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What's a gear forum without a place to show off our workspaces. Big, small, modest, bursting with gear, guitars, keyboards, drums, lets see where you make your music!

 

I'll start...

 

This is my studio Moss Garden Music in Raymond, WI. Its in an old office space in pole barn, and I use what was once a gallery for my father's auction/appraisal business as a tracking space.

 

 

 

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Editor - RECORDING Magazine

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I don't have anything current, this is an older photo. 

Changes have been made and will be made again. 

After spending almost a year waiting for water damage to be repaired in my condo and living in a friend's vacant home, I'm ready to simplify down to the essentials when I move back home. I've been using an SSL 2+ interface for a while now and I love the sound, the simplicity and the feature set. Sometimes I use a Tech 21 Q-Strip going in, that's a great DI with an excellent EQ. I'll be switching from the Mackie HR824 monitors to Yamaha HS5, which are a better fit for a smaller studio space. 

I'm headed towards being more ITB while still hanging onto a Focusrite ISA One Mic/DI pre and a couple of other bits of outboard gear. More important to me is a carefully curated selection of guitars - chosen for a variety of sounds. I've got some nice mics but I find in a smaller space that my dynamic mics seem to provide better sounds and are less likely to pickup any background sounds - I live in a multi-unit condo with shared wall and ceiling/floor. So I'm favoring a Shure KSM8 (everybody should own one!) and a Heil PR40. That said, I'll keep my Microphone Parts T-67, fantastic mic by any standards and it was fun to build it as well. 

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It took a chunk of my life to get here and I am still not sure where "here" is.
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1 hour ago, Paul Vnuk Jr. said:

The KSM8 is a great mic. I use one often. I feel like it never got the recognition it deserves. It controls proximity effect brilliantly. 

It's the combination of beautifully controlled proximity effect AND a nearly flawless cardioid pattern that make it so useful. 

I put it a bit below my chin and horizontally level and sing 2 to 5 inches back depending. I'm not singing directly into the front of the diaphragm but you'd never know it from the frequency response.

The recording always sounds full and good and there are no plosives or sibilance even without a pop filter. It's a one of a kind mic and I agree that it is overlooked and worthy of consideration. 

 

If you have a larger space and external noise is not an issue, a good condenser mic sounds awesome. If I get it going in my condo, I can hear the cars on i-5 way in the background and anything closer like somebody walking above or a car door slamming outside gets picked up. KSM8 gives me the best signal to "annoyance" ratio of anything I've tried in my current circumstances. 😇

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It took a chunk of my life to get here and I am still not sure where "here" is.
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  • 4 weeks later...

Here is my space, Unity Recording in Corvallis, OR. It was built out by a friend of mine in the '90's, and I've been based here since 2018.

 

Control room:

UnityCtrlRoom.jpg.9ab695532dee1aa2d8f6274d62c584fd.jpg

 

The Allan & Heath SQ6 acts as a mixer, interface and control surface for my DAW (Logic), and as a monitor controller. it has 24 physical inputs and 12 outs, and I have a remote head box in the live room for another 16 ins and 8 outs. I can record up to 32 tracks of 96k, 24bit audio at once.

 

My keyboard cubicle:

KeyboardLand.thumb.jpg.5d4c7df018ea72f8956fb6b056b97c6c.jpg

 

L to R across the front: Sequential Take 5 over Crumar Mojo, Behringer 2600 (seen from behind) & Model D, Rhodes MK1  with Arturia Keylab 61 and Keystep, and Expressive É Touche controllers, rack with laptop running Mainstage. Rack contains a Radial KL8 mixer/interface and iConnectivity MIO XM. 1964 Hammond A100, with Nord Lead 1 and Nord MicroModular. The Leslie in the far left is a 21H single speed.

 

My wall-of-Doom modular setup:

ModularLand.thumb.jpg.16ebcd88833dfb99e300a8e5beace030.jpg

 

The rack of MOTM 5u modules I built myself.

 

 

 

Piano/ISO room:

Piano.jpg.0ff5fec01cd977cb004f76bb30a6563a.jpg

 

We have an 1880's vintage Knabe 7' Grand in our bigger ISO room, we've been restoring it for a few years, and it's playable, and sounds great, but still needs some work.

