When using a computer-based recording system, there is nothing more unnerving than the incessant whirring of the fan inside the computer and the fragmented and irregular clicks and pops of the hard drives saving, loading, and saving. Many believe that short of spending hundreds of dollars (even thousands!) on specially made enclosures, the only other solution is to remotely locate the computer in a closet or another room. This paper presents a few other solutions worth considering.

But before we get into the solutions, let’s discuss the problems in more detail. The good news is that most of the noise generated by our computers is high pitched. High frequencies are much easier to contend with than low frequencies by strategically positioning absorptive materials where they will do the most good. The bad news is that the very reason computers have fans is that they need air to cool themselves or else they will overheat and stop working. So the required solution involves providing a mix of absorption while allowing fresh air to flow.

High frequencies are more directional than low frequencies and they also contain less energy. This means that you require less mass to contain their sound and thinner absorptive panels. Knowing this, let’s apply these two concepts to a typical studio workstation setup using a three step approach:

Step 1 Add a front door
Most project studios employ a desk of come sort as a workstation. The computer is often located out of the way under the desk in a computer ‘tunnel’ that includes a low lying shelf which is open at the front and in the back. The noise is escaping from both access points. So the first thing to do is to add a solid door to the front. Most hardware stores sell a variety of standard kitchen cabinet doors and these can be custom ordered to fit. The best choice of door will be a good heavy one made from melamine as it will contain more sound. Bring your desk opening drawing with you so that the hardware specialist can recommend the best hinge to suite your particular need. If you want to get a glass door, try to get one that has a good heavy pane of glass and make sure it does not rattle. Most doors are designed to expand and contract so they do not glue the panel inside the rails. If your door rattles, add a silicone bead. You should also apply good weather stripping to surround the door opening. Remember, if air can pass so will noise.

Step 2: Absorb the noise before it gets out
Now that the noise exiting the front of the cabinet will be significantly reduced, we have to treat the noise inside the tunnel itself. Think of it this way: by reducing the noise at the source, it will be mush easier than trying to deal with it after it escapes! Remember: Because we need to provide the computer with fresh air, we cannot simply put another door on the back. Enclosing the computer would result in recycling hot air which of course could cause your system to overheat.

The best way to quiet down the noise is to line the inside of the tunnel with 1″ thick Broadway panels. You should line the sides and top and even the front door if you can. Just make sure you leave sufficient space so that air can flow. Because the whirr of the computer fan is usually quite high, the 1″ thick panels will provide effective results. All you need is standard construction adhesive some 1.5″ finishing nails and some Broadway panels. For safety, it is always best to use fiberglass panels. Urethane foam panels can dry out and end up causing a dust problem for your computer which could clog up the fan or create problems in the electronics. Fit the panels inside the tunnel best you can to cover the surfaces. You can then cut the panels to fit by first pulling the excess fabric out of the way and then re-gluing it to cover the edges. Add a bean of adhesive around the perimeter and then X from corner to corner. Use a couple of finishing nails to hold the panels in place to allow the glue to set.

Step 3: Control the noise exiting the tunnel
The final step involves doing what you can to reduce the noise that is exiting the back of the tunnel. This is done by treating the wall (or walls) behind the desk. Remember, high frequencies are directional. This means that the exit port of the tunnel where your computer lives has now become a horn. The direct sound exiting the horn will reflect off any adjacent walls and follow a vector. By treating the wall you will eliminate these reflections. You can use 1″ thick Broadway panels to do this or if you happen to have some extra 2″ panels, you will increase the attenuation.

Although this 3 step approach will not completely eliminate computer noise, it will do wonders at reducing the noise problem without breaking the bank. This do-it-yourself project is easy to do and it will definitely help lower the residual noise your studio.

[via primacoustic.com]

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Elite Tone Fillmore Thunder fuzz octave guitar effects pedal demo w SG & Dr Z amp

Now shipping, the Elite Tone Fillmore Thunder is a trippy new two-channel guitar effect pedal designed to reproduce the legendary sound produced by Jimi Hendrix in the latter half of his career.

At the heart of the new limited-edition ring modulator / fuzz pedal is a four-knob classic silicon Fuzz Face circuit — with the addition of a gain control and transistor bias — that’s further decked out with a set of classic BC-108 vintage transistors.

A two-stage effect, the Fillmore Thunder pedal features true bypass, two fully analog and independent pedals in one box, a hand-constructed design, low ambient noise, an LED On / Off indicator, a 2.1 mm diameter DC jack adapter, and an included battery.

The Fillmore Thunder is now available for $177 MRSP from elitetone.com

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May 3

Why music matter

Posted in: BLOG, Video | No Comments
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Music Matters is a collective of people across the music industry, including artists, retailers, songwriters, labels and managers, formed to remind listeners of the significance and value of music.

www.whymusicmatters.org

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No longer will your cymbals bleed into the rest of your drum kit — Primacoustic has released its new CrashGuard drum microphone shield, a device that isolates the drum mic to attenuate the sound of cymbals during the recording process.

