Got Psolo, and it captures Crap great.

J

jeff0633

Member
Well guys, I have been toying with my new Psolo mic pre for a couple days. I am stunned at the clarity and detail in the signal. I have no doubt that this is a world class pre.

My problem is, it is also revealing just how bad my room is, my Behringer Vampire 210 amp is, how bad my acoustic is, how bad my voice is.... The point is, recordings with guitar direct through my Pod Xt sound better than recording with a mic and the Psolo from the Vampire. It is starting to dawn on me that the pre AND the room have to both be good. The mic doesn't really have to be, because you can make great recordings with a 57 or a cheap China condenser, but the recording environment and the quality pre are what's needed. I can hear the crisp detail and 3d sound of the Psolo. It's almost a religious experience, a feel hard to explain. But the sound it is capturing is absolutely terrible.

I have spent tons of money over the years buying frickin compressed fiberglass (702), but my room and walls are too thin, (I live in a mobile home), and I am starting to realize that I will NEVER be able to record quality audio in this environment.

Should I keep the Psolo and hope that someday I will be able to build a real studio room, or should I get rid of it and buy a Boss Br1200 and simply plug my guitar and bass straight in and have drums on the unit, basically, an all in one box which will never really give me pro recording quality, but closer than the Psolo will in a terrible room with terrible amps and acoustic guitars to mic?

You see, I think the Psolo is actually a better class kit than I can use, because I don't have the pro recording environment that the Psolo was designed for. This may be a huge moment in my long quest to be able to record pro sounding stuff, and I may have lost that quest, after thousands of dollars. I may never be able to have a REAL studio room built, with a room inside a room, with proper trapping and diffusion and such. I may never have the space or money to do a room the right way to even do justice to a pre such as the Psolo.

Now, I am faced with a certain reality, my quest may not be possible, and I may be better off with some all-in-one box like a Boss recorder, but I will never really be satisfied that way either. Is my recording quest finally over, after all the money I have wasted buying recorders, foam, fiberglass, mics pres, mixers?

Here I have finally realized that this quest may be impossible for me considering where I live, how much money I make, and everything else. I feel like crying after hearing how the Psolo captured my terrible recording space.

The psolo does it's job so well that it has smacked me in the face and said "Wake up dude, you are so far from pro recordings that you will probably never get there and you have wasted thousands over the years to learn this. The psolo said to me, "Son, send me back and let a real studio buy me where I can join up with a real studio environment, real engineers in a reall studio, I am way above your head and it may be years and thousands more until you are ready to do me justice. Accept that you lost the quest, it was never possible in the first place, and I have come here to show you that it's not possible. Put your wallet back in your pants and save for a real studio when you have some songs to record".

Signed

Heart Broken
 
Don't be so down on yourself.I experienced the same things every time I upgraded,but once I got over the initial shock and took a little time to experiment things got better. :cool:

Just take a little time,try some different approaches and you'll find out things aren't as bad as they seem.

Chances are you'll never have a completely professional sounding setup,but you damn sure can have a better sounding one.
 
jeff0633, that's a very interesting post, and an honest one.

I think you should keep the Psolo, and here's why:

For the first time you actually have a measure of where you really are with your recording studio. The Psolo is telling you what's good and what isn't, and doing it so clearly that you can't avoid listening to what it is saying to you.

This is a good thing. It's a really, really good thing.

All this other gear you have been using has been lying to you.

Now, you can work on your studio in the harsh light of reality, not in the pretend light of making things sound better than they really are. With a preamp that revealing you will be able to move your sound panels around, test different mic placements, try out different amp settings *and actually hear what is going on*.

Again, this is a good thing.

So once you get over your initial shock and depression you need to go back into your studio and start making it sound better. Do it one step at a time, break it down into smaller tasks. Like take some time and experiment with mic placement on your amp. What sounds better, what sounds worse, make notes for yourself that you can refer to later.

Same with your acoustic treatment. Try moving it around, less of it, more of it. Place the amp in different spots in the room in relation to the treatments.

Now you'll be able to hear what's really going on.

In my opinion the worst thing you can do is go back to where you were before. Plus, I don't think you really can do that, now that you've had a revelation. You know that you have to move forward.

Best of luck!
 
Great reply and thanks much. You are right, and I have already been moving sound panels into my little bathroom instead of my bedroom. The psolo does allow me to hear exactly what's wrong.