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This was a setup for a horn section I tracked recently, Bari sax (Warm Audio Wa87ii), Tenor Sax (Warm Audio Wa47) and Trombone (another Wa87ii).

 

Drum setup from same band:

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You can't really see it, but I have a very tall vaulted ceiling in the main room, and drums sound great in here!.

 

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Turn up the speaker

Hop, flop, squawk

It's a keeper

-Captain Beefheart, Ice Cream for Crow

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2 minutes ago, Old No7 said:

I can't compete with this...

 

Oh well, maybe I'll try...

 

The original post did mention that "small" was OK...........

 

Old No7

 

 

Keyboards Studio 05-22 01 med.jpg

 

Since that image was taken, I've moved the JBL 305 monitors to their own stands near the Tascam recording deck.

 

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Yamaha MODX6 * Hammond SK Pro 73 * Roland Fantom-08 * Crumar Mojo Pedals * Mackie Thump 12As * Tascam DP-24SD * JBL 305 MkIIs

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16 minutes ago, Old No7 said:

 

Oh well, maybe I'll try...

 

The original post did mention that "small" was OK...........

 

Old No7

 

 

Keyboards Studio 05-22 01 med.jpg

 

Since that image was taken, I've moved the JBL 305 monitors to their own stands near the Tascam recording deck.

 

Nice rig! It's what we do with our tools that matters, the hammer and saw do not build the house. 

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It took a chunk of my life to get here and I am still not sure where "here" is.
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  • 1 month later...

Here's my office. It's going to be getting a bit of a facelift / remodel as soon as I can shut down for a week. Cabinets on the rear wall are going to go away, along with the slanted rack. Change is both exciting and nerve-wracking at the same time. Always on a quest for an inspiring and ergonomic setup and this setup has served me well. Hope I don't screw things up! 

 

Studio02-22.thumb.jpg.cbc38fa5d56eeeeeed5d2c0407ef0fb3.jpg

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Custom Music, Audio Post Production, Location Audio

www.gmma.biz

https://www.facebook.com/gmmamusic/

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2 hours ago, Dave Ferris said:

It's pretty simple.

 

I've had full band rehearsals in there. In the last picture, I'm taking the photo not in the band. I let some friends use it for a rehearsal for a recording session at Capitol with Al Schimdtt...one of his last ones btw.

 

When I used to record solo piano, I'd use the DPA 4011s > JMK Audio JM-130.

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Very cool, Sir Dave!

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It took a chunk of my life to get here and I am still not sure where "here" is.
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6 hours ago, Dave Ferris said:

It's pretty simple.

 

I've had full band rehearsals in there. In the last picture, I'm taking the photo not in the band. I let some friends use it for a rehearsal for a recording session at Capitol with Al Schimdtt...one of his last ones btw.

 

When I used to record solo piano, I'd use the DPA 4011s > JMK Audio JM-130.

E95EB240-B7C4-4797-B5A5-3817FB206212.jpeg

B4B35F72-B14A-4073-BE20-93A52A1A346D.jpeg

BFA6EC4D-D737-47A0-AC98-E42175FEBB46_1_201_a.jpeg

A0FE0BD0-8B49-47CC-8960-A313C4D6B7EF_1_201_a.jpeg

ECE89A2C-C4EC-4667-8471-EC15291FE731.jpeg

 

I bet it sounds lovely and LOUD in there with all that wood and the high ceilings. My babygrand is in a similar room and my lab/beagle mix (with her oh, so sensitive ears) cries whenever I play. At least I think it's because of the volume and not because of my playing... 😂

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Custom Music, Audio Post Production, Location Audio

www.gmma.biz

https://www.facebook.com/gmmamusic/

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I'm in mild awe of the setups here. The instrument choices are wisely varied and the surrounding aspects well designed. I don't post a shot of my rig because its two XKeys in front of a monitor, a Focusrite interface and an E-mu Planet Earth presently mounted atop a small stack of books while I tweedle it! Now if I posted all of my softsynths, THAT would be a 4-pager. 😬 :keys:

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   Just be glad we're not bigger! Spiders!"
       ~ "Stupid Pet Tricks"

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On 2/9/2023 at 4:52 AM, mcgoo said:

Change is both exciting and nerve-wracking at the same time. Always on a quest for an inspiring and ergonomic setup and this setup has served me well. Hope I don't screw things up!

