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albiedamned

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Everything posted by albiedamned

  1. The FirePod is an older model. The FireStudio replaced the FirePod. I've never used either and I don't know the technical differences, but I would assume the FireStudio is somehow improved over the FirePod in preamps and converters. Mainly the FirePod has lightpipe i/o and FireStudio doesn't. Depends which model. The FireStudio Project doesn't have Lightpipe (ADAT), but the regular FireStudio does.
  2. The extra 2 bits are for character, so you can only really take advantage of them with a character mic running into a character pre.
  3. There are two mistakes in your thread title. The other is that this thread comes up way more than once a year.
  4. What frequency rate are you using? Lately maybe once a week, though if it was only up to me it would be a much higher rate.
  5. I could have simply put it that a standard cardoid like an SM57 has a steep proximity curve that may be more difficult recording a folk guitar because a slight movement in distance from the mike will affect the low end greater than a large diaphram would. Ok, I agree with that .
  6. If you're just recording with vocals and guitar theres several under $100. I like the Marshall MXL mikes for the price. The results are going to be pretty much the same with all of them though. The placement may be more forgiving with a condencer when recording acoustic than a cardoid. A cardoid looses all its low end beyond 6". If you plan to eventually use it for live PA work at some time a large diaphram will feed back. An SM57 or 58 would be best if you want to use the mike for live and recording. I have to point out some misinformation in this post. A cardiod mic does not lose all its low end beyond 6". It loses its proximity effect bass boost, but not all its low end. Lots of singers stand a foot or two back from a cardiod mic when recording, specifically to avoid the proximity effect. Others crowd the mic because they want the bass boost. Also, cardiod is not a condenser vs dynamic issue. Condensers can be cardiod, or figure 8, or omni. An omni mic has has no proximity effect, so I guess that might be what you meant to say. But I don't know any omnis in the $100 range to recommend. To the OP, I wouldn't worry about this issue too much. Get a large diaphragm condenser (like the AT2020 I recommended earlier), and play with the placement until you get a sound you like. Closer placement means more bass, more distant means less bass. Also pointing it towards the sound hole gives you more bass, away from the soundhole means less. You have lots of options.
  7. For $100 on an acoustic guitar, I'd rather have an AT2020 than an SM57. You'll get a much more even frequency response and a lot more high end.
  8. Does anyone else have any thoughts? I am phishing for feedback before I plunk down my money.
  9. What is the thinking behind putting the thickest traps on the back wall instead of in the corners? Thanks for your advice, by the way.
  10. Yeah, I see your problem. You can either do stands in those areas or go to the back up position, which is the trap the wall/ceiling corners in the back of the room, put the Monsters on the back wall (with a couple of inches of space behind them if you can), then do 244's in the front corners and on the front wall behind your monitors. 242's would go around the listening position, of course. Frank I was going to put the Monsters in the front corners - you think the back wall is a better placement for them? As for the back corners - I could take advantage of the 1 foot clearance above the window frame and door frame and hang traps from the ceiling straddling the 3-way corners. What do you think of that approach, and would 244's or Monsters be better?
  11. That sounds like a good plan. You *might* have to move the Monsters from the front to the back of the room...I'd try it both ways to see where you get the best gains. The rest of it sounds great. Let me know if you have any questions or need any more help with placement. Frank The problem with the back of the room, as you can see in the pictures, is that in one corner I can't do a corner mount at all because of a door being in the way and in the other corner there is a window a few inches away from the corner so the corner mount would have to be asymmetrical (more along than back wide than side wall). Any tips on how I should treat these areas?
  12. I'm ready to make an investment into acoustic treatment for my home studio. My budget is about $1000. I record and mix in this room, but I don't think it's realistic to aim to improve the room for both purposes. So my goal is to make the room as good for mixing as possible by deadening it. I'll have to get my reverb/room ambience via effects. I don't record drums, just vocals and guitars (acoustic and amp'd), so I think this is ok. I attached pictures of my room below. They're composites which I just pasted together using MS Paint, so sorry for the crappy quality. The front/rear walls are about 13.5' long, and the side walls are about 12'. The ceiling is the standard 8' high. I have issues in both rear corners - one has a door which leaves no room for a corner mounted bass trap, and the other has a window which does leave a few inches but not enough to mount a corner trap symmetrically. I've been researching the different options for a while and I'm leaning towards GIK Acoustics. Ethan, if you read this, I like what I've read about your products but it's too expensive for me. I don't like Auralex at all - the look, the price, and the fact that you have to permanently glue it to the walls. I also looked into PrimAcoustic, but I like what I've read about GIK's products better. My plan is to get 2 Monster Bass Traps (2' x 4' x 6" thick) to mount in the 2 front corners about halfway up the wall. I'll also get 4 of the 244 Bass Traps (2' x 4' x 4" thick). 2 will go on the front wall, mounted vertically, roughly behind each speaker, and the other 2 will go on the rear wall more or less mirroring the placement on the front wall. And finally I'll get 3 of the 242 Acoustic Panels (2' x 4' x 2" thick). One will go on the right wall above the guitars, one will go on the left wall between the windows, and one will go on the ceiling above the seating position. How does this plan sound? I'm not sure what to do about the rear corners so any advice there would be appreciated. Any and all feedback is welcome. Acoustic treatment is a new field for me, so I want as much advice as possible before I commit. Thanks in advance, and sorry for the long-winded post. Front Wall: Right Wall: Left Wall: Rear Wall:
  13. Is there really a noticeable difference between channel 1 and channel two in your Porticos and RNP's? That sounds like a quality issue if so. There shouldn't be.
  14. Fletcher is more likely to say that an NTK is a crappy toob Maocrophone sold at Banjo Mart and it's not possible to make good recordings with it.
  15. Like new condition, it's only ever been in my rack at home.
  16. But, as we see over and over again, he's also super inflammatory and provocative, and frequently invokes responses like the one in this thread.
  17. I'm curious what Fletcher uses for reverb as well, since in his post he dissed the "great majority" of both plugins and hardware boxes.
  18. My advice would be to try all the mics and see what you like. How's that for not being very helpful ? My guess is that you might like the KSM27 better than the SM57, if you position it right. Back it off a few inches (or more) and point it more at the center then you normally would.
  19. Kudos for MG for responding calmly and rationally to what I thought was an uncalled for, out-of-line, personal attack by flydennyy.
  20. You can't really fix it after the fact. You'd have to use less compression on the final mix. Specifically, you probably want to set a higher threshold. But I agree with blue2blue above that an even better approach would be to go back to the individual tracks and add more compression to them. Then the final mix won't have as many transients that cause the final compressor/limiter to kick in and duck the rest of the track.
  21. I won't ever buy Monster cables: Boycott Monster Cable
  22. I'll check it tonight, along with experimenting with the lights.
  23. I have the same problem as you. My amp buzz's bad when the strings are not touched. I've moved the amp all over the house try to fix this to no avail. I think I've figured out what the problem is however. I beleive your amp is picking up interfierence from all the other electronics that are pluged into your houses grounds. This is because they all share a common ground. The bad news is the only way I know to fix this is to instal a technical ground, which an a grounding wire that attachs to just one plug in the wall to isolate it from the other bad grounds. I've never done this so I just put up with the extra noise. I read in some other threads about the EBTech HumX, which supposedly cleans unwanted noise from the ground without lifting it (which is dangerous). It's $60, which isn't cheap for such a simple looking device. But I think I'll see if my local GC has it in stock. If so, I'll bring it home and try it. If it doesn't help I can always return it.
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