One small thing that did come to mind...

- An "Every Kind Of Cable In The Joint..." cable tester can come in handy. Depending on just how much you time you will be spending just on recording? A solid cable tester
can save a person a good bit of "Sherlock Holmes..." time trying to figure out what might be making a sound that is sticking out on a recorded sound that might not
amount to much of an issue in a "Playing Live..." situation.

Can anyone recommend a good resource for treating/modifying a room?

I recently moved into a new house that has a detatched garage with a spare room that is becoming the music room. It's kind of a blank canvas at this point. It has minimal insulation, and decent electrical. The goal would be giving it some sound treatment so that it A) sounds good in there and B) blocks a decent amount of noise out from bothering the neighbors.

fatchance wrote: Mon Sep 12, 2022 9:48 am Can anyone recommend a good resource for treating/modifying a room?

I recently moved into a new house that has a detatched garage with a spare room that is becoming the music room. It's kind of a blank canvas at this point. It has minimal insulation, and decent electrical. The goal would be giving it some sound treatment so that it A) sounds good in there and B) blocks a decent amount of noise out from bothering the neighbors.

https://www.youtube.com/c/AcousticsInsider

This guy has a great Youtube channel that covers a lot of ground

Also, here is DL link to the PDF of an older version of the "Bible" for this kinda thing

https://s3.amazonaws.com/arena-attachme ... df17c4.pdf

numberthirty wrote: Sun Sep 11, 2022 8:24 pm One small thing that did come to mind...

- An "Every Kind Of Cable In The Joint..." cable tester can come in handy. Depending on just how much you time you will be spending just on recording? A solid cable tester
can save a person a good bit of "Sherlock Holmes..." time trying to figure out what might be making a sound that is sticking out on a recorded sound that might not
amount to much of an issue in a "Playing Live..." situation.

Absolutely. we have these ate work and I love them

https://hosatech.com/products/accessori ... r/cbt-500/

I have this one at home and it is good too.

https://www.whirlwindusa.com/products/b ... able-teste

Also just any multimeter with continuity testing in a pinch.

I just got one of the Hosa ones. It's great but there's one at work too and they both have the same problem with the stupid jank-ass 9volt battery holder. Gotta gaff it on. At some point I may open it and at least wire in a standard "clamping" style 9 volt connector like everything else in the world.

Gonna be picking up one of those Hosa cable testers soon.

Just so you know, this thread isn't the only place in which I've read people complain about the at times loosey goosey battery holder.

llllllllllllllllllll wrote: Sat Sep 10, 2022 6:54 pm All great advice. Especially regarding the CABLES, and i have definitely had issues with shitty stands getting in the way of my Jimmy Page amp micing experiments.

Now about that interface - I’m prepared to drop around $1000 on one. Is that crazy? It just seems like an important piece of gear. I won’t be using a console.

Okay let’s do this.

1. How many channels?
2. USB connectivity Y/N?
3. On board preamps Y/N?

$1000 is not crazy at all : )

losthighway wrote: Fri Sep 09, 2022 1:45 pm I did an experiment this summer where I recorded the same multi track (short) song repeatedly through 5 different preamps to test the discernible difference and the "build up" theory of a particular pre's sonic fingerprint.

The results were staggering. There was maybe 3-5% difference between the most unlike sounding modules. My Alan and Heath board pres hung right in there with API and Sytek. The Great River sounded ever so subtly nicer, and the Chandler had just a hint more harmonic saturation. It totally killed all of my preamp gear lust. I could have recorded my last dozen projects on only my board pres and no one would have lost anything in the process.

Fun test! Pure speculation, but what do you think that the differences might have been had you run the same program material through a bunch of strongly coloured Coil, Fearn, Gyraf, Tubetech or Thermionic Culture pres for example?

Actually what was the program material? I find pres are most noticeable with either transient-tail heavy music with lots of space around it (acoustic/classical), or heavier material where the pres are being driven hard.

seby wrote: Tue Sep 13, 2022 5:19 pm

losthighway wrote: Fri Sep 09, 2022 1:45 pm I did an experiment this summer where I recorded the same multi track (short) song repeatedly through 5 different preamps to test the discernible difference and the "build up" theory of a particular pre's sonic fingerprint.

The results were staggering. There was maybe 3-5% difference between the most unlike sounding modules. My Alan and Heath board pres hung right in there with API and Sytek. The Great River sounded ever so subtly nicer, and the Chandler had just a hint more harmonic saturation. It totally killed all of my preamp gear lust. I could have recorded my last dozen projects on only my board pres and no one would have lost anything in the process.

I find pres are most noticeable with either transient-tail heavy music with lots of space around it (acoustic/classical), or heavier material where the pres are being driven hard.

I have a A&H GL2200 and also am using some Warm Audio 412 pres, a Sytek MPX, 2 ART Pro Channels, and a modified Shure M67. Other than a tiny bit of "flavor" mostly from the Shure and ART channels, I would be fine to use any of the above. I usually actually pull the Warm and Sytek through the line inputs of the console and Direct out from there so I can access the monitoring of the console. The (recently recapped) Allen Heath board has very clean and quiet preamps, Especially after I did the Pre-fader direct output mod. THe one thing I do notice between the console and Sytek especially is a bandwidth of dynamic range. I feel like they are a lot "deeper" than the console preamps. THe other thing is, the Allen Heath preamps DO NOT sound good when clipping at all, where the warm and Sytek can actually sound pretty cool in the red. The Shure pre amps always get lined into the Console because they usually need a little more gain. They are total color preamps. they do a thing.

Its why I always just suggest a used live board for someone getting into recording that need a lot of preamps, they are clean and reliable and you get the whole monitoring section too, I use the AUX for headphones. There is a 24 CH Soundcraft GB2 on PDX CL for $600. That is a lot of mic and line in for that kinds of money, and unless you are looking for something really special, do the trick. It's a good board and worth every penny.

PLUS if your IO has a lot of line outs, you can mix through the console like one of the big boys. It might not sound any better ( I think it does) but it is a lot of fun.

i got a Midas Venice 320 desk and a couple of the JBL monitors everyone likes.

Interface still not sure what to get yet. Something that works well with the console. I wish there were plainer ones with just decent convertors I could pair with the desk, but it looks like they all have a million preamps and options that I need to try to understand

I have a Windows laptop similar to what my old band used w a 16-channel Tascam and Reaper in the practice space and will have to get that sorted soon for the house. I’ll just be working with that and the stuff on the way for now before i buy an interface and new computer if necessary. Will get those later after I’ve sold some stuff

Its getting to be a bit much to have to work out computer, interface, and DAW compatibility. I just need something that works and whatever DAW i use i am going to have to learn from scratch anyways.

Hey and if someone is sending me PMs I am having trouble accessing it on my phone. So sorry! Not ignoring you