My Idiotic Studio Day

László

Master Of The Universe (Emeritus)
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I spent the day waiting to hear from an ad client whether the actual client client approved what I had been working on. BTW, still no answer as of 7:20 PM. And I had a nice little stomach flu (I'll spare you the details). So I had some time to kill.

Ya know, give me some time, and I'm not just gonna kill it, I'm gonna torture it first. I started looking around the studio. I was, and am, determined to come up with an ergonomic place to put my amp heads, near enough to the control area to be able to tweak them while wearing a guitar and headphones while recording. Unfortunately the only logical spot to do this is the ugliest spot in my studio (which ain't all that in the first place).

What I don't want to do is screw up the very careful placement of my acoustical treatment, or my main recording controls. But everything else is fair game.

And there are limitations. One wall where it'd be fairly sensible to put amplifier heads in terms of ergonomics and even looks has no AC outlets, and I'd have to run speaker cables into cable races in the ceiling to avoid stringing them across my doorway. That might be too much work for not much gain.

I figured I'd have an amp rack made. I probably still will. But in the meantime I decided to move furniture around to give myself a temporary amp location. The cabs are no problem, I can move them around in the recording area. But we all know what it's like to walk back and forth to the recording controls wearing headphones and a guitar and what happens between the headphone cable and the guitar cable. It's an invitation to step on the cables, get all tangled, and probably trip and fall, which I'll admit isn't a pleasant prospect at my age.

So I got busy with furniture glides, and started moving gear and tables and whatnot. If you're me, you can't visualize how things are gonna work out without putting everything in place and seeing how it works and looks. I must've tried a dozen things.

As of this evening, I have kind of a half-baked scheme going that seems to make logical sense in terms of how I work the gear. It looks like crap, though. I have both heads on one desk thing. I've done this before but in a different location. The desk doesn't fit the area I stuck it in, looks-wise, but I found that not having shelves and having two heads on a desk makes them awfully easy to adjust without bending over. That's kind of a plus. Good function.

I just finished dinner and am going back into the room to tweak placement. It's stupid, I know it's stupid, because most likely it's too ugly to live with. But I'm into self-torture and I'm going to keep moving furniture until I drop.

:dontknow:
 
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I feel your pain. I don't have a studio, but I do have a spare bedroom that the toys are in. I'm ocd about that space. In, out, up, down, turn 90. No, turn180. No. Maybe fresh paint. Everything out. Paint. Everything back in. No. Arrrgghhhhhh.....I give up. The wife is starting to hang things on the door! STAY OUT OF MY SANCTUARY WOMAN! I do the only sensible thing left to do...crack a bottle of Scotch.
 
The good news: the client's client is happy with the track! Yay!

The bad news: the room looks crowded and the first thing that assaults the eyeballs when entering it is that ungainly looking amp table (originally it was for two keyboard synths, the drawer pulls out), but after trying more things, I can't seem to make the setup more functional, so here's how it looks as of tonight at 11:45 when I finally gave up:



I'm finally able to get to both amps in a couple of steps, and I can operate the pedalboard from my workstation chair. That's pretty good for now.

I feel your pain. I don't have a studio, but I do have a spare bedroom that the toys are in. I'm ocd about that space. In, out, up, down, turn 90. No, turn180. No. Maybe fresh paint. Everything out. Paint. Everything back in. No. Arrrgghhhhhh.....I give up. The wife is starting to hang things on the door! STAY OUT OF MY SANCTUARY WOMAN! I do the only sensible thing left to do...crack a bottle of Scotch.

You and I should share a work space at some point! :top:

We'd be drunk a lot of the time.
 
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You and I should share a work space at some point! :top:

We'd be drunk a lot of the time.

Lets see, 5 hours from Chicago to Detroit. Awww crap, I'm going to have to make a stop at the bank. Need to get the spare liver from the safe deposit box! I'll be there in six.:beer:
 
Les, if that photo is your idea of

the room looks crowded and the first thing that assaults the eyeballs when entering it is that ungainly looking amp table

then please, please do not look at any room of mine, especially my music room, which also doubles as my home theater (with two projectors, a 140" screen, 7.1 surround with 3000w peak subwoofers, and two rows of seating), and book, CD, and Blu-Ray storage room. I have to keep my guitars out in the hallway - there is no room for more than one or two in my so-called music room.

I suppose I could re-locate the drums or keyboards, but I do occasionally play them...
 
