51m0n

Gurgle!

Low and low mid room nodes are the biggedt and hardest to fix issue in a small room. That studiotrainer site doesn't make any attempt to try and correct or mitigate those issues....

That is lovely!

Simplest bass trap you can buy is a big tube of fluffy insulation Leave the insulation in the plastic tube and put it in the corner Put another one on top Repeat for all the corners in the room Bot pretty but quick and portable

You would need an awful lot of those and they wouldn't do the job as well as Rockwool bass traps because they are tiny in comparison

[quote name='TimR' timestamp='1373639838' post='2140067'] Gents. We're looking at a stereo recording from a hand held recorder. Goldwave is free, has all the basics and will split your large recording into smaller individual songs. Maximize volume, do batch conversion to mp3, add reverb if you want. Allow you to add fades. You can zoom right in to individual samples. Very good bit of software. [/quote] Mastering is mastering, 2 tracks is the norm, the need for very powerful software is all the greater when you are trying to get the most from less tracks IME. Zooming in to individual samples is absolutely nuts and bolts on all even remotely serious audio software IME. Can Goldwave load VSTs? Can you set up parallel processing as well as serial processing fx chains? Parallel compression can be super useful sometimes when mastering room recording. You'd be staggered how good you can get a stereo room recording to sound if you spend a little time on it with powerful tools. And you put the mics in a reasonable place to begin with!

[quote name='neepheid' timestamp='1373639458' post='2140052'] I haven't seen a DAW yet that hasn't had a learning curve like the north face of the Eiger and a user interface that's more complicated than a Boeing 747 - and I've been using computers since I was 8. I've gone "erm, what?" at every single one I've looked at, mostly because it's looked defiantly right back at me with giant, mesmerising yet frightening compound eyes. [/quote] Yup, they are impressively complex things, because they are doing a ridiculously complex task, and need to give the user access to literaly thousands of parameters during their general use in a supposedly easy way. However if you've used one you have a general idea about how most of them work. Really getting expert at one takes a long time, and you are always learning more. I've only seen a couple of absolute experts on DAWs though, and they fly, they can do operations on a project faster than I can keep up with them at all. A lot of this is down to absolute inside out knowledge of keystrokes.

[quote name='Ian Savage' timestamp='1373628405' post='2139814'] Yams are a good shout, as are Adams; personally I'm using a pair of HHB Circle 5s that would have been about a grand and a half new, got 'em secondhand for less than two hundred quid and they're amazing - definitely mooch around eBay/Gumtree before you pull the trigger on new. [/quote] Love the Harbeth HHB Circle 5s, great sounding, and, well, soooo purple

[quote name='skidder652003' timestamp='1373632551' post='2139896'] Tracktion 4 is excellent and very intuitive, [b]everything fits on the one page[/b]. [url="http://www.tracktion.com/"]http://www.tracktion.com/[/url] [/quote] How? I dont believe that is possible, I've mixed songs with 120+ tracks in, how could it possibly 'fit on one page' - its either too small to do anything with or you magnify it up and then must scroll about to see more, in which case it doesnt 'fit on one page'. What they seem to mean is, "we use a single window for everything, and move stuff out the way to make it work", which sounds great but actually is far less flexible a UI IME. For example I really like the mix window in Reaper (insert DAW of choice actually) for getting the leveling broadly right, and quick access to effects. But you cant beat the track layout window for mouse driven automation and editing and so on. And a MIDI piano roll editor doesnt need to be visible unless I'm doing that task, so why even waste the real estate required for a button to show it (assuming its hidden, in which case everything doesnt fit on one window at all), this is exactly the right time to use a dialog after all. I also cant find anything about the routing abilities of Tracktion, but I would be more than a little surprised if they were even half as flexible as Reaper's, which truly are the most powerful I've found in any software to date (although some of the most esoteric routing can take time to set up, alot is automatic, or at least very intuitive, and the power is immense). Not wanting to seem like I'm down on your suggestion, but I work on UI's and this kind of marketing promise drives me up the wall, it can't truly be accurate, and so is a bit mis-leading in reality I think. And also it suggests there is something wrong with multiple windows for different jobs, and that is a huge mistake, I run multiple monitors and can easily have a mix window on one monitor and the track layout on the other, which is a fantastic way to work, which cannot be copied in Traktion at all apparently! And why Linux? I've tried, really I have, on several occasions to get a Linux box to be a productive audio workstation, and every time the effort required to get it working, and keep it working is more than the effort to create and record new music. Linux is good at some stuff (being a server), reasonably OK at others (being a Desktop) and awful at others, and audio is where, for me, its still (and always will be) in the dark ages. I wouldnt suggest anyone waste their time with a Linux version of anything. Not that you were I understand, but the big ole Tux on their homepage was just red rag to a bull

Rig envy?

