State Of The Studio

László

Too Many Notes
Joined
Apr 26, 2012
Messages
34,505
Location
Michigan
As obsessions go, I’d guess that tweaking my studio is relatively harmless, unless you’re my back, which doth rail against the burdens of toil! Anyway I thought it might be fun to check out my crib, because I've put additional acoustical treatment up, and have made a few other changes.

As the pictures show, my studio is nothing special, but I get a lot of TV ad work done here. The reason I can record broadcast quality tracks here is that the room actually sounds good. It sounded good without the acoustical treatment, but there were some standing wave problems at the mix position. In 2022 I decided that needed to be researched and rectified.

There was a time when I had a ton of analog gear - 5 or 6 twenty space equipment racks loaded to the gills, analog tape, and a console. All that's long gone.

By ten or so years ago, the work couldn't be done with it due to the constant changes that became part of the business. We used to get picture, fully edited and finished, and score to it. That's not done often any more. Now we get works in progress, and when they change the picture editorial, which is like every two minutes it seems, we start over with the music.

Old projects have to be precisely recalled if a previous ad gets updated. All this has to be done immediately, if not sooner. There's no time to recall all the settings on a console and external processors. It's a luxury we don't have. So most of the ad composers have gone with 'in the box' rigs. In a way it saddens me, but the most important thing is capturing a good sound at the microphone, where the differences are huge; things like software compressors vs analog compressors are much more subtle. So it's OK. It works.

My studio is one fairly large room, 33 x 17, and since I'm playing most of the instruments, there's no need for a separate recording booth. The first pic below is the recording area. There are four amps, starting on the far left with a Mesa Fillmore sitting on a Cali Tweed 2x12 cab because I liked the Jensen Blackbird speakers better than the C-90s that came with the Fillmore cabs. I decided to have mine look different from the usual Fillmore. I liked the look of my '90s Tremoverb, and went with black leather, white piping and a black grille cloth to achieve that vibe.

On the left of the rear wall are RealTraps acoustical panels, bass traps that also diffuse the sound a bit, with two straddling the corners. All are a couple of feet apart. This treatment is a huge part of the solution to my standing wave problem in the low frequencies. I was getting a null at the mix position at around Bb on a bass, and there were other anomalies caused by the room (as there are with most rooms that aren't purpose built as studios). Having had panels and tube traps from ASC, that are also very good, I found the RealTraps to be a bit more effective. They also help control bass from the amps.

Left to right, the amps on the rear wall are a PRS DG30 with a pine DG 212 cab; a PRS HXDA with PRS' Big Mouth Cab that's very similar in dimensions to Mesa's Recto 212. Works great with the HXDA. This cab is birch ply. Next to that there's a rack with a Furman PF1800-PFR AC power supply that's kind of interesting. It stores 45 Amps of power that can be delivered to the amplifiers faster than via the power outlets in the room; the darn thing works, and now I'm spoiled. All the amps are plugged into it. It also has isolated outlets for other gear, and I plug my pedalboard into it. That way, the amplifiers and the pedals are powered by the same source, and that tends to reduce noise. The outlets are also filtered and if there's AC noise, I can't hear it. In fact, the amplifiers are dead quiet, even when all of them are turned on.

Above the Furman, the rack holds a KHE amp and cab switching system. KHE is a Swiss company that's doing a great job making these things. You can switch any of the amps into any of the cabs via toggles or via MIDI, and there is zero switching noise, zero ground loops, and zero tone suck. This is a very high quality device; one of the guys here turned me on to it. I love it, because during a session I can just hit a toggle or send a MIDI signal and go to the next amp without recabling, plus I can experiment with all the amps and cabs to get a sound I want.

To the right of the rack, there's a Mesa Lone Star 100. I love the Fender black panel style tones I get from it. All of the amps have NOS tubes; the PRS amps have British and German tubes from the '60s and '70s, the Mesas have RCAs and GEs from that era. I think the amps sound better, and I haven't had a tube go bad in years.

The bookshelf helps a little with diffusion, though its primary purpose is of course storage. I do have an old set of encyclopedias that I got when my kids were little, and they're there because I had no place else to put them. There are also some entertainment law books, and then a bunch o' junk in cases and baskets. The artwork on the wall over the bookcase is a signed-in-block Salvador Dali woodcut. In the workstation area I have one of my brother's watercolors that doesn't show in the pics, and a print by John DeMartelly, a very well known artist who did beautiful work. I like art on walls, not guitars. Sue me.

uxEymFb.jpg


There's also a pedalboard to talk about. I decided to get one of the Schmidt Array boards because it's just so flexible, great to work with, and f#cking cool as all get-out. There are four Pettyjohn pedals - two are overdrives, but very low gain overdrives, there's a buffer/preamp, and an EQ. If you open one of these guys up ya won't believe the quality of the electronic parts. Studio stuff.

On the top row are four of John Suhr's pedals - a clean boost, a compressor, a tremolo, and a terrific chorus pedal. There's also a tuner and a little amp channel switcher for the Mesas.

