, but keep in mind that vintage and acoustic instruments always have a degree of unpredictability.
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We have a team of highly qualified engineers for recording music in a huge variety of genres.
If you want a specific engineer for your session, it is best to contact them directly regarding their availability.
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The piano is typically tuned per session at the clients’ request (and expense) - usually a few times a month.
If you elect to not have the piano tuned, the condition of the piano will depend on the length of time since the last tuning, the amount it has been used (some players have a knack for knocking pianos out of tune), whether it has been moved, weather conditions, humidity, etc.
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We have one of the highest quality instruments to record on in Chicago, maintained by the city’s top professionals. It maintains a tune up to the standards of a high quality professional instrument.
For comparison, at a typical classical concert, the piano is tuned both just before the concert and at intermission while taking much less “abuse” than during the typical recording session. Some discerning pianists will want their piano tuned every 3-4 hours during a session, while others can find a single tuning acceptable for a multi-day session. For a rock session, a perfect tuning may be less important.
A player’s touch and the style of music can be the most decisive factors in how the piano maintains its tuning.
Tunings are relatively expensive, so we can advise based on the nature of your project what tuning schedule is likely best for you.
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We have a handful of the city’s top tuners who have cultivated a relationship with our instrument and provide the best results. We highly recommend using one of them.
Even a highly qualified tuner who is unfamiliar with our instrument may not yield the best results.
The quality of the piano tuning is one of the most important components of a beautiful piano sound, so outside tuners are not allowed unless they are approved by us.
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Yes. (Click here to see equipment list).
You can use them but we do not provide specific/new heads for sessions. We do not provide cymbals.
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Yes.
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No.
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No.
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No.
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We have one large room, a large booth (large enough to hold either the piano or a moderate sized drum set), and a vocal booth.
Additionally, we can isolate an amplifier in the hallway.
We also have a 2nd control room that can double as a medium sized iso booth (large enough for two horns, percussion, bass, vocals, etc).
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We’ve laid out the studio to have decent sight lines for the typical ensemble.
If sight lines are important to your performance you should plan the setup in advance to maximize visibility.
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Our small control room is outfitted with a 7.1.4 Dolby Atmos mixing suite.
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Some of our engineers are qualified in this department.
If this is what you are interested in, make sure you are paired with the appropriate engineer.
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Pro Tools HDX systems.
Check with your engineer about which software version if you are worried about compatibility. We try to keep the systems relatively up to date.
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We use Pro Tools exclusively for tracking and mixing at Transient.
If you've started your project in another DAW or need the files exported to another DAW, make sure to notify the engineer.
This can be a complicated multi-step process that can cause a great deal of confusion and disorganization. Plans need to be made accordingly at the outset of the project.
Some accommodations can be made for converting files from Logic and Ableton, but it needs to be discussed/planned on a case by case basis.
Some of our engineers may involve other DAWs personally as part of the production process.