The 4 Powerful Secrets Behind a Lucrave Home Studio

By Gary Gray

© 2018 Gary Gray

All rights reserved. Unauthorized use is a violaon of applicable copyright laws.

lucravehomestudio.com So you’re probably reading this ebook because you either have a home studio and want to make it more profitable, or because you want to build a home studio and want to know what it takes to be successful.

I’ve been working as a producer, engineer, and for 30 years and I’ve managed to build a home studio business that brings in six-figures and serves clients like 20th Century Fox, , CBS, A&E EMI, and - all from my one-bedroom, condo home.

I’m telling you this so you can see that I am not going to teach you anything that I don’t use in my own home studio - and that I don’t deem 100% necessary for success.

In this ebook I want to share a super-condensed overview of my approach to mixing, producon, and owning a home studio business.

But before we get started, I want to share one of the biggest keys to success in the world of music producon.

Regardless of your experience and knowledge of music theory, music producon, IT savviness, musicianship, working with bands, studio recording, arranging, mixing, mastering and licensing, you will ONLY reach your full potenal if you have a humble yet voracious appete for knowledge.

lucravehomestudio.com 1 The VERY BEST producers and engineers in the world are willing to say, “I don’t know what I’m doing, can you help me with this?” They are willing to listen without asserng their own self-worth or ego -- and they oen take notes. They are willing to take what they are shown and go home to their own studios and put the me in to EXPERIMENT ON THEIR OWN.

This ebook is just one small step on a much bigger music producon journey. How you connue that journey is up to you, but I am ready to guide you in my course The Lucrave Home Studio should you chose that path.

lucravehomestudio.com 2 Home Studio Myths & Truths

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When it comes down to actually building a home studio - one that will get the job done and produce high-quality recordings and aract top-dollar clients - there are a lot of myths out there. Some of those myths are even accepted as fact, wasng home studio owners hundreds, if not thousands, of dollars.

I have logged thousands of hours in home studios and in mul- thousand dollar studios, and in that me I’ve been able to find the truths behind a lot of the home studio myths.

So let’s take a look at some of these myths and how to effecvely plan an inexpensive home studio (that sll delivers on the quality).

Myth: You need a big space with excellent acouscs. Truth: My one-bedroom home studio generates a 6 figure income. AND I built my home studio in a condo, which means neighbors are just one wall away.

Myth: You need to spend a lot of money on sound treatment. Truth: Total money I’ve spent on sound treatment: 0 dollars.

Myth: You have to invest in expensive pre-amps, mics and speakers worth at least $4,000 - $5,000 to create radio-ready recordings.

lucravehomestudio.com 3 Truth: I spent about $2,000 on my inial studio set up and have very happy clients, including The Disney Music Group & 20th Century Fox. I have a full breakdown of my home studio costs with exact expenses in the Lucrave Home Studio course.

Myth: The Microphone and Pre-Amp you are using in the studio makes a huge difference. Truth: Any decent Mic and Pre-Amp can be (and have been) used on hit recordings for Major Labels and Home Studio Recordings.

Myth: Never Touch The Master Stereo Out Fader On Your Mixing Console or it will mess up your mix. (Applies to Actual Consoles or In-The-Box D.A.W. “Mixing Consoles.”) Truth: If adjusng the volume of your Stereo Out Master fader would mess up a mix – there wouldn’t be a Fader Switch on it!!! Somemes the best thing you can do, if you have a great mix and the level is a bit too high – is to lower the Master Fader before bouncing your Mix in order to give the Mastering Engineer ample headroom.

Myth: Drums always sound beer when recorded with Analog Tape. Truth: First of all, I grew up as a drummer prodigy. I also played drums under Berry Gordy and Suzanne De Passe at Records. I’ve worked my whole life as a studio and live drummer, as well as keyboardist, composer, conductor and Musical Director.

lucravehomestudio.com 4 Aer spending over 900 hours experimenng personally during a two-year Residence Producer posion at the 13,000 square foot Mul-Million dollar Springs Theatre Studio in Tampa Florida (featuring a 7,000 square foot main room) under John Zumwalt Stephan, I discovered the empirical truth – if a producer/engineer is experienced and competent at both digital and analog recording – DIGITAL recording of drums come out sounding beer.

And this was with blindfold tesng, where listeners thought, me and me again, that DIGITAL recordings were analog recordings and told me how much beer they sounded!

