I finally ordered a patchbay and a bunch of cabling, which marks the end of my budget so, for now, I’m done.
The last bit of acoustic treatment (to deal with the 60Hz null at the mix position) should arrive this week, then we can start recording in earnest.
Well, the place still needs to be straightened a bit (and vacuumed) but we broke it in last night!!!
Long time friend, bandmate, and tenant Lenny Zenith came down to work on a demo for a new song and it went pretty easy. On first flush the room sounds good. Super impressed with the mic pres in the SSL Nucleus!
Well, I had a few minor setbacks.
We had to do some electrical for the kitchen that required cutting into the ceiling of the studio, so I had to dismantle part of it temporarily.
There is also a serious null centered around 60Hz at the mix position (and another around 85Hz). Not uncommon for rooms this small. Still they need to be dealt with.
After much testing and room mode calculations I have 3 locations that will get tuned membrane bass traps centered around 70Hz that cover both nulls. We’ll see how that goes.
I received the replacement scatter plates from GIK so those are up. And I started work on the vocal booth/Amp room.
So I got everything wired up… and the new Solid State Logic Nucleus would not talk to Protools.
I thought to myself, “Fuck, that’s a lotta cash for something (the centerpiece of my studio) to not work right!“.
But, SSL support to the rescue (those guys are great!!!) and it’s working fine. This whole Midi over IP is a little new to me so, I was being dumb.
How nice to shove faders, twiddle knobs and press big, lit, tactile buttons instead of typing and mousing.
I’m considering putting the iMac off to the side so it’s less of a visual distraction…
Ok, it’s never really finished… is it?
But at least it’s wired up and running!
Time to hit record!!!
Set up the new Dynaudio LYD48’s and on first flush, they sound pretty fucking fantastic!!! What a huge difference all the treatment from GIK Acoustics makes (as you might imagine).
I hung the remainder of the wall panels (just 3 more ceiling panels to go).
Broke the place in with some early Billy Joel, Patrick Park and of course, some Iron Maiden.
Here’s a panorama for shits and giggles.
“Rielly chose this format because he wanted to emphasize the songwriting and I don’t blame him. His craft has matured to the point where these songs don’t need anything else but his voice and a guitar. He shows off his fantastic and slightly bent sense of humor as well as a sad and ultra-serious side.”
Charlie Ricci – http://bloggerhythms.blogspot.com/2017/12/d-b-rielly-live-from-long-island-city.html?m=1
I’m honored to have helped make this record for D.B. Rielly and to (not often enough for my taste) perform with him, often at RaR Bar.
“As an introduction to the best songwriter you’ve never heard, Live from Long Island City: Live at the RaR Bar serves as an exceptional appetizer . For those of us already fans of the troubadour, it refreshes our appreciation.”
Donald Teplyske – https://fervorcoulee.wordpress.com/
…drill bit that is!
(see what I did there? I’m using a drill a lot today… get it?)
James and Christina at GIK Acoustics were great about sending replacement scatter plates.
So, now that I don’t have to sed anything back, I’m starting to hang…