Ethan Winer sent me an acoustic guitar clip he recorded in his studio and into his SB Live soundcard about 4 years ago. I had no idea who I was talking to and I had told him that you couldn't get a pro recording through a SB live audio card. He sent me a clip of his acoustic, by itself, recorded in his awesome room, and it was so stunningly beautiful, I couldn't imagine ever being able to do that. He told me that it was simply done with a decent mic in a good room,. This was before he had his acoustics forum. I had no idea just who he was and how incredibly knowlegeable he was. He tried to tell me years ago that the room was of utmost importance, and that if the room was properly done, you could take a 57 with a cheap Boss br8 and a nice pre and get an absolutely great sound. I wish to god I still had that little acoustic clip he sent me those years ago so that you guys could hear it. Folks, you need to read Ethans forum like a bible, because the room is what's needed along with a good pre. They are a team, and when they are both good, the recordings will be good.

Here's the link
http://www.musicplayer.com/cgi-bin/ultimatebb.cgi?ubb=forum;f=26;hardset=;start_point=;DaysPrune=ink.

Ethan tried to show a stranger years ago that was new to the home recording sceen. I wish I had known then what I know now, and I wish I would have known who he was, and just how brilliant he is.

My god, I have wasted a lot of money on this quest. You are right, there is no way to be phony anymore. No way to pretend I can get a pro recording by throwing a cheap foam corner trap up. I once wasted $250 dollars on 16 foam bass traps purchased from an Ebay seller in Detroit, called real foam or something. They claimed it was as good as the top foam sellers. I got two massive sheets of two inch foam. It hardly made any difference at all. Almost nothing. Then, later, I read on Ethans forum that he had tested the foam from that seller and that he found it to be half as effective as the best foam, and Ethan won't even use the best foam. He said it was not even the same material and that it was half effective. Well, after throwing the big sheets of foam away after a year, I still have about 12 of the corner foam traps and I put two together and they make a nice Foam table to set stuff on, but that's about it. I wasted hundreds on garbage foam that didn't help at all, or very very little. Ethan knew all along.

I spent hundreds finding some 702 equivalent and made 12 6 foot tall 4 inch thick panels. I ended up throwing the frames away, money lost, and using burlap to staple them to the wall. How pathetic my attempts seem now. I still have all the 702, and I won't get rid of that because i can still use it for maybe Ethans wall traps and such.

I just wanted to show you how I have wasted money over the years searching for that pro sound, and sometimes I would end up right back with a Boss recorder out of frustration. God, I want to be able to record a pro sound, and I realize that the room has to be good to do so, with real bass traps, and have a meter to make a graph and be able to measure and fix the problem frequencies and stuff. It just seems like I will never get there, never, yet other guys have a basement and learn from Ethan and others, and seem to go down the right path the first time.

My god, I didn't mention my biggest watse of money. At one point, I had purchased a Mackie VLZ pro mixer. Decent pres, and I had decided I had to buld a vocal booth, because the room was just horrible. Well, you won't believe this, but the wife was away for the weekend, (I was married then, not now), and I decided to build a recording booth in our bedroom. I went and purchased a bunch of that itchy rockwool panels. 4 inch thick. I purchased a bunch of plywood and decided to build a plywood room in our bedroom. I bought brackets to hold it all together, and even made a swinging door. Well, this god-aweful thing took up all the floor space in the bedroom. You had to walk in, and when you got to the foot of our bed, you had to slide in between this building in our room and go all the way around it with your azz against the wall and work your way around to our bathroom. I then loaded it with that 4 inch roock wool. My wife nearly went ballistic when she came home. I was sitiing in this little four foot by four foot room, breathing in all this nasty Rockwool that I had covered with some thin material at Walmart, and she opens the door to my shed and scream, "what the hell have you done"? I had actually contructed a playwood shed in our bedroom and had taken up all the floor space, no room to walk in our bedroom. You had to climb over the bed to get to the other side. I think this costs me my marriage. of course, after about three days, I tore it down, the plywood I ended up giving away, threw the rockwool away, and lost all the money, I don't even know how much.