Now, this Myth/Truth may never affect you in any way. I understand – perhaps you won’t ever be in a posion to even think about having drums recorded analog, and you may use a version of any number of Studio Created Digital Drum Programs (which I love by the way) for your drum tracks.

But we are dealing with an invisible, subjecve art form which is very vulnerable to “authories” and “authoritave statements” being accepted at face value - without a balance of research done to verify as truth, or discard as false. In fact, don’t even take what I tell you as truth for yourself – I would rather you challenge what I say and I would even welcome someone showing me I’m wrong.

A) I would learn something new and even more importantly…

lucravehomestudio.com 5 B) B) I would feel great, knowing that an independent thinking individual, able to thoroughly research any subject, not suscepble to being professionally seduced by assumed “authority” was standing up with their own integrity intact and speaking up about it.

Believe me, my purpose is not to “be the be-all-end-all authority” on audio recording. My purpose is to educated and inspire students so that they experience ever increasing confidence, create masterpiece recordings and constantly improve their abilies and results as musicians, , , producers, engineers and entrepreneurs.

Myth: The equipment you record on makes a huge difference. Truth: The Producer and/or Engineer you are working with makes the biggest difference BY FAR. There have been Major Label Releases recorded on Garageband – by competent Producer/Engineers.

Myth: Home Studios cannot put out the same quality as Pro Hollywood Studios. Truth: With my home studio, which has no mixing console, no expensive pre-amps, uses a PC laptop computer (HP BeatsAudio), Cubase and East/West Quantum Leap Symphonic Orchestra, StormDrum II and Ministry Of Rock, I landed a featured Single release on the presgious Concord Records Major Label for a recent Dennis Quaid Major Moon Picture Sound Track , negoated through one of the top Hollywood Music Supervisors, Mason Cooper.

lucravehomestudio.com 6 I’ve landed jobs with Disney (all 5 projects were accepted first me no quesons asked when submied) and several re- record jobs. I did a re-record of U2’s “One,” and received an email response the same day from Steve Lillywhite, Grammy Award-Winning Producer of U2: “Gary, it sounds just like the original!!”

Myth: You need people with beer ears than yours to master your mixes. These people have special powers that you’ll never aain. Truth: Mastering is actually much easier than mixing in terms of the number of decisions you’re making. I’ve developed a Music Producon Ear Training exercises that allows anyone to shaer that myth in a maer of weeks.

Myth: You have to be born with good ears, you can’t “develop” good ears.

Truth: Anyone can develop not only good ears for recording, but great ears.

My opinion (backed by years of experimentaon and producon) is that the equipment you are using doesn’t really maer much. A prey crass and blunt statement, Yes. But is that statement true? An equally resounding. . . Yes!

So, if you thought I was going to encourage you to buy this latest plug-in or that latest hardware. . . not me. I’d rather you work on developing a good ear and on ensuring you have a posive, construcve environment to work in.

lucravehomestudio.com 7 When you talk to the greatest mixing engineers and mastering engineers behind the scenes, they will tell you that it doesn’t maer what gear they are using - as long as it’s working! They can deliver amazing masterpiece recordings on whatever equipment they are using and in whatever room they have to work in.

How?

Because they have developed their ear, and thus their confidence, to the point where myths die gasping and the truth lives strong.

Developing A Good Ear

Developing a good ear is not hard, despite what others may say. Consistent daily pracce will pay off nicely. Even if you only get in 15 minutes a day.

That said, experience and knowledge in music producon and audio engineering are intertwined with and inseparable from the fields of music theory and musical .

Whenever I crique a PRODUCTION, I CANNOT crique the musical producon and audio engineering without also taking into consideraon the musical and performances as well. Because truth be told, a knowledge of music theory and musical arranging absolutely affects the quality of the producon of the track. In other words, if there is an inherent

lucravehomestudio.com 8 weakness in the arrangement or the performance of a track, no amount of producing tricks or engineering tricks will solve it. You might be able to control the damage somewhat, but you won’t be able to fully solve the problem of a bad arrangement or a bad performance.

And so it applies to developing a good ear. A good ear includes being able to hear and idenfy different phenomena of music theory.

Don’t let that frighten you or believe that you’ll never be able to do it. It’s actually simple, if you take it on a gradient. And even if you already know something of music theory and musical arranging, it’s a great idea to brush up – this will help your ear as a producer and engineer greatly.

Here’s the good news, there now exists a set of Music Producon Ear-Training Exercises developed specifically for Home Studio Owners in the course The Lucrave Home Studio!