I use two Eventide H9s, one usually for modulation, or micropitch algorithms (Eventide does them better than anyone) and one for delay or big reverbs when I need them. The white Mission Engineering pedal is an expression pedal that gets plugged into the H9s.

All cables that lay on the floor in the recording area are covered in Techflex, both to make them last longer, and more important, the Techflex forces even uncooperative power cables to lay flat on the floor, and it reduces tripping hazards.

Why a rug on top of carpet, you ask? I like the look. It also helps dampen the sound, so the room is reasonably free of ringing.

nOCPDAQ.jpg


Below is the workstation area. On the shelves of the keyboard stand on the left are an Avalon direct box, a Focusrite mic preamp, and the keyboard is a nice feeling Yamaha 88 key controller. The rack has a BAE 1073 mic preamp, a Focusrite Red 4 preamp that has been in my studio since it came out in 1994 (now discontinued, unfortunately), a Universal Audio Apollo interface, and some other stuff I need. The keyboard on the desk is a Dave Smith Prophet 12. Monitors are the wonderful Event Opals. These came out when Rode bought Event, and decided to do a cost-no-object studio monitor. I love their accuracy and each one has 470 watts of power. So they're clean as a whistle. Hidden behind the rack is a 2,000 volt isolation transformer made by Equitech that balances the AC (works like a humbucker conceptually) and has multiple isolated AC outlets that power all the studio gear. This reduces residual AC noise in the studio by about 8 db, as measured on my studio tech's oscilloscope (sadly, he passed away).

Once again, there are 6 RealTrap bass traps to tame the standing waves, and 2 real trap first reflection absorbers to prevent comb filtering resulting from first reflections.

cLGY8as.jpg


All the guitar amps and studio gear that have removable AC cords get Essential Sound power cords. They work. It's actually pretty amazing, because the last thing I wanted to do was spend a lot of money on power cords, but they made me a believer, and now everything's gotta have them. All the studio gear is wired with Mogami Neglex. All of the guitar and amp audio cables are Van Damme (many are the PRS branded Van Damme cables, but several are custom lengths), except the first cable from guitar to pedalboard is a special Sommer cable - they came out with one that has the lowest impedance of any cable made, and you lose less high frequencies. The Van Damme is also wonderful, but the connection from the pickup to the first pedal (my first pedal it connects to is a studio grade buffer) is crucial.

I use some high end, ultra low impedance Sommer cables for mics as well. I actually did a test I posted on my old forum, and most of the people who heard the test heard the difference with these mic cables.

In the computer there are hundreds - literally hundreds - of plugins that do different things. I probably only use 100 consistently, but WTF, I have 'em, I'm gonna load 'em into the machine. My DAW is Logic Pro, though I'm also very good with Digital Performer and not bad with Pro Tools.

In the corner behind the workstation you can see some heavy duty mic stands. I've got good mics, they need stands that can hold them properly. I use a Mic King for large mics for vocalists and acoustic guitar, and the very strong and convenient Triad-Orbit smaller stands for miking up amps, percussion, etc.

Finally, my brother and I built the black painted oak furniture with the maple trim. We welded the legs, glued and rolled out the formica on the tops, and these have lasted in incredible shape since we made them in 1994! All the corners are mitered, screwed and glued, the tops are extra thick with heavy wooden reinforcement underneath, and basically if WW3 starts, I'm hiding under them because they're bombproof!

So that's it! My life is down in this stupid room day in and day out. I jokingly call it Studio Craptastic because it's not a big deal room.
 
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I love that lamp with the pulleys.
Very cool.
I do, too! In fact, I also have the floor lamp that matches it, but I moved it to the living room to reduce studio clutter for a couple of days when I was doing a session, and my wife now insists it has to be behind a couch in the living room. We're currently involved in negotiations...

A stunning example of pure essential goodness in a space . Love the clean and tidy loo
Thanks! Ideally I'd like to see a little less clutter, but I need things like the lamps (not enough ceiling lights). I have been planning to put in new flooring and paint the room a subtle shade of gray, maybe even install a wood slat ceiling, but have been procrastinating because it'd be a lot of work just moving all the gear out, let alone the furniture.

Ah yes…the Tone Yodas lair.:cool: So incredibly well done my friend!

Oh and by the way…


WE’RE NOT WORTHY!
WE’RE NOT WORTHY!
WE’RE NOT WORTHY!
Everyone's worthy! It's possible that one of the reasons I'm so crazy with the tone thing is that the room is large enough for the amps to stretch out without blowing out the ears and walls, and with the room treatment, you can hear the audio really well.

Or, I could just be nuts. Or both!

Alright, WTF happened to the helmet!
It's still in the room, it's under one of my brother's paintings that isn't showing, along the wall on the right of the workstation area. Hey, it was a gift from my brother, it's gotta be there!
 
I do, too! In fact, I also have the floor lamp that matches it, but I moved it to the living room to reduce studio clutter for a couple of days when I was doing a session, and my wife now insists it has to be behind a couch in the living room. We're currently involved in negotiations...

So it's staying in the living room. Got it.
 
Beyond awesome!!!

