Finally moved in to my new recording space

Congrats on the new digs.

Good for you!

T

Congrats! I hope to grow my studio and do the same as soon as possible.

Great news Bit!!!


best regards,
mike

Best of luck with the new room, Bit. Nice choice of bands for the initial listen!

I just realized I posted this in Hardware rather than the Coffee House. My apologies to the hardware nerds. Although this forum does attract a better class of clientele. (Bapu? Is that you peeking around the bouncer at the door? Kitchen entrance is in the back, bub.)

bats, that's a good suggestion. Dregs will be in rotation today. I'm trying to listen to every world-class recording I have, from every genre and decade. That alone has been an interesting experience. Some records just sound good no matter where you play them - Dream Theater's "Pull Me Under" has never sounded bad anywhere. Anything out of Nashville is a pretty good test, too, whether it's pop, current or classic country or bluegrass. That Nashville sound is perfect for calibrating one's monitoring system.

Part of my setup involved tweaking my room EQ. I use an external hardware equalizer for that rather than software (hey, there's the Hardware connection!). It's a cheap equalizer (I paid, IIRC, $150 for it new), a Behringer FBQ2496 (now discontinued, I think).





It's marketed as an automatic anti-feedback controller for live sound, but I've never even tried using it that way. In manual mode, it features 20 independent parametric filters. What I do is start with a SONAR test project with white noise, stepped sinewaves and some reference songs, and tweak a software EQ for the flattest response. I write down the filter frequency, Q and gain settings and then transfer them to the FBQ as my starting point.


Next, I set an omnidirectional microphone in the listening positing at ear level and turn on input monitoring. Two instances of SPAN, one showing the spectrum of the test signal/song, the other showing what the microphone is hearing, allow me to compare what's coming out of the speakers versus what's in the source. Doing this prevents me from making adjustments that just sound good, versus adjustments that improve accuracy.

Been enjoying this fella lately:
http://grooveshark.com/#!/search?q=Peter+Bradley+Adams

Ah come on... give us a hint:

Do you think the "C" should stand for *Correction* or "Compensation"?

:-)

Excellent news Bit!

Enjoy your space-man

Putting a free standing dsp in between your I/O and your speakers adds approx 2.4ms (on a good day) to every thing you listen too!

It makes twisting a knob on your controller and assuming you are hearing the subtlety of the knob twist an even more abstract experience.




Good Times!!!

I quote that figure off the top of my head.

1.2ms A-to-D is about as fast as anyone is getting it done... to the best of my knowledge.

Add another 1.2ms D-to-A and that is the other half of the 2.4ms.

I'll assume that the dsp process can actually happen faster than real time so I didn't add any for that and called it a "good day".


As always, I welcome corrections.








When mixing I don't think latency, even 46ms, is an issue until your start turning a knob and "use your ears" to hear stuff that doesn't even happen for, well.. let's say another 46ms.

Watching guys do that while they are acting like they are hearing the subtlety of a small knob twist cracks me up.

Good times!




all the best,
mike

:-)

Plus you get to play your 78's through it. No?

:-)

There is nothing like lights to impress. Everybody is transfixed by the lights! lol!

Drum replacement is more common than you'd think, the dirty little secret nobody talks about but everybody quietly indulges in. Even Rudess records his parts as MIDI so they can be subsequently edited. Aural trickery is everywhere.