If you spend me and apply discipline to your career while doing the Music Producon Ear-Training Exercises in the course The Lucrave Home Studio, I guarantee that you will find yourself taking huge leaps forward in your mixing and mastering career!

lucravehomestudio.com 9 Finding Your Niche

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I learned - as many great mixing and mastering engineers, producers and studio owners learned - by doing. I did receive a college educaon in music theory and performance, which is very, very helpful (though not required) for running a lucrave home studio. But I have never been able to find a school that teaches producers how to thrive with a home studio.

And a big part of thriving is finding your niche - something you do beer than anyone else that will keep clients coming back again and again.

I want two things for your home studio: 1. To succeed in not only making more money with your music and your studio, but also… 2. To help you achieve stable confidence in your art, your cra and your business, and to share your successful acons as an acve member of the community.

As we all know, “overnight success” involves a very, very long “night.” Years in most cases (though I’ve seen some people do it in a few months).

lucravehomestudio.com 10 My “night” lasted for at least 10 years (and I created the Lucrave Home Studio course so yours won’t have to be so long! You can learn from my mistakes, as well as my successes to get yourself on the fast-track).

Over those 10 years, I developed one parcularly interesng niche in the industry - without even knowing it.

This niche involves what is called in the music recording and publishing world, “Re-Records.”

The definion of a Re-Record is: a brand-new recording produced from scratch which sounds idencal to an original master recording. Quite a challenge.

So why are “re-records” in such big demand in the music industry?

There are certain laws and regulaons governing the publicaon and licensing of major moon picture . To make a long story short, in many cases, it can be extremely cost prohibive for record labels or major film studios who own the master recordings of a music , to license those musical composions. It can be crazy expensive for everyone involved.

So, labels and large movie corporaons somemes have a master recording re-recorded.

lucravehomestudio.com 11 The resulng re-record can then be licensed much more easily. And when they own the master and own/control the copyrights, this is something they have every right to do.

The niche I created for myself, is being able to take any recording needing a re-record and, without the use of a score, lead sheet, stem files, or any other elements - just the original MP3 or WAV file (and my ears) - quickly produce an exact replica of that recording from scratch.

My niche is that I can do it well, do it fast, and do it with extremely low maintenance. (I don’t ask for addional resources, and I turn in my recordings on schedule, without the need for changes).

This requires me to be on my A-game consistently - in every single aspect of recording, mixing, mastering, and administraon (business).

What I realized aer producing my first few re-records for major companies such as The Disney Music Group and 20th Century Fox, is that I’m geng paid to thoroughly study the best composers, writers, producers, and engineers in the business - hands on, note for note. A pracce that has taught me so much about music producon and engineering.

So how did I get into this re-record niche?

lucravehomestudio.com 12 In 2013, a colleague of mine, who owns and operates a tribute band booking agency that I supplied backing tracks for, happened to employ the Director of A&R Administraon at The Disney Music Group in one of his tribute bands as his guitar player.

Word got around to that guitar player from my colleague that I could do something prey remarkable -- create unbelievably realisc recordings in any genre that sounded just like the original works - right from my home studio.

All of a sudden, on a Monday morning in April of 2013, I received an email direct from The Disney Music Group!

This is an example of one of many self-created “breaks” in my life - breaks that show up when you are truly prepared. I know it seems like it came out of the blue, but I consider all breaks to be the result of working hard and working smart.

Needless to say, that was a parcularly good Monday morning for me. The key queson becomes, then, what exactly did I do, as a Home Studio owner, to prepare for and create that moment?

Let’s take a look in the next secon…

lucravehomestudio.com 13 What REALLY Maers for a Home Studio

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To answer that queson, and as part of this story, I’m going to point out several key cornerstones from my course The Lucrave Home Studio and how they apply to real life.

Cornerstone #1 Treang People With A Posive, Can-Do Atude, and Acng and Communicang Professionally.

Being A TRUE TEAM MEMBER is far, far more important than any other single aribute, talent, or value you will ever bring to any table in the music industry (or ANY industry for that maer).

Yes, it is super important that: 1) Your studio is set up properly 2) You have your music theory chops down 3) You have your producon chops down and 4) You have your business chops down.

However, I have found that your level of success is governed by this first cornerstone. This point cannot be overstated.

lucravehomestudio.com 14 Fast forward four years from that email from Disney in 2013. In the winter of 2017, another “big break” occurred. This me, “out of nowhere” I got a call from 20th Century . But why did they call me?

