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About WinterMute

  • Birthday 11/02/64
  1. Is it just me or...

    Lack of observance of the few ‘standards” we have is usually the problem... That said, a bit of research ahead of any changes usually does the trick, that and never updating software during a project and never buy 1st gen hardware. Avid are usually the worst offenders, but they’ve been decent of late.
  2. Any experiences with EUCON on LPX 10.3.2 ? (Avid S3)

    I run the S3 with ProTools mainly, but I also use Logic X on occasion (my songwriting partner uses logic so it have it for easy of sharing ideas). I had the same issue with choosing the S3 and was looking at the Nucleus too. In the end I didn’t need the transport or monitor control offered by the Nucleus and went with the S3 and I’m very happy with it. The level of integration EUCON give you over the software is impressive and very useful, my workflows for mixing and recording have improved immensely with the S3. It works pretty seamlessly with standard Logic X and PT, and I only have issues with Slate Trigger 2, which will crash ProTools if you select a channel with Trigger in insert slot A. SSL is more basic in its ability to control plug-ins, automation and the like, but is still a very good unit indeed. I’d recommend the S3 without hesitation, I’ve just put 2 into studios for Uni of Winchester and they love them with Logic and Abelton as well as PT. Not a logic expert, but the transition between the 2 DAWs is pretty seamless in my experience.
  3. Room Treatment

    [quote name='adamg67' timestamp='1506429156' post='3378647'] Thinking about FuzzMeasrure (which is mac only, so no good for me) I have a vague memory of seeing a video someone "shooting a room" using a mic, and I guess it must have been a frequency graph? So you play stuff, poke your mic into different bits of the room and see if the frequencies coming back are the same as in the original. Does that sound sensible? It would work for bass traps maybe. [/quote] Sort of, you put the mic in different places, the listening spot, the back of the room, a few others and you play a combination of sweep tones, blips and white or pink noise (not all at the same time...) then the software shows you a waterfall graph of the frequency response, another of the RT. You can see where the frequencies are exaggerated and/or missing and you can plan accordingly. Some 5.1 receivers do the same thing for living rooms and surround systems with a bit more automation and EQ. Here's the waterfall plot of my room in the listening position and the back wall, you can see the difference in the bass response. [attachment=254468:Listen pos waterfall.jpg] [attachment=254469:Rear wall C waterfall.jpg] That's why you bass trap the back wall and the corners. Evened it out a bit with the traps, still too bassy on the back wall, but you don't listen critically in that position and the response only needs to be even at the listening position for such a small room.
  4. Room Treatment

    [quote name='Skol303' timestamp='1506349650' post='3378092'] Absolutely this. Foam is next to useless for taming bass, which accounts for 99% of problems in 99% of home studios [i](*Department of Made Up Statistics, 2017). [/i]It mostly just dampens the high frequencies, which can leave the room sounding 'off'. Bass trapping is all about density and volume of 'stuff' and the more the better. Most manufacturers seem to use ECOSE (a type of Rockwool). If you have the time and patience, you can manufacture bass traps yourself fairly easily and cheaply (says someone who has never done this himself...). Lots of tutorials online for how to do so. Never heard of FuzzMeasure before. I'm going to investigate...! [/quote] It's a great little room measurement tool, but it relies on the quality of the mic and speakers, best used with a good Omni and whatever monitors you intend to use in the room...! I did think about building the bass traps myself, but I'm just not that good at DIY and EQ do some really good packs. If you've got more money that sense, take a look at these little boxes of voodoo, they are unbelievably good. [url="http://www.psiaudio.com/en/our-products/avaa-c20-active-bass-trap/"]http://www.psiaudio.com/en/our-products/avaa-c20-active-bass-trap/[/url]
  5. Room Treatment

    There's also [url="http://www.eqacoustics.com"]http://www.eqacoustics.com[/url] who do very good home studio studio kits and will help with advice. I used Fuzzmeasure to get the basic plot of rooms to tell me where the problems are then apply bass traps to the nodal points, (corners basically) and some absorbers at the Early Reflection point, this will help tame most problems to a degree. Fibre cored units are much better than foam, which isn't as effective as some people would have you believe, but will help some. Diffusion isn't much use in a small room, but is very good in larger spaces with taming reverb and echo problems.
  6. FS: MusicMan StingRay 5 Stealth Pearl Limited Edition

    Hellooooo sexy...! If I'd not just bought my 20th Anni SR5....
  7. Home Studio Porn

