H U G E G
A L L E R Y
sound generation and capture
facilities eye candy.
Click on any of the photos for a larger image.
The money shot. A view from the
entry way. Note the high ceilings, at the apex of which, you can see
the curved diffusor/bass trap. The purple panels are OC703 high density
insulation. The corner panels (alternating shades of purple) are angled
from the walls to serve as bass traps. These corner panels are 4" thick
with a void up to 2 feet in depth. The other purple panels are 2" thick
and held off the walls with 2X2s, to lower the effective absorption frequency.
the construction page
|The Floor Space. A
view of the floor space from the loft. Everything is set up for a one
keys face away from the nerve center, which helps when jamming with the
buds. The floor is simply painted plywood. I didn't want a finish that
I gave a damn about, since I drag heavy stuff along it all the time.
In retrospect, I could have installed parquet flooring fairly cheaply,
but at that point in the building process, I was so horny to get moved
in, I just threw down some paint.
||The Work Space. You got
yer basic setup of symmetry from the front wall to the ears. The G5 is
so quiet, I haven't felt the need to isolate it further than just shoving
it under the desk. Note the old Yammy ProMix 01, which now largely serves
as a control surface for Digital Performer. Yeah, the requisite Lava
Lamp, the beer and if you can make it out, the stuffed bongo playing
frog on the left monitor.
The Wall Treatments.
As described above, the purple panels are OC703. Note the bass traps,
which are a modified design from Ethan Weiner's Build a Better
Bass Trap article. My traps have a 6 inch depth, mostly to
accomodate the 2" thich OC703 (Ethan's design calls for 1").
Also, mine are 6 feet tall. There are 6 on the walls and 4 on the ceiling.
Instead of painting
the resonant surface, I just polyu'ed them, to keep the periwinkle
and honey wood thing going.
My goal was to control the echoes (unbelievably nasty
with stucco walls before treatment), while preserving some reverberant
big room sound. By using a wide variety of treatment technologies, I figured
I hedged my bets a bit.
||The Guitar and Drum
Zone. Behind the mix position lies the guitar array and under
the loft on the west side is the drum set. Note the oodles of books
in the book shelves. The idea here was to achieve random diffusion
through many books of varying spine depths. Still, I have more books
than I have room for my other stuff, so The Zen of Pet Rocks may have
|The Entryway and Loft. From
behind the mix position is the loft. Under the loft to the East side is the
entry way. My builder had a great idea to put double doors on both the
entrance to the studio and on the entryway isolation area. This makes
load in and out a breeze. The entryway can serve as an isolation area,
although it will always be pretty leaky. Note the ladder leading up to
the loft. Yes, it's disruptively in the middle of the floor, but it gives
the climber much better headroom. You can see the futon up there as well
for guests to crash or ill-behaving husband to rethink his communication
methods. Restroom is in the form of the surrounding heavily wooded three
||Guitar Zone. No,
I am not much of a guitar player, but I have a nice rig. The axe on the
left is an Ibanez strat copy. Piece of crap, but sounds pretty decent.
Next to it is an ugly as hell, but very sweet 70s Telecaster Deluxe with
Seth Lover humbux (Think Sonic Youth, Thom Yorke or Keith Richards).
The amp is a little Mesa Boogies which does a decent impression of Fender
and Marshall amps. I need to paint the love clock some hideous shade
and put her in a more prominent space.
|The House Bass. I
knew I needed some mutt bass and I'm a sucker for yellow axes. It sounds
okay and really woofy through the Music Man. Why does all my gear look
dusty and dirty as hell? Oh, I know! It's cause it's dusty and dirty
||Keyboard Rig. I
suppose I am a guitar player trapped in a keyboardist's body. This is
my current configuration of keyboards, a Korg Prophecy on top with an
old trusty Roland D-50 below. I control lots of MIDI gear with these,
but also I use their on-board sounds a lot.
Road Rage Rig. Here's
what I take on the road to go along with the Prophecy and the D-50. From
the top is the Pro3 rotating horn. I tried all the electronic Leslie
simulators out there, only to conclude, you just have to move air in
a circle to get the right sound. I typically feed my Peavy organ ROMpler
into the rotating horn. It actually sounds pretty damn good. You just
take all the Leslie effects off the ROMpler sounds and pipe her through.
Voila! I also have a Yammy piano module, which sucks enormous donkey
unit. I'm getting the feeling I'm going to have to just get a stage piano
and forget the piano module route. Then the requisite piece of crap Alesis
Quadraverb. It's one of those no-where-else-to-put-it rack decisions.
Note I also have a full rack of MIDI gear for studio
|The Input Rack. Trying
to keep the inputs pure, I use a Demeter preamp for my Neuman, Crown,
Shure and Audix mics. Then I go through the li'l miracle RNC compressor
and into the MOTU 896HD. If I need more than two channels of preamp on
tracking, I'll use the onboard pre's from the 896HD.
The MIDI Rack. From
the top, I have a dreaded Behringer 16 input stereo mixer. This highly
affordable piece of junk is never in the signal path of recording,
but it is handy when you want to monitor a whole mess of outboard synths
at once. Next is the Emu ESI-32, a pretty cool little sampler. The
filters are pretty great and the sample libraries have some real gems.
Next is the under-appreciated Roland MKS-7 Super Quartet. Nice unit,
kind of like a polytimbral Juno-106 with drum machine. Under that is
the Alesis D4. Kind of crappy, but it has drum triggers. Now that I
have DP, I don't really need the triggers, but there are some useful
sounds. Under that is a Roland U-220 all-purpose ROMpler. Sounds great.
Less filling. Then comes a Tascam cassette deck (what's a cassette,
grampa?). Finally a Roland D-550 to give me more D-50 when I need it,
or to serve as a backup in case my workhorse keyboard ever ups and
dies on me.
|The Legacy Rack. This
gear is somewhat obviated by my digital upgrade. The top unit is a dbx
166 compressor. Nice unit. Nice complement to the RNC in that it can
do dual mono and has noise gates built in. Under that is a Cooper sync
box I used to sync ADAT to SMPTE to MIDI. What a nightmare of syncronization
hell. Below that is an old ADAT, which I haven't used much, but it seems
to be working pretty well. I use that to share tracks with my ADAT bretheren.
Then comes the old DAT machine. Now that I can burn right to disc, it's
a bit of a dinosaur, but there you have it. Finally, the vintage Hafler
D-100, which powers my Audix 1A speakers.
|Farfisa Professional. The
coolest looking keyboard in the arsenal, although she hasn't been cranked
in a while...
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