It was because I consistently applied Cornerstone #1 with The Disney Music Group (Posive Can-Do Atude, Professional Communicaon, Being a True Team Member). I found out that “the call from nowhere” was actually a result of The Disney Music Group referring 20th Century Fox to me.

As a result of that referral, the 2017 Holiday Season, which normally a slow me in the music industry, need me $5,000 in two weeks for producing 10 minutes of music for just one client.

And, besides being an official vendor for The Disney Music Group, Disney Publishing and Hollywood Records, I’m now an official vendor for 20th Century Fox as well. That means something very important to a Home Studio Owner: future work!

Cornerstone #2 True confidence is your second most important asset.

A successful career as a Home Studio Owner cannot be maintained and expanded with fake confidence.

lucravehomestudio.com 15 True confidence (as well as fake confidence) can be sensed five miles away. I have been taught - and believe 100% - that your level of true confidence dictates your income range. So set your life up so that you have confidence-builders surrounding you, and keep any confidence-killers away from you.

By working hard on all the points in Cornerstone #1 (Posive Can-Do Atude, Professional Communicaon, Being a True Team Member) and Cornerstone #2 (Aaining True Confidence), the results for me have been nothing short of spectacular.

With complete confidence, I promised - and did deliver - an industry standard quality 6-minute fully orchestrated cue to 20th Century Fox, recorded enrely in-the-box, no analog gear, in my Home Studio, start to finish -- in four days!

So let’s talk about one of the biggest confidence issues I see in producers. They are always asking themselves one queson: Why Do My Mixes Sound So Different Than My Favorite Commercial Tracks?

If you understand that you are dealing with an ART FORM, you will be able to achieve the standards you are aiming for. If you also understand that the foundaon of what you are doing is a SCIENCE, you will be able to CONSISTENTLY and QUICKLY achieve the standards you are aiming for.

lucravehomestudio.com 16 So let’s go through the steps together that will help you achieve the same quality as those commercial tracks you look up to:

The Foundaon It is vital at THE BEGINNING of your project to carefully listen to your favorite tracks in similar genres compared to what you are about to create. Listen over and over to one or more commercially released tracks that are your benchmark comparison tracks – on your studio monitor speakers – the same speakers you will be mixing on.

Here’s a big p: Listen to the commercial track you are A/B’ing (comparing) to your project THROUGHOUT the recording: during eding, mixing and mastering of the track you are working on. Don’t wait unl the end. And never start your project unl you have listened to the comparave track, calmly, and without distracon.

IMPORTANT: While mixing YOUR track, adjust the volume of the commercial track to the SAME VOLUME AS YOUR MIX. You must compare “apples with apples.” When Mastering, return the commercial recording to its exact original volume.

Let’s say you’re trying to get your kick drum track to sound just like a Maroon 5 track but you “just can’t do it no maer what you try.”

lucravehomestudio.com 17 Well, first of all, wipe out that statement in the last sentence and believe that you can.

Once you have that down, start cung and pasng a kick drum sound from a Maroon 5 recording and quanzing it into quarter notes and placing that sound event on a track in your Digital Audio Workstaon.

Then, start building your kick drum track that you are working on and you will start “A/B’ing” (comparing) your kick drum sound to the sound of the Maroon 5 kick drum track.

Quanze your kick drum track to quarter notes, but off-set those quarter notes by an eighth note so your kick drum sounds on the off-beat and the Maroon 5 kick drum sounds on the beats.

Loop a couple measures of these two sound events: Maroon 5 kick drum hits on 1, 2, 3, 4 and your kick drum hits on the “ands”.

Sit back and listen closely to the overall rhythm and sound of this comparison: “1 and 2 and 3 and 4 and,” with each number being the sampled Maroon 5 kick drum and each “and” being your kick drum.

lucravehomestudio.com 18 Then, everything becomes quite simple – just keep adjusng literally whatever you can unl your sound becomes similar to the Maroon 5 sound. Believe me when I tell you that THIS IS HOW THOSE GRAMMY AWARD WINNING PRODUCER/ ENGINEERS earned their awards! This is how THEY learned!

You might have to duplicate your kick drum 5 mes, you might have to use 5 different kick drums layered on top of each other, you might have to EQ each of those tracks differently, you might have to use 3 compressors and 2 limiters on your kick drums – whatever. It doesn’t maer! Whatever you have to do, you CAN get your kick drum to sound as good OR BETTER than that Maroon 5 kick drum sound. Am I trying to pump you up? No – I’m just telling you the truth.