Reaper is the best bang for the buck out there ($60 or about £35 for a personal/small business licence). And its Mac as well as PC. And its excellent. And its free to try.

[quote name='xilddx' timestamp='1373540088' post='2138743'] Yep. Almost every pub/club small multi-band venue (100-200 punters) gig we play in London there is a house kit, usually a slightly battered Pearl Export or something like that, the sort of kit you get in rehearsal rooms. Drummers only need breakables .... ... Are we really f***ing lucky down here then? Certainly appears so. [/quote] You spoilt gits!

[quote name='xilddx' timestamp='1373541622' post='2138766'] Nik, is Paul the Drums coming again this year? If so, I'm happy to contribute guitar duties in the Jam Room. [/quote] Nige, you've gone all girly!

12. 51m0n: I hope to be there with all the usual old nonsense (see sig) Have to check the diary though, Plux is off to Uni around then I think and I may be on lift duties....

Love the idea of purple and white cabs though (scroll down the facebook page) very very 'funk' ......

Knocking On Heavens Door! Jeeez I was in my motor and on my way by then, thankfully.....

Oh yeah, definitely, Brian Ferry's Jaaaazz Orchestra were such a lank come down for me, we left!

Chic was the best performance I think I've ever seen live, staggeringly good, I was only about 3 rows off the front dead center, and the sound was absolutely spot on too. Brilliant. MM was thoroughly underwhelming for me after Chic (yeah, sue me ), nothing like as entertaining, and the sound was apalling!

[quote name='Dad3353' timestamp='1373403265' post='2137272'] Grateful Dead in your repertoire..? Jolly well done, lad..! [/quote] Nope, highly extended funk. It is completely self indulgent but has gone down very well so far. Shortest track in the last set was 9 minutes longest was 26 minutes! Although that was more than one chord.....

8 bars? We sit on a chord for 20 minutes and aim to keep it interesting B-)

Cones really, the thing is sound below 150Hz is omnidirectional, but you havent got the space in there to stick anything up capable of dealing with any reflections that low anyway, so if it isnt straight from the cone you cant hope to do much to sort it. Does that make sense?

Heh, good sound takes room, that is a given I'm afraid! Next trick, with a friend and a mirror they can move around. Whilst sat in the critical listening position get them to hold the mirror on the wall, if you can turn your head and see a reflection of a speaker in the mirror you need an absorber on the wall there. With the walls and speakers angled as they are you may find it very hard to find any reflection points, but its still worth double checking!

There are many many DIY builds of basstraps on the interweb, you dont need to do make full on [url="http://nagasakisound.com/how-to-build-corner-bass-trap/"]Superchunk [/url]style basstraps - these definitely work but require a great deal of rockwool - the corner crossing type I have described function as well as superchunks, since these type of absorption traps work by slowing down the moving air, not by soaking up the energy in the pressure wave. As such they work best off the wall, not agaiunst it, and therefore the superchuinks are wasting a lot of material that is inefficiently placed.

You'd be far better off buying rockwool and some simple wood to make frames and do some DIY. A 4" thick floor to ceiling panel of rockwool across each corner, with some soft fluffy insulation behind it and some acoustically transparent material ( a hessian for instance - if you can blow through it its acoustically transparent) to cover it in a very simple frame will cost less and do more.

A sinbnlge bass trap will make some difference, no it need not be attaqched to the wall, in fact a gap behind it will make it more efficient, there are many good variations on bass traps documented on the web, one in each corner, floor to celing is the way to do it really. Moving the desk around should immediately help stereo image from the monitors, noticeably so in fact. Thats before you get on to basstraping/absorption. Will treating the room have a noticeable difference? In short, if you cant tell the difference you would have to be virtually deaf IME.