 

Is the Klingon head for inspiration when you play heavy metal, opera or heavy metal opera? I personally lean more towards "FUTURAMA" indicia and whatever you call that keyboard-ish thing being played by Max Rebo from the Star Wars cantina band. 

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 "Tonight's program brought to you by spiders!
   Just be glad we're not bigger! Spiders!"
       ~ "Stupid Pet Tricks"

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5 hours ago, David Emm said:

 

Is the Klingon head for inspiration when you play heavy metal, opera or heavy metal opera? I personally lean more towards "FUTURAMA" indicia and whatever you call that keyboard-ish thing being played by Max Rebo from the Star Wars cantina band. 

 

I like the heavy metal opera option. Seems very Klingon to me! That thing is a lunch box. It actually speaks with Warf's voice when you open it. Alternating phrases like "Capt. I'm detecting an intruder..." or "you are not authorized to enter..." 

Custom Music, Audio Post Production, Location Audio

www.gmma.biz

https://www.facebook.com/gmmamusic/

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Well yikes!!!!!

I have an Epiphone acoustic that looks just like yours. 

2 days ago I took all the gear out of an 8 space rack and a 6 space rack and put 4 pieces back in the 6 space. I'm thinking I'll sell the other gear and the 8 space rack. 

I thought I wanted to go bigger but I'm looking forward to paring things down and making life more simple. 

It took a chunk of my life to get here and I am still not sure where "here" is.
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In the summer of 2021 I relocated from NY to FL to a new job new house, bringing my OTB studio with me.  The new employer had an excellent relocation package with moving services.  Fortunately I acquired many Anvil cases and racks from years of gigging, which came in REAL handy for the relocation. 

 

I had just put behind me five years of elder care with both parents, followed by covid lockdown killing my job then job hunt leading to relocation.  Elder care was hard work and I had to empty their fully furnished house to get it on the market, thus I had to give up some hobbies like playing in my studio.  

 

With most of my new house settled in I am finally re-assembling the studio and getting it functional.

 

Good gravy, what an ordeal this is.  I built all my audio, MIDI, power cables and built my I/O rack panels.  So far no broken cables, knock on wood.  But during an 1100 mile move, that rough ride in the moving trailer is going to cause mechanical things to come loose, fuses to break, and unlatched plugs inside the racks will come loose. Malfunctioning gear, interconnects to fix, new cabling to build (to shoehorn new gear into my system such as my OB-X8), confirming audio routings, confirming MIDI busses, tightening screws... damn glad I had documented a lot of this or I would had gone bonkers.

 

For every two successful restores, I find another malfunction that needs attention... one... after.. another...

 

Some of the outboard FX need help... audio malfunctions, blowing fuses, slide pots gone bad, one of the 33 year old JBL monitors sounds honky...  all the keyboards in cases fared well, as did the guitar amps (I packed the tubes and transported them myself).  Overall, no physical damage to gear from movers handling them, just the 1100 mile rough ride.  I moved the guitars and computers myself, packed them in my pickup and drove the final trip to FL.

 

It's been a long road back to life as usual - I knew re-assembling the studio was going to be a big project, I'm glad I built up the resolve to get started, and I'm REALLY looking forward to playing in my studio again.

 

Moving a studio is HARD. WORK.

I've moved way too often, retirement is a few years away, I'm DONE moving, I bought the house with the intent to stay there until I croak.

 

(Yes ITB would had been much easier.  No I'm not going ITB.  Too much investment in my gear, I'm happy with my system, and I'm tired of learning curves.)

 

So far about 2/3 of the studio is set up.  The last 1/3 is the recording section (half the family room), will post pics when that is done.

Pics of the MIDI/Keyboard section (half the family room) and the guitar/hammond/rhodes room (was 3rd bedroom):
 

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1 hour ago, KuruPrionz said:

I have more than I need to be honest, just poking fun. Gonna sell some soon. 😃

 

My approach to guitar is trying combinations of amps and cabinets and guitars.  I discovered the art of mixing them and decided on the direction of amp heads and cabinets with different speakers early.  I only have a couple of combo amps; they're not beefy enough to push a 4x12 (burns out the OT) but by themselves they are very unique.  The permutations of amps to speakers to guitars are huge, hence the low count of guitars.  Probably the one gap is different strings IE alloys and gauges on multiple Strats, LPs, etc but I'm happy with what I have.  