And along the way, you are going to be learning what doesn’t work, and what does work, and you’ll start developing your own tricks and techniques and secrets – aer all -- this is part Science and part ART – and we are talking now about the ART.

This is an adventure and it’s all about experimenng, then streamlining, experimenng some more followed by more streamlining, over and over. And aer a short me, you may not noce it right away, but your Mixing and Mastering chops are going to even blow you away.

So throw away your self-imposed mental barriers and start playing a new game. A mental game of advantage, where you perceive YOU to be in full control.

lucravehomestudio.com 19 Buyer Types and How to Sell Them

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When dealing with arsts, producers, engineers, clients and collaborators, it’s important to know before you go. What do I mean by that?

You need to know the “buyer type” of the person across from you. This will instantly help you close more clients. When receiving specificaons or requests, “too much informaon” is not enough.

To illustrate this point, I want to tell you about how I was hired by a major music publicaon in Hollywood as the Director of Promoon & Adversing.

I had just arrived to Hollywood from the Midwest. Every day, for 28 days, I would visit their offices during my lunch break while working as a printer. I would ask the receponist if I could please speak with the Publisher in charge of Adversing about a job.

Every day for 27 days, she politely answered, “I’m sorry, no. We don’t have any jobs available.” I would respond, “Ok, thank you. I understand. Can you please tell the publisher that he can start me on commission only? I will prove myself as an adversing salesman for the magazine without him having to spend a dime,” and I would hand her my card.

lucravehomestudio.com 20 Long story short, on day 28, when her politeness started wearing off, just as she was about to show me the door once again, the Publisher walk by. “Is this the commission only guy you were telling me about?” He asked.

“Yes,” she hissed, expecng him to say, “I thought you told him we have no jobs available. Here, let me handle this so he stops bothering you.”

Instead, she looked quite surprised when he said, “He’s persistent. And I like his offer, actually.” He then looked at me, opened the door to his office and said, “Come on in and let’s talk. What’s your name?”

Aer a 20 minute meeng, he showed me to a small cubicle office full of cardboard boxes and an old table. He had the receponist plug a phone into the wall and place it on a table. He then handed me a list of adversing prospects and said, “Don’t talk to anyone with a checkmark next to their name. Those are current clients. The rest are open game. Here’s our rate card, if you have any quesons you can ask our adversing manager down the hall. You have 30 days to sell at least $2,000 worth of adversing space.”

“Yes, Sir,” I responded. I looked at the list and the first thing I noced was that about 80% of the companies listed were Hollywood recording studios. And here started my educaon into how recording studio owners either ran a successful operaon or failed miserably. There didn’t seem to be a middle ground in this industry.

lucravehomestudio.com 21 Before the end of the day, I had already visited 3 major Hollywood recording studios -- and had my first sale under my belt. I reached my $2,000 quota within my first 17 days, and within 3 months I was running the enre adversing department.

Knowing the “buyer types” can change your life as a musician and studio owner.

Sooner or later, every single student that I teach mixing and mastering achieves a level of quality where he or she is ready to seriously enter the market and make a decent living.

Those that approach my lessons about the business, as intensely as they approached mixing and mastering, achieve a much higher level of success.

During my Hollywood music magazine days, I found myself meeng with almost every single studio owner in Hollywood - from small one room project studios, to Sunset Sound, The Record Plant, Ocean Way and more.

It was also during that me in my life where I learned a vital lesson about life: if one does not understand the technology of salesmanship, one will flounder and more likely fail.

Some aspects of salesmanship are common sense and come naturally, such as don’t be rude, don’t be over-pushy and don’t forget to ask for the sale. And of course, some people are more comfortable selling than others.

lucravehomestudio.com 22 Since I tend to be a researcher from hell, I decided to research the art of selling -- all the way, no holds barred, 100% down the rabbit hole.

My goal?

To find out if there were salespeople or a salesperson, somewhere in the U.S., who was among the top 10 in the country - that I could personally meet and be mentored by.

I learned something fascinang. Aer figuring out who the top 15 were, I scratched 14 of them off the list fairly quickly. All 14, though extremely successful, did not share the approach that this one parcular salesperson did.

