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-- Pictures of your Home studio
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quote:

Originally posted by The producer Thank you Sirocco, Well, as I say, I got my first synthesizer when I was only 14 after many long months of saving after a strange anxiety into the dance music scene. I persuaded my mum to help me out after I arrived at around five hundred pounds sterling, which was a grueling task. I think it was proof enough that I had some form of serious motivation into it. I started on trance and moved over pretty much all genres of music before realising my heart was still there. I'm only just turned 20 now, but I've been very lucky to have a good background in production to know exactly what I was looking for. In my present line of work (TV incidental music), my Virtuoso is nothing less than a dream machine. I'm hoping to have a future in Film Scoring and producing... an eclectic mixture though of classical, dark breakbeat, trance/hard house and ethnic. My advice to you is to go for an acclaimed user friendly analogue modelling synthesizer, like my Novation. The Supernova II is an awesome synth/keyboard plus Waldorf's get the girls wet he he! Forget the Andromeda... In my eyes it ain't worth the money or the hassle. Very good system, but confusing and you won't learn much from it. If you are not using a computer operating system then why not go for a workstation like the Triton Studio series (very good!) or the Yamaha Motif series (spent a lot of time with one in Singapore and the girls too!!!!). Any questions you may have pm me anytime. I'm sure I'll be around!!

i would never get a workstation ;p

im thinking about picking up:

Access Virus KC Keyboard/Synth

Yamaha CS6x+An1x board
(PLG150-AN) Keyboard/Synth

Roland JP8080 Rack/Synth

Novation Supernova II Keyboard/Synth

Elektron Machinedrum Rack/Synth

--

you can see what im saving for (and buying 1 by 1) at http://www.djandrewparsons.com/site

NO IM NOT andrew parsons, just mooching off his space ;p

>>and once again thanks for the suggestions but i dont like all in one workstations..i just love controlling eveyrhting and being able to upgrade and twist as many knobs as possible. if you have AIM (aol isntant messenger) you can message me with the name "seventh city"

I'm going back over to New York city again very soon (in a matter of a couple of weeks). My girlfriend lives in NYC and it's a mission to get there from the UK.

I'll be working on music while I'm there and I'm bringing my Virtuoso too!

I take it you're not free to AIM? I tried just moments ago.

let's hear it for percustuff!!!

Here I am at our project studio



Though, I already replied earlier to the other studio-photo posting today :
http://www.tranceaddict.com/forums/...15&pagenumber=5

More information, tracks and photos available at
http://www.joelkalsi.com

Nice fee, but do they go RAR! everytime you take a step?

Anyway, not a studio, but the cable mess made me laugh. And yes, for acid fans (i think I'm the only one), there's 9 original 303s there and 1 devilfish

This is something to think about for all those people who want to buy a JP-8080

quote:

aquinas I read on your website that you have a Roland JP-8080 in your studio, and I am considering buying one; is it a valuable piece of kit, or don't you use it much? Armin Van Buuren i would actualy not recommend buying it. all the sounds in that machine have been used over and over, if you wanted to be original i wouldnt buy it.

And for all those people getting disconcereted with not haveing all those wiz bang gadgets you think you need:

quote:

b1__ How long did it take you to get your home studio to a stage where you could start making quality Trance? Did you do it before you were "big"? Armin Van Buuren i jsut started with a sampler, and with that i made Blue Fear. you dont need a big studio! its never about the equipment in the kitchen, its about the chef.

quote:

Originally posted by GelatinPufF This is something to think about for all those people who want to buy a JP-8080

that quote from AVB is garbage.If you TRULY want to be original with your sound then you make your own sounds with the JP with a Virus with a DX7 with whatever you got.The JP is a great sound creating tool in my opinion.Yeah the factory presets are played out but if you are someone who makes your tunes by using factory presets then well you probably wont like the JP or any of the other popular AM type synths as most of their presets are played out.To make youre songs unique you gotta make your own sounds and to me the Jp series is a very capable and easily programable machine.

Well, i've gotten sick of producing in my bedroom, and im starting to feel that a bedroom should be a bedroom, not the computer room/ studio/ where you sleep occasionally! So i am building an 8'x8' room in the basement solely as a studio. Plans are to set up the framework freestanding, not attached to anything and sitting on the floor, then going to sheath the inside, and damp the hell out of it with acoustic foam. Then a desk or two and hopefully some new gear to fill it out. I'll get pictures up when construction is done!