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Just now, The Real MC said:

 

My approach to guitar is trying combinations of amps and cabinets and guitars.  I discovered the art of mixing them and decided on the direction of amp heads and cabinets with different speakers early.  I only have a couple of combo amps; they're not beefy enough to push a 4x12 (burns out the OT) but by themselves they are very unique.  The permutations of amps to speakers to guitars are huge, hence the low count of guitars.  Probably the one gap is different strings IE alloys and gauges on multiple Strats, LPs, etc but I'm happy with what I have.  

Regarding OT, it's more about the impedance load than anything else. Probably too much of a PITA to reconfigure a 4-12 to correct impedance for a particular amp. It's usually safe to run a higher load (16 ohms) into an OT than a lower load. Maybe consider a 2-12" cab with 2 8 ohm speakers wired in series for all the small amps. 

Yes, there are LOTS of tonal variations in guitars. Changing picks from thin to thick will change the tone as well, an inexpensive way to create variation. Picking near the bridge or up by the neck changes tone, something that can be done in a split second. 

 

One thing I have that I'll keep always is a cheap Johnson short scale Strat copy that I found at Goodwill for $30. I've tuned it to "Nashville" tuning - the 4 low strings are an octave higher. Gives that 12 string chime to any guitar, acoustic or electric, easier to play and restring than a 12 string and fun!!!

 

I have a hideous boogered up lap steel that I'll keep as well. Slide guitar with an E-Bow is an amazing sound, nothing else like it. 

There's just something about actually touching the tone generator (strings) that I love. It's a real connection to the tone and the music. 

It took a chunk of my life to get here and I am still not sure where "here" is.
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15 minutes ago, KuruPrionz said:

Regarding OT, it's more about the impedance load than anything else. Probably too much of a PITA to reconfigure a 4-12 to correct impedance for a particular amp. It's usually safe to run a higher load (16 ohms) into an OT than a lower load. Maybe consider a 2-12" cab with 2 8 ohm speakers wired in series for all the small amps. 

Yes, there are LOTS of tonal variations in guitars. Changing picks from thin to thick will change the tone as well, an inexpensive way to create variation. Picking near the bridge or up by the neck changes tone, something that can be done in a split second. 

 

One thing I have that I'll keep always is a cheap Johnson short scale Strat copy that I found at Goodwill for $30. I've tuned it to "Nashville" tuning - the 4 low strings are an octave higher. Gives that 12 string chime to any guitar, acoustic or electric, easier to play and restring than a 12 string and fun!!!

 

I have a hideous boogered up lap steel that I'll keep as well. Slide guitar with an E-Bow is an amazing sound, nothing else like it. 

There's just something about actually touching the tone generator (strings) that I love. It's a real connection to the tone and the music. 

 

I found a circuit online that switches the impedance of a 16 ohm 4x12 from 16 to 8 (stereo or mono) to 4 ohms using three TRS switching jacks, it really works.  I needed them 1) Mesa-Boogie supplies 4/8ohm taps but not 16 ohm, 2) the Fender DSR only has a 4 ohm tap, 3) I have a Vox Valvetronix 2x60w stereo amp that I like to try with the cabinets.  A stock Marshall 1960A/B 4x12 is 16 ohm and while it is safe to run on the 8 ohm tap, I wanted a 4 ohm configuration to hear what the M/B Lonestar really sounded like with matched impedance.  It's almost if M/B went to that trouble to prevent players from coupling the Marshall with their amps, that M/B Lonestar sounds great with the Marshall cabinets especially one loaded with greenbacks.

 

True about picks.  I used to be in a band that covered some AC/DC and I covered the rhythm.  I switched to extra heavy picks for those songs, they make a difference.  My Martin 12-string doesn't sound right with anything but a thin pick.

 

Now that you mention it that is an option with the smaller amps if I use 8ohm mono, which is just 2x12.  The odd man out is the tweed Harvard which is only 10w, I don't dare try to push 2x12 with that.

 

Yeah one man's trash is another man's treasure.  Sometimes a copy guitar just works in the right hands.  My Tele is a parts mutt, the neck and body are the only authentic Fender parts yet it plays/sounds great.  My guitar playing brother is a diehard LP player and he likes my Tele enough that he would like to find one.  I tried piles of Teles but still haven't found one like mine.

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