You see what I have been going through? I have lost thousand going back and forth between trying to fix a room up, then when that doesn't work, I get frustrated and buy a Boss recorder, then that doesn't satisfy and I go back to trying to mic stuff and fix a room again. Want to hear how many recorders I have owned? Tascam 788, Roland Vs890, br8, vs-840, Fostex VF-160, Zoom 1608, mr8, 802, Yamaha Md-8, Sony MDMx4MKII, Yamaha MD4s.... Many of these were because I thought the recorders were what was giving the pro sounds. I would hear someone do a great recording with a Roland VS, and they would say they never did anything to their room, so I thought it must be the recorder. I didn't realize that some folks were lucky enough to have to do nothing to their room. Maybe it was a big room to start with with plenty of drapes and such, thick walls. It always kept me confused as to what was actually causing these pro sounds, so out my wallet would come, trying something different. The room and the pre together I have never had. I have never had the room, and I don't know if I ever will have a room even close to Ethan's.

Jeff




SonicAlbert said:
That's a very interesting post, and an honest one.

I think you should keep the Psolo, and here's why:

For the first time you actually have a measure of where you really are with your recording studio. The Psolo is telling you what's good and what isn't, and doing it so clearly that you can't avoid listening to what it is saying to you.

This is a good thing. It's a really, really good thing.

All this other gear you have been using has been lying to you.

Now, you can work on your studio in the harsh light of reality, not in the pretend light of making things sound better than they really are. With a preamp that revealing you will be able to move your sound panels around, test different mic placements, try out different amp settings *and actually hear what is going on*.

Again, this is a good thing.

So once you get over your initial shock and depression you need to go back into your studio and start making it sound better. Do it one step at a time, break it down into smaller tasks. Like take some time and experiment with mic placement on your amp. What sounds better, what sounds worse, make notes for yourself that you can refer to later.

Same with your acoustic treatment. Try moving it around, less of it, more of it. Place the amp in different spots in the room in relation to the treatments.

Now you'll be able to hear what's really going on.

In my opinion the worst thing you can do is go back to where you were before. Plus, I don't think you really can do that, now that you've had a revelation. You know that you have to move forward.

Best of luck!
Click to expand...
 
Dude, building a vocal booth in your bedroom while the wife was out of town, that's *insane*. While you were at it you should have taped a little sign to your forehead that said "divorce me now". What were you thinking? I simply can't imagine what my wife would do to me if I did something like that. The vocal booth wouldn't even last to the next sundown, I can tell you that. Your dedication is admirable though, wow.

Now that you've found Ethan Winer, I think you should carefully study his advice before doing anything else. You should also find other home studios that are about the dimension of yours and see how the owners handle the acoustic treatment. There's no need for you to reinvent the wheel, find others that have already done something similar to what you need and use that as a starting point.

That's what I've done. I can't tell you how many ideas I've gotten from looking at other studios and incorporating them into my own. Even just little ideas.

The other thing is, you can't obsess about how much money you've spent. We all do that, it's a learning process and it takes a while to get to the final product. I've wasted *tons* of money on equipment and studio treatments that have ended up in the trash. It's just part of the deal you have to accept when you do this kind of thing.
 
It's not a waste of $$$, it's just part of the tuition to play with this stuff.

I've been messing around with this for over 7 years now. 3rd computer, 3rd soundcard. My room is okay, and the rest of the rig is steller AFAIC.

I may not record much but I'm having a ball.

Hang in there. Wasted $$$ is the stuff that goes to your ex-gash. Anything you spend on music and recording adds to your good Karma. :D
 
jeff0633 said:
My god, I didn't mention my biggest watse of money. At one point, I had purchased a Mackie VLZ pro mixer. Decent pres, and I had decided I had to buld a vocal booth, because the room was just horrible. Well, you won't believe this, but the wife was away for the weekend, (I was married then, not now), and I decided to build a recording booth in our bedroom. I went and purchased a bunch of that itchy rockwool panels. 4 inch thick. I purchased a bunch of plywood and decided to build a plywood room in our bedroom. I bought brackets to hold it all together, and even made a swinging door. Well, this god-aweful thing took up all the floor space in the bedroom. You had to walk in, and when you got to the foot of our bed, you had to slide in between this building in our room and go all the way around it with your azz against the wall and work your way around to our bathroom. I then loaded it with that 4 inch roock wool. My wife nearly went ballistic when she came home. I was sitiing in this little four foot by four foot room, breathing in all this nasty Rockwool that I had covered with some thin material at Walmart, and she opens the door to my shed and scream, "what the hell have you done"? I had actually contructed a playwood shed in our bedroom and had taken up all the floor space, no room to walk in our bedroom. You had to climb over the bed to get to the other side. I think this costs me my marriage. of course, after about three days, I tore it down, the plywood I ended up giving away, threw the rockwool away, and lost all the money, I don't even know how much.
Click to expand...

