mrtcat

The foam panels were donated to me from a friends rehearsal room that closed. I don't really need acoustic treatment as we use modelling units for guitars and bass and an electronic kit with everyone on in ears. If we record anything you're not hearing the room at all except for with vocals. Same applies when we rehearse. Its very rare for me to record other bands in there now so I can't really justify the outlay. If i was recording acoustically more often then definitely I would.

The basic building was a touch over £5k including the cost of concrete for the base and electricians fees to run a dedicated power supply and to install all the sockets etc. I salvaged the double glazed window panes from my parents place when they had new windows put in. The insulation and membrane totalled about £300. The plaster board was about £250 (i went for the more dense sound reducing stuff) and then probably another £100 to plaster and paint it including tools. Total spend was just under £6k. I spend probably £80 every year to re paint the exterior. In terms of soundproofing its surprisingly good. We have recorded acoustic drums in there many times and you have to be standing within about 5 m of the building before you can really hear the kick with a loud drummer. It could be better if I'd opted to use isolation rubber plasterboard fittings and a floating floor to essentially isolate the inner room from the outer shell.

This. All day long.

I built mine myself. The main building was supplied as a rough kit from the timber merchants in a neighbouring village. It is on a full concrete base, a wooden frame made from 2x4 timbers, felt roof slates, lapped outer wall with a breathable waterproof membrane then a 3 inch layer of polystyrene insulation followed by ply inner walls which have been fully battened to allow 4 inch acoustic insulation in the walls and 12 inches above the ceiling. The whole thing is then dry lined and plastered. I have a really low output conservatory storage heater which ticks over all winter at pretty much no cost. The insulation is so good that its warm in winter and during the recent hot weather was absolutely beautifully cool. The inner space is divided into two so there's still a functioning garage / mower store in the non music room side. I have an acoustic drum kit that has been converted to electric running through superior drummer and we have full band rehearsals in there with everyone on in ears. We also have video cameras permanently mounted on walls so we can shoot videos at rehearsals if we think it will make interesting media for our potential clients. As we use a digital mixer its a cinch to It's a work in progress but is an amazing space. My advice is that you need to start with a solid base and be prepared to insulate really well and install a breathable membrane. If its built well and you look after it there should be absolutely no reason to have any damp issues. Invest in decent security. The alarm we have is linked to our house alarm and I have so many locks and door bars etc that it takes me 3 mins to get in when I first unlock it.

I've not owned one but I recorded a band in my studio a couple weeks ago. The bass player had the flea jazz and it sounded absolutely brilliant. He was playing rock with a pick and it had growl for days. I had a play on it briefly and couldn't fault it.

I don't know if any ever made it to video shoots but it wouldn't surprise me. Most were made from particle board so were much lighter but tended to dent quite easily so were often stripped for parts at the end of a tour and replaced with new ones. Funniest thing was I drove past Marshall hq pretty much every day on the way to work.

1 12 inch driver in every 4x12 box I suspect much like many other bands did until modelling tech really upped its game.

Mine arrived yesterday too. Not had long with them but definitely very happy. Far more bottom end than I was expecting and good separation of lows, mids and highs. I'll tweak eq today and then save an eq setting for them on the XR18 so I could pull that up if I ever need to use them at a gig.

I used to make isolation boxes for amps when I was a cabinet maker. They were popular with touring bands but the major improvements in modelling kit like kemper and helix have taken over now. I also used to make mock Marshall cabs for show. My favourite build was when we completely remade a couple of Marshall 4x12 cabs for an endorsed guitarist. The Marshall cabs were so poor in both sound and construction (the vintage 30s in Marshall cabs are nowhere near the same as regular vintage 30s - they're like a poor imitation) that the guy had us essentially build a mesa cab in Marshall disguise.

Forum rules don't allow rickenbackers in the bc marketplace because the bods at rickenbacker are a bit mad.

It's a shame they don't cater for iPhones but the X-Air app works on all android phones.

We use a acoustic drum kit that's been converted to electronic running through superior drummer so my mix goes: 1. Drums Took some tweaks to sort any latency but since then it has been great. Whole band on in ears so silent stage and total control of foh mix in everything from tiny pubs to huge marquees. We never have to worry about noise limiters and as we invested in great pa gear rather than backline we know our pa can outperform even the best boutique backline. Sadly, with no mush in our sound, any mistakes come across loud and clear

1. They must have a plan 2. No "classic rock" 3. All gigs are paid 4. Gig at least 4 x as often as they rehearse. 5. Bloody good drummer 6. No divas 7. Everyone pitches in with set up and tear down. 8. Whole band continually aims to improve.

Go stand next to the mixing desk. If it sounds bad there then blame the engineer. If it sounds great there but terrible everywhere else then blame the venue.

Keeps popping up on my fb feed. It's a start up looking for funding at the moment but seems to have some very credible backing from the likes of Victor Wooten and Marcus Miller amongst the big name bass players helping them to push it.

Likewise

I ordered a pair from geekbuying.com yesterday. They'll ship to UK but takes a couple of weeks.

Mine is seafoam green also and it's a really nice colour in the flesh. Sadly still no word on my neck which they have had for over two weeks now. I emailed for an update yesterday but have had no reply yet. Very tempted to send the body back and ask for a full refund. If i was a custom builder and had messed up someone's order I would be bending over backwards to rectify it quickly and keeping the customer in the loop at every stage.

Oh hell no..

Trust me, that crosses our minds most days.

Only thing that bugs me is our singer. He used to complain gigs were too infrequent and under paid. Guitarist and I have worked so hard to get us on the books of a decent agency. Now that decent paying work is flying in singer continually says "hmm I'm going to have to see if my wife will let me do this one".

I'd say it was better than using standard foam tips but not as good as proper custom moulds. That said I was also impressed with the comply t600 foam tips. My wife helped me do the diy moulds and that made life easier. The best bit is that as soon the second ear was filled with putty I couldn't hear a word she was saying for 10 mins.

I can't actually remember (was a few years ago) but it wasn't the stuff in the video, which clearly works fine, as it was more skin coloured. Might have been this stuff https://www.amazon.co.uk/Ahead-ACME-Custom-Molded-Earplugs/dp/B006LPKXKA/ref=pd_sim_267_1?_encoding=UTF8&psc=1&refRID=S7A8G1XYTV5C1X7DF9D6

Definitely not stupid. I did this with a pair of budget off the shelf iems and it worked very well.

As long as the engineer has enough aux sends on the desk and is happy to spend the time sorting out a decent mix for her. She's unlikely to get a stereo mix but you never know. Personally I prefer to have my in ear mix set up just to my liking with compression so I take quite a long time when setting up with a new or unfamiliar desk. It would definitely be wise for her to buy a decent system with a limiter function.