I "updated" my studio, too!! I am back in FL. Living with my mother-in-law. My studio is currently a laptop running Reaper with my Helix rack as the interface. Can't wait to get a job, a new house and my full room recording space back!!

As always, Les, I love seeing your space/gear. It's cool "knowing" a real studio dude. Maybe someday...but right now I'm still loving my Cloud-based work.
 
Beyond awesome!!!

I "updated" my studio, too!! I am back in FL. Living with my mother-in-law. My studio is currently a laptop running Reaper with my Helix rack as the interface. Can't wait to get a job, a new house and my full room recording space back!!

As always, Les, I love seeing your space/gear. It's cool "knowing" a real studio dude. Maybe someday...but right now I'm still loving my Cloud-based work.

Sorry to hear that Mark.
 
There may be a trade involved. She wants the Dali in the den.
I wrote a song about your plight Mr. Les! It ain't no Mozart, but it is my own art!! Could not resist with a line like that ^^^^!!!

Dali In The Den - Copyright January 14, 2023 - ANO Publishing, LLC - All Rights Reserved

<Verse 1>
What do I do
I got to fight on through
To keep my space
As my perfect place

Where do I turn
When my other half yearns
To change my ways
For 20,000 days

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl

<Verse 2>
When did this start
The tipped apple cart
Was all goin' along
Like a giddy up song

Then one day I
Finally realized
That my dreamy days
Were just a foggy haze

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl

<Bridge>
Gotta get my lamp back
Gotta save my back
New ceiling lights
Are not within my sight
Can't surrender Dali
Or the helmet you can't see
Workin' with bass traps
So I can hear the Bb's

<Verse 3>
Why did I write this
Why do I fight this
Why do I think that
You would care about that

Which one of us is the witch
Am I diggin' own ditch
Whether this is all true
Will all be up to you

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl
 
I wrote a song about your plight Mr. Les! It ain't no Mozart, but it is my own art!! Could not resist with a line like that ^^^^!!!

Dali In The Den - Copyright January 14, 2023 - ANO Publishing, LLC - All Rights Reserved

<Verse 1>
What do I do
I got to fight on through
To keep my space
As my perfect place

Where do I turn
When my other half yearns
To change my ways
For 20,000 days

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl

<Verse 2>
When did this start
The tipped apple cart
Was all goin' along
Like a giddy up song

Then one day I
Finally realized
That my dreamy days
Were just a foggy haze

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl

<Bridge>
Gotta get my lamp back
Gotta save my back
New ceiling lights
Are not within my sight
Can't surrender Dali
Or the helmet you can't see
Workin' with bass traps
So I can hear the Bb's

<Verse 3>
Why did I write this
Why do I fight this
Why do I think that
You would care about that

Which one of us is the witch
Am I diggin' own ditch
Whether this is all true
Will all be up to you

<Chorus>
She wants the Dali in the den
But I will never know when
My pullied lamp
Will be back with my amps

So I write a new piece
Just to find some peace
In this wicked world
With my beautiful pearl
You, sir, are a lyrical genius! :)
 
You, sir, are a lyrical genius! :)
Easy Caveman (but thank you)! I have little to do with the creation of this stuff. It literally falls into my head. As soon as I read that line, I could hear the song! Fourteen minute write time (I have been timing them for the past few months for my own entertainment) on this one, but your statement is why this song exists! Thanks for the inspiration!! BTW, Dali is my favorite painter ever, and his house is incredible (Cadaques Spain)! I wrote my song "Cold Day in Summer" in a hotel room about 50 yards away from his house, I like to think that he inspired or helped that one along (though completely untrue to the scientific part of my mind)!
 
Beyond awesome!!!

I "updated" my studio, too!! I am back in FL. Living with my mother-in-law. My studio is currently a laptop running Reaper with my Helix rack as the interface. Can't wait to get a job, a new house and my full room recording space back!!

As always, Les, I love seeing your space/gear. It's cool "knowing" a real studio dude. Maybe someday...but right now I'm still loving my Cloud-based work.
For the record (pun intended), my son produced songs for a gold record with a laptop, some mics, an interface and a decent pair of headphones, while on tour.

As I understand it, the Midnight Miracle podcast he produces with Dave Chappelle is recorded on a laptop, with an interface, a good mic and planar headphones, because it's usually done while traveling. You can't even believe how good the audio sounds. When I saw the Pro Tools template my son uses, I was flabbergasted. It was both brilliant, and WAY beyond the stuff I do.

I'm still in that halfway-caveman world where it's kinda the room, kinda the hardware, kinda the software, etc., but it's awfully hard to not like what can be done with a computer, an interface, and a pair of Audeze LCD-X cans.

When I got into the biz, you put six figures into your studio or you were nowhere. For better or for worse, it's much more democratized now. Everyone can do everything with the same computer they use for whatever it is they do for a living.

At first I was kind of pissed off about this, having made the serious investment many years ago. But that feeling left, because projects really should be more about the music than the gear.

"Wait. You still prefer analog, and that anger permeates your entire being."

OK, I'm still pissed off. Because I'm that prehistoric guy who can't help it, dammit.

;)
 
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