SonicAlbert said:
Dude, building a vocal booth in your bedroom while the wife was out of town, that's *insane*. While you were at it you should have taped a little sign to your forehead that said "divorce me now". What were you thinking? I simply can't imagine what my wife would do to me if I did something like that. The vocal booth wouldn't even last to the next sundown, I can tell you that. Your dedication is admirable though, wow.
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:D :D :D :D man that's funny shit. ha! :D :D :D :D

You do know that a mobile home floor is like a big o' drum head don't ya? :D

If you're this obsessed with having a decent sounding room, why don't you build a room? I don't think you would have to go all out with studio construction to get decent acoustics. Hell Supercreep and Incanus record in a freakin' shed! And it sounds pretty damn decent. :D

I hope you don't miss your old lady cause this stuff ain't worth loosing a good one over. Chill out and take care man. Thanks for sharing your story though. Maybe it will help someone else out.
 
c7sus said:
Hang in there. Wasted $$$ is the stuff that goes to your ex-gash. Anything you spend on music and recording adds to your good Karma. :D
Click to expand...

To add to c7sus's comments, I think it is very important to take things one step at a time. Buliding up my equipment over the years, I have always tried to have an equal quality chain the whole way thorugh (mics, preamps, converters, etc) rather than having an extreme weak link (or strong link for that matter). Having a good preamp might unmask the problems of your acoustic enviornment, but I think you would definately be taking two steps back instead of one step forward if you returned the P-Solo.

Ed
 
Yeah, don't sell it. Every time you are buying something, selling it and replacing it, you are really running up the $$ you are spending. I agree that now you have a good tool to listen objectively to what's going on in the room. E-mail Ethan about the mobile home challenge. I bet he will help.

For what it's worth, you're not alone. I got an RNP recently and it reveals the flutter echo due to lack of treatment in my room, imperfections in my acoustic and voice and the fan noise of my Mac G4 in stunning sonic quality!! I am going to have to concentrate on the room first, along with voice lessons...... :p

Another option I am thinking about though is completely cutting out spending more money on the home studio at all, with the realization that it is NEVER going to sound like a pro studio and I am never going to be a pro engineer. But I can use it like a sketchpad to lay down click tracks, basic guitar, bass and vocal parts and work out all of the arrangements. I'll save the money towards real studio time instead of buying more gear; I already have plenty compared to what I was satisfied with for home recording 20 years ago. When I get it to a point where the songs are all absolutely as good as they can be, the arrangements are strong and my vocal performance, bass and guitar playing are in tune and time and work well together, THEN I go into the REAL studio and do it again. The tracks should go down quicker since they are already arranged in my head. It is like a preproduction rehearsal studio. I think if I just accept it for that, I can quit obsessing about the perfect sound. The real truth is, at least for me, I will never be a Pro Engineer and I really don't want to be. I would rather spend more time writing new songs, trying to come up with better ones than the ones already written. That is my real passion anyway. The home recording obsession is like a trip down the rabbit hole in Alice in Wonderland . It's fun, but not really where I wanted to go in the first place.

Progress, not perfection. Enjoy the journey while you're getting there. Don't worry about money spent. It's only money and you can't tweak knobs on dollar bills.....

bilco
 
jeff0633 said:
Well guys, I have been toying with my new Psolo mic pre for a couple days. I am stunned at the clarity and detail in the signal. I have no doubt that this is a world class pre.

My problem is, it is also revealing just how bad my room is, my Behringer Vampire 210 amp is, how bad my acoustic is, how bad my voice is.... The point is, recordings with guitar direct through my Pod Xt sound better than recording with a mic and the Psolo from the Vampire. It is starting to dawn on me that the pre AND the room have to both be good. The mic doesn't really have to be, because you can make great recordings with a 57 or a cheap China condenser, but the recording environment and the quality pre are what's needed. I can hear the crisp detail and 3d sound of the Psolo. It's almost a religious experience, a feel hard to explain. But the sound it is capturing is absolutely terrible.

I have spent tons of money over the years buying frickin compressed fiberglass (702), but my room and walls are too thin, (I live in a mobile home), and I am starting to realize that I will NEVER be able to record quality audio in this environment.