    Posted a kit shot a few weeks back, here's a longer shot of the room with the treatment showing, there's similar bass trapping on the back wall. It's a converted single garage with a floating floor and 2 layers of acoustic plasterboard cross glued to isolated battens for the walls, the ceiling is the same with 8" of dense rock wool boxed in with marine ply. The acoustic treatment is from EQ Acoustics, and is a combo of bass traps in the vertices and broadband absorption at the early reflection points and on the rear wall. The room is about a meter too short and too narrow so I had to kill the back of it rather than use it and the listening position is about 4' further back than I'd like, but it was a good compromise and the results are a room I can use into the early hours without waking anyone in the house and that yields good results. [attachment=252584:IMG_4568.jpg] [attachment=252585:IMG_3632.jpg] [attachment=252588:IMG_3900.jpg] [attachment=252586:IMG_3905.jpg] [attachment=252587:IMG_3916.jpg]
  8. Firehawk 1500

    It's a full rage stereo cab, you need to be careful of the tweeters I suspect, but otherwise it should be fine, my guitarist has one, blows the bloody doors off regularly... Full range... Left the typo as it is a combo full of rage...
  9. Most Obscure Bass Claim to Fame?

    As a much younger man I played in a band with John McCoy's son (Matt I think) who was a drummer. John came to see us play at Dingwalls and I'll never forget his gleaming bald head looming out of the darkness...! Lovely bloke. I used to own a TE 4x10 from Mark King's touring rig, 1988 that would have been I think. Once got into a lift at a trade show with a bloke holding double necked Wal, was so taken with the bass I didn't recognise Jonas Hellborg, who was on his way to do a showcase for Simmons drums, very good he was too.

    My latest bass, one I've been after for 10 years, a 20th Anniversary SR5 in love nick courtesy of theshape101, thanks Shane. [attachment=251477:FullSizeRender.jpg]
  11. feedback for theshape101

    Bought Shane's 20th Anniversary SR5, great comms, bass arrived in excellent shape. Fine fellow all round.
  12. The best bass line ever?

    The late, great Mick Karn with Japan, Sons of Pioneers... [url="https://youtu.be/uojTVlfqHhI"]https://youtu.be/uojTVlfqHhI[/url]
  13. Setting up my own studio advice needed

    [quote name='BigRedX' timestamp='1502530085' post='3352011'] IME home studios are a great tool for organising your musical ideas and sorting out pre-production, but you can beat a good studio with a great engineer when it comes to making a great recording. [/quote] I agree with this wholeheartedly, I might be able to put up a shelf, but that doesn't make me a master carpenter...! However, tech means that home studios can be fully capable of producing recordings and mixes of professional standards, if in the hands of someone with talent and experience, and whilst George Massenburg might be able to make a couple of cans and a bit of string sound great, you nearly always find him in his $1,000,000 plus studio..!
  14. Setting up my own studio advice needed

    [quote name='Dad3353' timestamp='1502455087' post='3351583'] Would you have listened to that excellent advice, back in the day..? [/quote] Don't be silly... BIgRedX is entirely correct, gear does not equate to quality, very much like the guy we all know with the £4000 bass at home and no clue where the downbeat is. I have 30 years experience as a pro engineer and have been building studios for 20, I still go to "proper" recording studios to record drums and rhythm sections, as the combination of mics, room acoustics and convenience is hard to beat and almost impossible in a home studio unless you're planning on spending big bucks. The beauty of modern systems is that you can take a drive away from the studio and drop the tracks into whatever DAW you care to use to do all your overdubs. Any one of the decent pre-amp/soundcard combos will do, OP has got the Apogee, that's a god start, you can pretty much do anything in the box now with a little knowledge and application, but the talent to make the kit produce great quality is relatively rare. Most of us can make a decent fist of it with a little practice and study however. If I was going to choose kit for a home room now, I'd get a couple of decent mics, Sontronics or AKG or the like, a good interface, the fastest computer I could afford with a ton of RAM and some decent HD space and a decent pair of self-powered monitors, then do everything else in software. Hardware is brilliant, but it's expensive and requires a deal of knowledge.
  15. What are you listening to right now?

    [quote name='beely' timestamp='1502446142' post='3351468'] Talk Talk: The colour of spring. Made me so happy, I vacuumed the entire house in 15 minutes. Since I have house to myself today I will probably follow that up with It's my life then Spirit of Eden. [/quote] Loved that album when it came out. Currently Karnivool: Roquefort