-Dan-

quote:

Originally posted by danieldavid Well, i've gotten sick of producing in my bedroom, and im starting to feel that a bedroom should be a bedroom, not the computer room/ studio/ where you sleep occasionally! So i am building an 8'x8' room in the basement solely as a studio. Plans are to set up the framework freestanding, not attached to anything and sitting on the floor, then going to sheath the inside, and damp the hell out of it with acoustic foam. Then a desk or two and hopefully some new gear to fill it out. I'll get pictures up when construction is done! -Dan-

Duh. Don't build a cubic room, it's the worst scenario imaginable for audio production. Try to make it as unsymmetrical as possible to avoid reflections (especially the low end will start ringing in a cubic room). If possible, build every wall in a bit different angle as the opposite wall. Other than that, don't damp the whole room, damp only the first half (or 3/5 would be better) of it where you'll place the monitoring. Otherwise you'll have a totally dead, unnatural room which is not a nice place "audiowise" to mix anything. My 5 cents

Joel, thanks for that advice, i've heard about the asymetry thing before but not about only damping part of the room. I'm gonna look more into it.

-Dan-

DD,

Make an unsymmetrical room, dampen 70 percent of the room and use bass traps in the corners. Put the speakers away from the walls and toe them in toward the sweet spot. Be about as far away from the speakers as they are from each other.

DD,

Make an unsymmetrical room, dampen 70 percent of the room and use bass traps in the corners. Put the speakers away from the walls and toe them in toward the sweet spot. Be about as far away from the speakers as they are from each other.

Etherium: Thanks for the advice

Does anyone have plans of a studio they built? I mean i've read and heard about studio design theory before, but i want to know if anyone has actually built a studio and how it all worked out for them. Also, i'm not building a mastering suite, just a workplace where i can have my computer and some gear in a separate enclosure, i'm not trying to acheive incredible aural dynamics quite yet, i dont even have any good monitors as of right now. So if anyone has some real world advice for me that would be great.

Thanks,
-Dan-

quote:

Originally posted by danieldavid Etherium: Thanks for the advice Does anyone have plans of a studio they built? I mean i've read and heard about studio design theory before, but i want to know if anyone has actually built a studio and how it all worked out for them. Also, i'm not building a mastering suite, just a workplace where i can have my computer and some gear in a separate enclosure, i'm not trying to acheive incredible aural dynamics quite yet, i dont even have any good monitors as of right now. So if anyone has some real world advice for me that would be great. Thanks, -Dan-

Check my site
www.joelkalsi.com -> Studio Ice Cube -> "Building the studio"
We'll still need basstraps to it, and I'd recommend that first 70% of the room being acousted.

Thank you Joel.

How do you feel about the common practice of damping front and rear walls only? I've worked in a few studios set up this way, but the walls were 100% covered in acoustic foam, front and rear, but with nothing on the sides. The rooms were not asymetrical. I've also seen some instalations where damping is installed in small 1x1' panels spaced about the wall, with occasional basstraps.

I do not have any working experience with this, but im looking to get a pretty neutral sounding room, i dont have to worry about glass, but materials are an issue, normal gypsum walls and a concrete floor with carpet over. If anyone has advice for me, or people looking to build a studio in general please post it.

Thanks!
-Dan-

quote:

Originally posted by danieldavid Thank you Joel. How do you feel about the common practice of damping front and rear walls only? I've worked in a few studios set up this way, but the walls were 100% covered in acoustic foam, front and rear, but with nothing on the sides. The rooms were not asymetrical. I've also seen some instalations where damping is installed in small 1x1' panels spaced about the wall, with occasional basstraps. I do not have any working experience with this, but im looking to get a pretty neutral sounding room, i dont have to worry about glass, but materials are an issue, normal gypsum walls and a concrete floor with carpet over. If anyone has advice for me, or people looking to build a studio in general please post it. Thanks! -Dan-

If you're really short on money for acousting, the most important thing would be to have acoustic foam / plates placed between the mixing point and the monitoring to avoid the worst reflections coming from the walls, and the same goes with the roof of course. It's good to have the back end of your room acousted too, but it doesn't count that much as the walls.

If you have some money to spend on it, you can always build a floating floor and possibly a floating roof too, and there are probably lots of instructions in the web for building floating floors. We'd need to build a floating floor for ourselves since our floor is relatively thin and it rumbles a bit while playing out loud. However we haven't had time, money and interest for it yet. The same goes for basstraps.. there's a picture I draw of a nice building instruction for a powerful bass-trap (designed by Ethan Winer) available on my site too, at Docs & Files -> Acousting. Such traps are cheap to build and small to place in your studio, and I've heard they're powerful on killing those standing waves. I wish I only had more money for progressing with the workshop

Well, after reading through everything you did to create that studio its hard to believe you need to do any more work. On the site you said that the sawdust in the corners was working as a basstrap. Are you saying that its just not working as well as a specific basstrap, or that its not working on the same frequencies as a specific basstrap?

Unfortunately, money is an issue for me right now, so i can't go crazy on acousting materials. But i'm going to make sure to get the front wall damped for now, work on the rest later.

