![]() Without being able to do these things I'd be building-by-numbers, and IME that's boring/no fun. I use it for listening to sound samples, on-going education about sound, and for proprietary methods of testing the resonant characteristics of woods, guitar parts, guitar chassis', and chambers. The control room is every bit as important a tool to me as a guitar builder/guitar designer as any of my woodworking machines I literally couldn't/wouldnt build TCM guitars without the control room. ![]() That's why it is vital that my control room sound as accurate as I can make it I need to be able to HEAR! It often requires more than 5 songs but when it "clicks" I can begin to choose materials and get to work. Prior to sending these, a potential client and I have at least one longish, very fun conversation about the person, his/her music, guitars, and sound we are talking about "building a sound" and I do not feel comfortable building a guitar for someone until I *feel* that my "musical imagination" is in tune with their's. You see, part of the process of exploration at the beginning of ordering a TCM guitar involves the potential client sending me 5 songs that he/she feels hint at important attributes of the "sound to be built". It's really vital that I get my control room "right".if only for business reasons. I've learned that foam is of little/no use (with respect for users of foam). There has been no use of "studio foam" (except for what the monitors sit on, and removable panels for the screen and mixing console, these are only used when mixing and then only on occasion). (BTW the Dayton mic for that purpose works very well). The dimensions, makeup, and placement of these required much experimentation/dead-ends. It's all been via DIY bass traps (the biggest of which are two measuring 6' x 3' x 7') and broadband absorbers, with a little diffusion thrown in too (in truth I'm still playing with diffusion a little). ![]() Wes got me off to a great start and I've been tweaking sporadically ever since. ![]() I am blessed in having an old friend to advise me (periodically) who has made a big name for himself as a studio designer.Wes Lachot. I've worked on the acoustics of my control room on/off for 4 years now, and have finally arrived at the "this is gonna work!" stage. ![]()
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