His whole philosophy was based on honesty. It’s not that the other 14 followed a philosophy of dishonesty, but this one salesperson made it a point to always be 100% honest, and every sales technique he taught was based on being 100% honest. To me, that was not only refreshing, it was fascinang. Like most people, I had the stereotypical view of salespeople - pushy and dishonest. This was going to be interesng.

I tracked him down. I asked him to Mentor me, and he did. He has since passed away, but I consider that Mentorship one of the best things I’ve ever done as a musician and studio owner.

I adapted what he taught me to the music industry, and from that point forward, life became much less stressful.

lucravehomestudio.com 23 The Buyer Types

In the course The Lucrave Home Studio, you will learn the details about each buyer type, but to help you achieve beer success ng right now, let’s cover the basics.

The first thing to know about sales is this: Each buyer you sell will be in one of four categories. Each category has its own specific approach that will raise your chances of closing a sale tremendously.

If you mismatch your approach with the person’s category, chances are you will lose the sale. The skill of selling and raising your sales percentages hinges on one thing and one thing only: how well you can idenfy the “buyer type” of the person in front of you.

Every buyer does have one thing in common - fear of parng with their hard-earned cash, or fear of giving up their idea or vision -- and going with your idea or vision. Your job is to overcome that fear by sincerely gaining their trust.

Most people sell this way:

Regardless of the Buyer Type of the person across from them (most salespeople are not even aware of these buyer types), the salesperson sells every single person with the same approach.

The result?

lucravehomestudio.com 24 At least 50% of their sales will just not happen, no maer how much of a “social personality” they have. In fact, that “sales personality” could hurt them with certain prospects if they don’t know the buyer types. Fascinang, isn’t it?

Almost every “pitch” in life requires selling. This viewpoint really opened up my eyes. As a producer, when you are dealing with a singer in a studio ready to sing the next take, and you’re trying to persuade them to approach the take a certain way, and they are not necessarily responding well to what you are communicang, a “sales pitch” is occurring here, which will either succeed or fail -- based on your approach.

When you are collaborang with another , you are constantly, as a collaborator, pitching the other collaborator your ideas and your vision for that song or project. To the degree you know the “buyer type” of your collaborator(s), the project and relaonship will be smooth -- or, it will be a hassle and possibly fall apart.

I think you’re beginning to see how important this is.

In the course, The Lucrave Home Studio, you will learn about the buyer type, how to best approach them, and receive important exercises to sharpen your closing skills. This will not only help you sales, it will change your life!

lucravehomestudio.com 25 Where to Go From Here?

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Music producon, recording, and owning a home studio is a long road - and there’s way more to it than I can cover here in one guidebook. Above all, connuing educaon should be a priority for you. Not only will this help you stay on the cung edge, it will also help you to hone your skills and push your limits.

And that’s why I put together the Lucrave Home Studio course - to give you a course that will walk you through the next steps.

The Lucrave Home Studio is an 8 module online course with 50+ video lessons taking you through everything from building and seng up your home studio (and how to save a lot of money on gear), all the way through mixing, mastering, and finding and closing clients.

I want to help you keep up the momentum and give you the resources you need to mix radio-ready songs and run a profitable home studio. That’s why I’m giving you a personal invitaon to join The Lucrave Home Studio course.

CLICK HERE TO SEE HOW THE LUCRATIVE HOME STUDIO COURSE CAN HELP YOU What You’ll Learn in the Lucrave Home Studio: • Upgrade your EAR with techniques that will save you me and money and set you apart. • Learn how to be both a great producer AND a great engineer. (Yes, you can be both!) • Learn step-by-step how to mix and master radio-ready recordings from your home studio. • Build or upgrade a home studio to industry standards without wasng money (including room prep, plans, gear, and equipment). • Develop a 6-figure money making machine with your home studio. • Feel more confident in your producing, mixing, and mastering abilies. • Turn any space into a profitable home studio and avoid the big home studio myths that will waste you thousands of dollars. • Learn how to price your services confidently to ensure you get adequately paid for your work. • Get bands and clients willing to pay for your services to come to YOU. • Learn how to effecvely communicate and negoate with clients and close more deals. • Develop a business mindset and solid reputaon that will keep clients coming back. • Get a system in place to manage your studio’s income, expenses, bookings, and administraon. • Find your niche and posion your services to consistently land high-paying clients that compliment your skill level and experse.

CLICK HERE TO SEE HOW THE LUCRATIVE HOME STUDIO COURSE CAN HELP YOU