-Dan-

quote:

Originally posted by danieldavid Well, after reading through everything you did to create that studio its hard to believe you need to do any more work. On the site you said that the sawdust in the corners was working as a basstrap. Are you saying that its just not working as well as a specific basstrap, or that its not working on the same frequencies as a specific basstrap? Unfortunately, money is an issue for me right now, so i can't go crazy on acousting materials. But i'm going to make sure to get the front wall damped for now, work on the rest later. -Dan-

The sawdust in corners isn't working as a basstrap but it breaks down a bit of those low end reflections (each corner in a room boosts low end by 3dB, so an imaginary room would be some sort of a modified oval-ball... maybe an asymmetrical raindrop shape would be great? ). The whole acousting thing didn't cost that much; We got all the woodstuff, wool and acousting panels for around 350E in overall, and the sawdust was free of charge. I really would like to build a 2nd floor on top of the current one and put some wool in between. It would also be great to wire things up so that the wiring was done inside the floor instead of having wires circling all around. It would also let us use shorter wires too, leading to gain of quality in the recordings a bit that way as well (would probably gain the quality a lot more if we bought some high-end cables to replace the current ones though)

quote:

Originally posted by frykshun that quote from AVB is garbage.If you TRULY want to be original with your sound then you make your own sounds with the JP with a Virus with a DX7 with whatever you got.The JP is a great sound creating tool in my opinion.Yeah the factory presets are played out but if you are someone who makes your tunes by using factory presets then well you probably wont like the JP or any of the other popular AM type synths as most of their presets are played out.To make youre songs unique you gotta make your own sounds and to me the Jp series is a very capable and easily programable machine.

so true... if you want to go for presets, go for a cassio keyboard $100 at best buy. I bet you not many tracks use the patches there and they are not played out.

I'm surprised Armin said that... It's like saying "Color blue is so overused in todays painting... You should ditch it or people will not think you are original"....

I'm sure Armin was just teasing... Besides, Access Virus is probably the most overused synth, yet it is in every producer's studio.

I was reading an article with Front 242 in the Future Musik mag and something to the effect of "You gotta reach in the belly of the machine to get the sound you want" - very accurate. Using patches is for lamers. Make your own sound - that's what sound synthesis is all about. I can hit one note on a JP8080 and modulate the crap out of it to sound wikkid...

Make your own impression... that's the bottomline.

quote:

Originally posted by Joel Kalsi The sawdust in corners isn't working as a basstrap but it breaks down a bit of those low end reflections (each corner in a room boosts low end by 3dB, so an imaginary room would be some sort of a modified oval-ball... maybe an asymmetrical raindrop shape would be great? ). The whole acousting thing didn't cost that much; We got all the woodstuff, wool and acousting panels for around 350E in overall, and the sawdust was free of charge. I really would like to build a 2nd floor on top of the current one and put some wool in between. It would also be great to wire things up so that the wiring was done inside the floor instead of having wires circling all around. It would also let us use shorter wires too, leading to gain of quality in the recordings a bit that way as well (would probably gain the quality a lot more if we bought some high-end cables to replace the current ones though)

Alright, i guess i misunderstood what you were writing in the website, i thought you were saying that sawdust worked as a basstrap, but it really just works to damp out low end in the corners, gotcha.

So as a revised design i was thinking about building out an almost octagonal room, except the walls would not be of equal length. Think square with corners cut off, but not a the same angles front and rear. That would alleviate the boost that you would see in corners, and if i get the angles right, reflections will not bounce back to the source... What do you think?

-Dan-

quote:

Originally posted by danieldavid Alright, i guess i misunderstood what you were writing in the website, i thought you were saying that sawdust worked as a basstrap, but it really just works to damp out low end in the corners, gotcha. So as a revised design i was thinking about building out an almost octagonal room, except the walls would not be of equal length. Think square with corners cut off, but not a the same angles front and rear. That would alleviate the boost that you would see in corners, and if i get the angles right, reflections will not bounce back to the source... What do you think? -Dan-

Yap that's the way to go for it.. the more asymmetrical the room is, the better If possible, turn the walls a bit so that it looks like if the walls were "crashing down on you". This does wonders for keeping the low-end reflections from bouncing back and forth in the room. We didn't have enough effort on building the room that way so we gotta try out to damp the low-end with use of bass traps, let's see how it turns up in the future

my cruddy setup

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Originally posted by Passiva My studio Sorry for the huge pics.

Ooo i like that stand you have your decks in did u make it yourself, looks very pretty

BTW: I doubt anyone wants a picture of my studio, which is a computer, m-audio oxygen 8 and some gemini xl 5002's !

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Originally posted by DJ Terraplex Ooo i like that stand you have your decks in did u make it yourself, looks very pretty BTW: I doubt anyone wants a picture of my studio, which is a computer, m-audio oxygen 8 and some gemini xl 5002's !

Show us the pixs . Btw, i just have my computer and a pair of sucky speakes.. SO DONT COMPLAIN!!

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