MrKnobs

Craig, do the specs say how much current that monster draws from the AC supply at 115 VAC?

Another thing to be aware of is the danger of getting on a plane (or diving) with a cold. Most people who fly frequently have experienced the discomfort of having difficulty getting your ears to "pop" which is actually the process of equalizing pressure on both sides of your eardrum. When you're healthy, this is relatively easy and can be accomplished by chewing gum, swallowing repeatedly, sipping a drink, or yawning. But when your Eustachian tube is clogged up (it's the little tube that runs from your middle ear to your throat) it's not easy and sometimes even impossible to make your ear

There are some "secrets" to using backing tracks live that can determine whether your audience fills the dance floor or fills your ears with boos and catcalls. First, consider the audience. If you're playing a coffee shop where people are used to hearing acoustic acts then you might not want to whip out your JS-10. On the other hand, if you're playing a club where people want to dance they'll likely just be happy with a beat and not worry too much where it comes from. Next, consider WHAT to include on your backing tracks. Drum track or beat of some sort? Good idea if club has people who

In Austin we're blessed with an abundance of inexpensive rehearsal facilities. You can rent a rehearsal room for as little as $8/hr with PA and microphones. You can use their guitar amps, bass amps, or even a drum kit for a few dollars more per hour so you don't have to hump your gear if you don't want to. Typically my band spends about $30 for a night's rehearsal split between 5 people. If that's not compelling enough, the same facility has a recording studio you can rent by the hour, a full service music store / repair / gear / snacks facility on the premises. This is a HUGE advanta

Good article! I would add that foam can work really well at bass trapping in the corners but you need some seriously thick foam! I'm a materials scientist and what I mostly do lately is design some seriously large noise solutions like the 3 mile long absorptive barrier on IH-30 in Dallas Texas. I mention that because I have daily access to some excellent measurement gear including sound intensity probes, impedance tubes, and reverberation analyzers which I borrow to check out acoustic solutions in my home studio. I've tried a lot of things, and I measure them in place. That's really import