The CrashGuard sound-shielder, when placed just below the crash, reduces interference between the cymbal and microphone, and in turn provides better control over the sound of the drum. You can use the CrashGuard on the snare and hi-hat, tom and crash, and other percussion.

Compact and very light in weight, the CrashGuard fits most major drum microphones and mounts directly onto the boom stand using the microphone’s clip to hold it in place. Thanks to its high-impact ABS construction, the CrashGuard is tough and durable, strong enough to withstand the hit of a drum stick by even the most aggressive drummer, according to the manufacturer. Taylor Hawkins (Foo Fighters), this one is for you.

Its under-belly is fully coated on the inside with high-density, open-cell foam that absorbs internal reflections and reduces phase cancellation. In addition, the CrashGuard’s design features an extended cable cutout that allows the microphone to be articulated for precise placement and provide an even better performance.

But how does it really work? Once in place, the CrashGuard surrounds the microphone with a sonic barrier. By reducing the spill from the cymbals, more of the drum sound can be captured. Engineers and the like can then add EQ to the drum, increase the high end for more attack, and so forth, without accentuating the sound of the cymbal. On close proximity sources like the high-hat and snare, the resulting recordings will have a greater balance over each sound.

CrashGuard features at a glance:

  • Reduces sound of cymbals from spilling into drum microphones
  • Lightweight design fits most microphones
  • Allows drum mic to be articulated for precise aiming
  • Improves isolation for added control over each drum

The CrashGuard drum mic shield is now shipping and readily available for $40 (MSRP). For more information, please visit Primacoustic (courtesy of Radial Engineering) at radialeng.com.

In addition to the new CrashGuard sound shielder, Primacoustic has announced its release of KickStand, a microphone boom stand isolator that keeps resonance from the stage, drum riser, and studio floor from entering your drum mic.

With its heavy stabilizing base and a high-density foam isolation pad, the new KickStand helps decouple the microphone stand from the source, while introducing a stabilizing mass to hold the microphone in place.

Resonance on live stages causes problems for bass guitars and bass drums, notes Primacoustic. Low frequencies often couple with the wood platform, combine at certain frequencies, and generate unwanted peaks. Another problem with live performances is that the physical vibration from the kick drum pedal and low-end from the PA system causes the drums to rattle and transmit through the drum riser, and microphones that are near these sources are prone to picking up these unwanted sounds unless they are decoupled. If you have a KickStand in place, you won’t have that problem.

The KickStand’s design begins with a thick high-density foam isolation pad that covers the entire bottom. A laser-cut steel platform is shaped to eliminate standing waves and provide enough height to allow a boom stand to swing into position. The resulting isolation thus eliminates resonance, while the added mass stabilizes the microphone capsule for better clarity and improved transient response.

About the KickStand, the company president Peter Janis says, “A couple of years ago, we invented a device called the Recoil Stabilizer that improves the performance of the nearfield monitor by both eliminating the resonance from the meter bridge while reintroducing a mass component to stabilize the loudspeaker. The success has been tremendous with many of the world’s leading engineers now using Recoils whenever they mix. We felt that this same technology could be applied to stabilizing microphones. The KickStand is the first of these to be released.”

Available now, the KickStand kicks off at $90 MSRP ($75 Street). For more details, please visit Primacoustic (courtesy of Radial Engineering) at radialeng.com.

[via gearwire.com]

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If you’ve been into softsynths since the beginning, you undoubtedly remember the initial offering from a little Swedish company called Propellerheads.  Rebirth was one of the first widely popular software synths and emulated the infamous Roland TB-303 and TR-909 and 808 drum boxes.

Now, over a decade after this pioneering bit of software first hit our hard drives, it has been adapted for the iPhone.  Visit rebirthapp.com for details.

[via Waveformless]

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MusicRevolution LLC has announced the launch of MusicRevolution.com, a new online marketplace for production, or stock music. MusicRevolution.com offers an extensive library of royalty-free production music and four purchase options for customers, including single tracks, CDs, subscriptions and an Internet music stream. With advanced search technology and automated cue sheet filing, MusicRevolution says it makes it easy, convenient and affordable for customers to buy the production music they need.

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MusikPitch is free to songwriters, charging the buyers a small fee plus 10% of the prize. They also help streamline the licensing process with free contracts. Potential MusicPitch custom song clients include film, TV, video games, corporate jingles, as well as, personal songs for reunions, parties, weddings, etc.

Watch a video overview:

MusikPitch – Get unique music created for your movie, video, product, or project! from MusikPitch on Vimeo.

This video explains how MusikPitch works for songwriters:

License my song for movies, TV, products, or projects! from MusikPitch on Vimeo.

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