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Skol303

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  1. Tidying up

    I've just moved a bunch of performance threads to the Share Your Music sub-forum. So if you're looking for something you posted here earlier and can't find it, that's where it'll be That is all. As you were.
  2. Gibson facing bankruptcy

    +1 People buy Fender because of the brand's heritage, amongst other reasons of course. In terms of innovation, they've been largely stagnant for decades - and I say this as someone who happily owns a P-bass; it's not a criticism ("it works / don't try to fix it", etc). Same applies to audio gear brands like API and Neve, who've been churning out the same product range pretty much unchanged since the 1960s. That sense of familiarity and reassurance has a real value to buyers. I would have honestly placed Gibson in the same bracket - the Les Paul for instance is an instantly recognisable classic - but it's well known that guitar sales are falling gradually across the board. I think - or at least hope - that this will level out in time and that there'll always be a consistent market for guitars, albeit perhaps not as big a market as manufacturers have enjoyed in the past.
  3. Room Treatment

    Nope. Leather upholstery and new alligator pits for the dungeon. Just as soon as I sort out the acoustics down there...
  4. Room Treatment

    Was it worth it? Well I can now hear the frequencies between 60-70Hz, rather than them being almost non-existent, so yes I'd say it was worth the toil of making all those bass traps... but that's me. I make a lot of bass-heavy music and so anything that improves the low end is going to translate (hopefully!) into better mixes. The proof of that pudding will be in the eating In the meantime, I just need to find a way of stopping my two young boys from using the bass traps as karate practice pads whenever they come in the room. Hmmm. PS: it's taken a heck-of-alot of reading/researching for me to get my head around home acoustic treatment, but it's been 'fun' (I get that my idea of fun is perhaps unconventional). If anyone else here is scratching their head over this stuff, then ask questions here and I'll try to answer as best I can and save you some time.
  5. Room Treatment

    So what difference did this make to the sound? Well, quite a lot... as I'd hoped! The big dip in the low end around 60-70Hz was considerably reduced (by 12db) so that it's now around -5db of the 'ideal' at this frequency - and I can live quite happily with that On the flipside, moving my listening position forwards has created a bunch of new phase cancellations between 700-1000Hz, which I'll gave to fix by other means (but thankfully nowhere near as difficult as treating the low end). So the frequency response in my room is still far from flat - and it never will be - but it's now flat enough for me to trust that what I hear at the listening spot is a fair representation of what's happening inside my DAW software; and that the sound isn't being too adversely coloured by the room itself. Here's how the measurements now look... Frequency response from 20-20K Hz. Still some peaks and dips as you'd expect, but the 'Grand Canyon' around 60-70Hz is mostly gone and the overall trajectory is reasonably flat (NB: by comparison, the very best pro mix rooms have a frequency response within +/-5db across the spectrum). More detailed plot, showing the 'before' measurement (in red) and the 'after' measurement (in blue). Notice how moving the mix position forwards and adding bass traps has greatly reduced the big dip around 60-Hz... but created new problems between 700-1000Hz! Such is room acoustics, that making a change in one area always affects others. Lastly, a shot of the low end in detail (again red shows before and blue after).
  6. Room Treatment

    Quick update... There's been various talk of room treatment in the 'Rec forum recently (perhaps because we're all stuck indoors due to the crappy weather), so I thought I'd update this thread with my own recent experiences. We're lucky to have a dedicated music room at home (a converted garage), which already has a good amount of acoustic treatment - but was still suffering from a sizeable null (dip) in the low end around 60-70Hz, caused by a combination of a room mode at this frequency and other surface reflections typical of rooms this size. Unless you live in a mansion, your own room will suffer from this exact same problem (albeit at a different frequency), I guarantee it! So how to go about solving this...? Firstly, I moved my listening/mixing position towards the front wall of the room and pushed my speakers as close to the wall as possible. This helped to reduce the depth of low frequency dip by reducing the speaker-boundary interference - explanation of that here. This is a great 'free' acoustics trick that applies to any room. Secondly, I've been busy making bass traps. Lots of bass traps! Sufficient that the room is now quite literally a padded cell (my wife remarked: "My god, you've actually created a womb, haven't you!?"). The intention here was to slam the low frequency energy around 60-70Hz and in doing so, hopefully reduce the magnitude of the frequency dip (by reducing the energy of the phase cancellation). Here are some Sketchup images showing what the room now looks like (Sketchup is great for planning acoustic treatment). In a small room like this - and when dealing with low frequencies below 100Hz - it's a case of bass trapping the bejesus out of the back wall! But in my case the back wall had no space left for acoustic treatment - so my solution was to create two portable bass traps on stands, which could be placed behind my listening position when mixing (effectively adding about a foot of mineral wool of the back wall). Plan view of the room: panels in red are portable on stands. Side view: wall panels removed to show listening position. Front wall view of listening position. The darker coloured panels at the bottom of the window space are diffusors. Back wall: bass traps on just about every available space!
  7. So I'm on a video game soundtrack

    That’s great! Well done chap Bangin’ song and the game looks fun too.
  8. Backdrops - worth it?

    ^ This. By way of explanation: a photo of a crowd going nuts to your band is great marketing. A cartoon illustration of a crowd going nuts to your band smacks of dancing in front of a mirror strumming a tennis racket. It's a clichéd fantasy and suggests the band have delusions of grandeur. Sort of. Or maybe I read too much into this stuff from working with designers all day... PS: if you were a death metal band and the figures were flayed corpses, or Blair Witch-style creepy stick men, or something, then you'd be on to a winner. As it is, it just looks like a cut'n'paste job from an online stock image library. But if it works for you guys then I'm sure you can take all that on the chin with a healthy pinch of salt, etc.
  9. Backdrops - worth it?

    Unsure. It's not something we've ever included in any of our orders for these, but I reckon a lightweight lighting rig could quite easily be attached to the frame.
  10. Backdrops - worth it?

    Definitely remove the crowd silhouette.
  11. Backdrops - worth it?

    +1... I'm also involved in design/print and wouldn't at all recommend standard roller-banners for a gigging band. They're way too naff. These, on the other hand, might be suitable: FABRIC HOP-UP DISPLAY We've used them multiple times and can vouch for their robustness. Very sturdy frame that's easy to set up (literally 1 minute); fabric can be removed and machine washed; and once set up the frame stretches the fabric tight and creates nice square edges. Not well suited to dingy pub corners, but a good option if you have a small stage to set up on. PS: I am in no way affiliated with the manufacturer of these products!
  12. DIY Acoustic Panels

    ^ You’re very welcome! Hope it proves useful. It’s all secondhand advice I’ve gleaned from other forums and by reading up on the subject. Thought it might save others time if I dump what I’ve learned here
  13. Bass ports and monitors

    Indeed! Despite obsessing over acoustic treatment etc, I do the bulk of my mixing on crappy earbuds and a pair of Auratone copies: fairly terrible-sounding speakers that accentuate the mid range, but once you get something sounding good on them you're 95% of the way home
  14. Bass ports and monitors

    Absolutely. "Sounding better" is in fact a lie ...what you want is for your sound to be as accurate as possible. But in the absence of acoustic measurements, the best you can do is try to find the sweet spot by ear.
  15. Compressors - Do I need One?

    You don't need a compressor because your technique is "not the best". A compressor will do nothing to compensate for poor technique. Every professional bass player uses a compressor - if not directly on stage, then compression will be applied by their sound technician at the desk. This is not fake news And it continually amazes me why so many amateur bass players haven't got their heads around why they should be using compression - and using it to their advantage. But heh, it's a funny old world innit.
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