The bad news: the room looks crowded and the first thing that assaults the eyeballs when entering it is that ungainly looking amp table....

I guess we knew it all along but just didn't want to admit it. Based on the picture, Les is either blind or nuts!
 
Les' studio - crowded and ugly


Bill's studio - neat as a pin (don't judge me! )

crowded1.jpg


crowded2.jpg
 
Well except for the strange placement of your monitors that is guaranteed to not give you a decent stereo image (what on earth were you thinking?) you have great access to your amps and drum kit and the room looks absolutely first class.

Is your flooring wood or a laminate? I'm going to replace my carpeting soon, and I like the look of what you're sporting there, old sport! :top:

Right now I have a laminate that was installed when the carpet was installed, but I hate the carpet, it's ugly industrial stuff that I thought would be fine and give the room kind of a high tech appearance, but it merely looks like I picked crapola.

Also I came up with a better furniture arrangement, and I'll post some pics later. It's much roomier now.
 
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Late last night ('til 5 AM), and today, I rearranged stuff until I got it right. Funny thing about rearranging a studio, you wind up moving the furniture around trying different things, and the only way to know if it works is to actually see and use the stuff where you've moved it. So this took a long time and a lot of trial and error.

The way I've had my studio set up ever since getting rid of my 64 input console in 2007 (that took up a TON of space), has been to set it up for ease of use with keyboards. Keys have been my main composing tool, though that's changing.

Therefore I had the 88 note keyboard in close to the stand I have the computer on, so I didn't have to move my chair more than a few inches to use it. The other gear was placed where it fit in accordance with that, and there wasn't a very spacious feel to the room if the amplifier heads were in close. For example, placement of the 4.5 foot amplifier rack now opposite the keyboard would have made access to the storage room (the door on the right in the end of the picture) nearly impossible with the rack in the way. I need to get to that storage room for mic stands, rarely-used equipment, and what-have-you.

Here's the "before" shot of the room:



Yes, it's nice looking, and great for writing with keys, but as you can imagine, to get to the area not shown in the picture that's about fifteen feet from the workstation, with a guitar strapped on, and headphones on, and go back and forth to adjust the amps while doing a take, involved a lot of tangled cables and they really got in the way and got tripped over. So yes, great for keys, not so much for guitars.

Revised Before, from Tuesday:



My first solution was this, with a stand for the amps in the middle of the room. As you can see the amps are closer to the workstation area, but still adjusting them while recording involved getting up, taking a few tangled steps with the cans and guitar strapped on (you have to hear the mics to adjust the amp after all, it's a matter of what the mics are hearing!). So while I saved a few steps, I really accomplished nothing with this setup.

Moreover, it doesn't show so much in the picture, but everything looked cluttered in person, and the amp stand table was smack in front of you when you walked into the studio, almost in-your-face. It was OK, but really didn't do much for me, and felt a little oppressive.

So last night and today I had at it.

After:



By moving the main keyboard toward the wall, I opened up space to move the small rack with the Focusrite, Avalon and UA gear to the other side of the room. This made the path to the entryway to the storage room a lot clearer, gave me more room for tasks like playing guitar, and enabled me to put the guitar amp rack on the other side of the workstation, very close by. No more cable tangling to adjust the amps! All I have to do is stand up and take one step!

So instead of being a keyboard-centric layout, it's now a multipurpose layout and I just worked with it for a few hours to make sure everything has the workflow I'd hoped for. It does, this is a big improvement generally.

Yes, I have to roll the chair over a foot or two more to operate the main keyboard, but that's not a hassle.

I also think the effect is more spacious, the furniture isn't as much of a hodgepodge, and I'm pretty happy with it. Put some new flooring in and I'll feel like the King Of The World! :top:

The only drawback to doing this was I did it myself with furniture glides, heavy lifting, moving the amps on and off tables and stands, and the furniture is heavy!! I also tried every possible location for everything in the room by moving it to whatever spot I was thinking about, and then moving it again. At my age I am exhausted and so freakin' sore you wouldn't believe it!
 
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Finishing touches! Both amp heads in place, and a small synth keyboard on the pull-out drawer as the piece of furniture was originally intended to include:



The back of the room, where I cut vocals, acoustic instruments, guitar cabs, etc. And...umm...hang cables and uh stuff. And hell yes I completely copped Ruger's method of lining up his amps at an angle in the room, Thanks Bill!

