mmmm...the so-called room I'm using right now is a long rectangular thing. The ceiling goes up along the long axis...18' X 10' with a walk-in closet at one side. I'm using a clothes closet as an iso cab right now.... ....I found that using both bass traps and foam padding on the ceiling/walls it has done a major amount of work on the sound in that room.  I'm now wondering about getting some kind of room analysis to see what further things can be done. And, yes, it does mean I might use the evil other....ARC... ...if I need to...


Danny:  Have you ever tried singing in a concrete silo?  

trimph1


 Danny:  Have you ever tried singing in a concrete silo?  

Sort of...I fell down a well one time and boy was I singing for hours until someone found me! LOL! :)
 
-Danny

Danny Danzi

trimph1


 Danny:  Have you ever tried singing in a concrete silo?  

Sort of...I fell down a well one time and boy was I singing for hours until someone found me! LOL! :)
 
-Danny

   


We have a few of them up here.... ...might be fun to try them out.... 

Silos that is.....

So yeah man, I'm definitely not anti-science...I just don't like it to consume me like "theory" in music. I have so many friends that are so consumed by theory, they analyze a progression before they even attemtp to play anything. I'm not saying that's wrong, but I like to listen to something and sing what my heart feels instead of saying:

"ok, we're playing in this key and then we go here and here. This means we can use this mode and that mode and.."

 
Danny,
 
I have to laugh when you say things like this, because I can relate soooo much.  I have a song posted up at another site and it is being reviewed.  The song is about chaos.  At the end, I just let most of the instruments break down and kind of play what ever rolls out of me.  It is only, maybe 10 seconds long, just enough to break down.  I actually had some one respond with this.....

If I'm hearing things right, you have D in the guitar against what is a power E chord, so that makes an E7, so going to A in the bass actually resolves it, except for the sustained D in the guitar, which makes my ear think A7sus4 which still wants to resolve... In my head, leaving that D against the E actually sounds less resolved, but things in reality often sound different than they do in my head. It's probably better the way it is.
 
I just had to chuckle because they are so busy analysing this ending that they missed the point.  I honestly don't remember what I played in this ending.  I am starting to think I must be brilliant though ending up on an unresolved A7sus4. 

I'm working on an 'ambient' piece with strange processes going on ...I know the feeling....

MakeShift

So yeah man, I'm definitely not anti-science...I just don't like it to consume me like "theory" in music. I have so many friends that are so consumed by theory, they analyze a progression before they even attemtp to play anything. I'm not saying that's wrong, but I like to listen to something and sing what my heart feels instead of saying:

"ok, we're playing in this key and then we go here and here. This means we can use this mode and that mode and.."

 
Danny,
 
I have to laugh when you say things like this, because I can relate soooo much.  I have a song posted up at another site and it is being reviewed.  The song is about chaos.  At the end, I just let most of the instruments break down and kind of play what ever rolls out of me.  It is only, maybe 10 seconds long, just enough to break down.  I actually had some one respond with this.....

If I'm hearing things right, you have D in the guitar against what is a power E chord, so that makes an E7, so going to A in the bass actually resolves it, except for the sustained D in the guitar, which makes my ear think A7sus4 which still wants to resolve... In my head, leaving that D against the E actually sounds less resolved, but things in reality often sound different than they do in my head. It's probably better the way it is.
 
I just had to chuckle because they are so busy analysing this ending that they missed the point.  I honestly don't remember what I played in this ending.  I am starting to think I must be brilliant though ending up on an unresolved A7sus4. 

Hahaha! You know though, *sometimes* I have to go into that mode. Mind you, I'm no theory guy but I know all my chords and modes etc...even though I might not be able to tell you what they are. LOL!! But there are times when a client will send me something and I'll mention that I hear some dissonance and ask them if they were going for that sound. Most times they didn't even realize there are two chords or notes that are just not gelling well together, so I'll have to show them "this is what you get when you play a Bb and an A at the same time".
 
The funny thing there Mike, some of them will literally ask "umm, pardon me for being silly, but what's a Bb?" LMAO!!! They know it as A# (sharp) so that usually starts a laugh fest. But sometimes the theory part helps me explain things...especially with un-planned or un-noticed dissonance. :) It's great to have in your back pocket although dwelling on it...well, it just sort of kills the fun factor for me.
 
-Danny

Back to the original topic.

I'm looking forward to getting my hands on this book.

For me and likely many of us here I'm not sure it's a case of needing to learn more, normally for me with Ethan's work it's more of a case of unlearning what I thought I knew.

Unlearning bad ideas is often more pertinent and helpful than amassing more information.  I'm hoping for a 20-40% reduction in my current 'knowledge'...

I'm also hoping to learn ideas for some room correction that is effective and yet satisfying to my partners need for asthetically pleasing alterations to her living room...

I'm also hoping to learn ideas for some room correction that is effective and yet satisfying to my partners need for asthetically pleasing alterations to her living room... 

You hit the nail on the head for me Jonbouy.  The room that I call my studio, is the first room you see when you come in the entry way to my house.  Hanging 703 panels all over the room aint going to fly at my house.  For that reason alone, I have been interested in just how much ARC might do to improve the room.  It may not be 100% correction in a case like this, but if it gets you 80% there, then that may be the best I can do for now.  I just have n't pulled the trigger on it yet.


For now, I took over the interior decorating duties for the room, so that I could make sure that I placed chairs, bookshelves and sofas in the corners of the rooms, in an attempt to act as bass traps.  I am sure my wife was wondering why I was so eager to volunteer to "decorate" the room.  

It may not be 100% correction in a case like this, but if it gets you 80% there, then that may be the best I can do for now.

80% may be a little over-optimistic. 50% would be reason to celebrate. Please take some measurements before and after. Without objective measurement, it comes down to "yeh, that sounds better, I think". 

(Sorry, Danny, I know "objective measurement" sounds a little like science, but if you're ever going to convince the propellerheads to share your belief in this product, eventually you're gonna have to back it up with numbers.)

A waterfall plot will reveal not only what ARC is doing for you but also what it's not (and can't). Frequency response is not static; it changes over time. That's what a waterfall plot shows you: frequency response over time. You'll find that some frequencies ring out much longer than others (the result of constructive interference caused by room resonances). ARC can't help you with that other than to turn down the volume of the worst offenders. Only absorption can help with that.

I am not trying to dissuade you, Mike. Given your circumstance - not being able to install acoustical treatments - I would have no reservations about using ARC myself.

My copy arrived today.

Yup it's a biggun.