 
Is that a set of those new Blue Mo-Fi headphones under your printer/fax machine? How do you like them?

Super neat looking studio...wish I could keep mine so simple/elegant, but GAS always gets in the way of that goal.
 
Is that a set of those new Blue Mo-Fi headphones under your printer/fax machine? How do you like them?

I probably should have posted a review of some kind. I like them a lot, but as with any closed-back headphone, there's physics stuff that needs to be dealt with.

First, the good:

The bass extension is fantastic. You really get a good idea of your low end, all the way down.

The amplification system that's built into the phones works very, very well, and with a portable device they are the very best I've heard for that reason. Also, if you have a halfway decent headphone jack on your traditional gear, you don't need to use the built in amps, and the cans sound the same.

While the frequency balance tends to favor the bottom end as with most closed back phones - this is the inherent problem with such devices due to the physics of getting low bass into an ear cup -there is terrific detail in the rest of the frequencies as well. The detail of the phones is remarkable for a closed back. There is more detail than on my closed back Beyer DT770 Pro or my closed back Ultrasones. The Ultrasones have nowhere near the accuracy in the low end, although they're airier and more open sounding up top.

I find them supremely comfortable. These are the first headphones I've owned where I forgot I was using phones and worked with them for a whole evening. YMMV because we all have different anatomy.

The isolation is the best I've found for tracking. There's very little bleed in or out, and the ear cup seal is superb.

The not-so-good: I appreciate a little more "air" in my listening, and I'd like to see Blue address the slight bump in the low end of these cans. For a long time I used a pair of Grado 1000 cans to check my mixes, and they had a nearly perfect frequency balance, as they should for a grand. But Grados are open back phones, and they bleed into tracks like crazy. Also I think that the bass on the Blue phones goes deeper and sounds more real, even though it's bumped up a bit. I sold the Grados because their impedance was too low to use with a Neve summing mixer I had, which was kind of a mistake. Once I started doing everything in the box, I missed the headphones!

Since the low end is the most problematic for mix-checking in most studio settings, I find these headphones very, very useful.

Super neat looking studio...wish I could keep mine so simple/elegant, but GAS always gets in the way of that goal.

I get it, In my old room had five 20 space racks of gear, plus a 64 input console, multitrack tape, and a 3 track mastering tape machine (the third channel was for SMPTE timecode synchronization). There were six 96 point patch bays to handle all the gozintas and gozoutas. Working in the box changed my studio life. I principally went that way for ease of recall, because clients now expect immediate changes, but I find the sound quality is extremely good, too. If I was making records I'd probably have kept all the analog stuff just for grins, but my ad clients don't care at all about seeing racks of gear.

It used to take me at least an hour simply to set up the gear for a simple running change that took maybe five minutes once everything was set up. Now I just pull up the file, make the change, bounce the track, and upload the file synced to picture on Interdubs. So a five minute change takes 15 minutes including the bounce and uploading the file.

The more stuff I have, the less quickly I work. So there's that.
 
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I probably should have posted a review of some kind. I like them a lot...

The more stuff I have, the less quickly I work. So there's that.

Thanks for the excellent review, and the sage advice Les. Fortunately for me I'm not reliant on my musical talents to make my living...
 
Fortunately for me I'm not reliant on my musical talents to make my living...

Unfortunately, there are times I think that my schmoozing talents are more important than my musical ones when it comes to my living.
 
Ain't that the truth!

From time to time I still get a hankering to put another analog summing mixer in, though. I've looked at another Neve and at the Phoenix Audio Nicerizer. The odd thing is that I am not sure I could tell the difference listening to a track, but something about working the knobs gives me a weird sense of satisfaction.

It's like tape. I love that smell. I love the smooth mechanical whirr of the machines and the click of the solenoids. I love cleaning the heads and pinch rollers. It's strange, I know.
 
It's like tape. I love that smell. I love the smooth mechanical whirr of the machines and the click of the solenoids. I love cleaning the heads and pinch rollers. It's strange, I know.

The heat, the smell of slowly melting plastic, the limitations, the feeling of commitment, bouncing (not "in place"), outboard gear, samplers , having two less tracks for SMPTE, sequencing your MIDI tracks before recording them, and... my personal favorite: Effects processors!? I miss them. They were fun and made you feel like a scientist surrounded in a room filled with dancing lights and VU meters.

The weird thing about it is I feel more productive with just a computer, but feel less inspired during the creation part knowing that everything is subject to change.
 
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