Should I keep the Psolo and hope that someday I will be able to build a real studio room, or should I get rid of it and buy a Boss Br1200 and simply plug my guitar and bass straight in and have drums on the unit, basically, an all in one box which will never really give me pro recording quality, but closer than the Psolo will in a terrible room with terrible amps and acoustic guitars to mic?

You see, I think the Psolo is actually a better class kit than I can use, because I don't have the pro recording environment that the Psolo was designed for. This may be a huge moment in my long quest to be able to record pro sounding stuff, and I may have lost that quest, after thousands of dollars. I may never be able to have a REAL studio room built, with a room inside a room, with proper trapping and diffusion and such. I may never have the space or money to do a room the right way to even do justice to a pre such as the Psolo.

Now, I am faced with a certain reality, my quest may not be possible, and I may be better off with some all-in-one box like a Boss recorder, but I will never really be satisfied that way either. Is my recording quest finally over, after all the money I have wasted buying recorders, foam, fiberglass, mics pres, mixers?

Here I have finally realized that this quest may be impossible for me considering where I live, how much money I make, and everything else. I feel like crying after hearing how the Psolo captured my terrible recording space.

The psolo does it's job so well that it has smacked me in the face and said "Wake up dude, you are so far from pro recordings that you will probably never get there and you have wasted thousands over the years to learn this. The psolo said to me, "Son, send me back and let a real studio buy me where I can join up with a real studio environment, real engineers in a reall studio, I am way above your head and it may be years and thousands more until you are ready to do me justice. Accept that you lost the quest, it was never possible in the first place, and I have come here to show you that it's not possible. Put your wallet back in your pants and save for a real studio when you have some songs to record".

Signed

Heart Broken
Click to expand...

Jeff, i mean this in as much of a constructive way possible. No meaness or sarcasm attatched. I read that whole, long post (i can feel your fustration dude!), and the main picture that is painted is one of a serious derangment of priorities. Nothing makes sense, and nothing adds up with your current 'recoding philosphy'. Does not compute. If your quest is to record pro-sounding stuff, then i really really dont understand your decisions. I dont understand why you have a new P-Solo, when your recording guitar rig is a v-amp and pod? How exactly is it that the room and preamp matters, but mics not really? The list of recorders you have chewed through is brutal. What exactly is your evaluation process for all this stuff? How have you come to your conclusions? Im really not trying to be an ass**** or anything, but it seems like your 'recording philosophy' and evaluation/problem solving process is leaving you entirely short changed.
 
yeesh..I was asking myself who the hell the company "psolo" was(had never heard of them) until I figured out that he was talking about true systems. :o
 
Thanks, I need all the help I can get.

I simply have tried to do everything at once. I have tried recording a tube amp with the 57, I have tried everything, even the room, but the room is what evades me. The recorders I have owned have been products of my frustration. The latest desire for a Roland or Boss recorder is that The Psolo is showing me that I will probably never get there because I simply don't have the money to move to a normal home and put thousands of dollars into bulding a real room. I don't see my actual path as any different than anyone else's as far as trying to learn this stuff. I have spent much money trying to fix my rooms, and on buying pres, mics, amps. and monitors. I once owned a great River pre, and sold it to buy a cheaper Peavey VMP2. I ended up selling that for some recorder out of frustration. Yeah, I have made a ton of mistakes, so you are right about stuff not sinking in, but as others have said, I am not alone in that regard. I think if everyone is honest, we would find that most of us have been in this constant search. It's where the term "GAS" comes from. I am sure that most here started out learning on their own, spending bucks trying this and that, looking for that pro-recorded sound while sitting in their bedroom on Sunday. A new rig doesn't get them there, so they figure they will sell the first thing because they feel they now know why it doesn't sound pro, and if they buy the next thing, it will get them there, but they feel they can't pour money in, so they need to sell the first item to try the next.

My post is because I may be at a certain cross roads here. I am considering another stand alone recorder because I now realize that there is a good chance that I will never have the opportunity to have a real room, made properly by a designer. I have done decent things on some of the recorders, I am thinking that I can still do better quality stuff on those than I can with the great Psolo pre and a crappy room, know what I mean?

I have also had decent mics too. I have owned an AT3035, Two Marshall 603's matched pair, SP-C1, marshall V67G, and various others. I didn't mean to give the impression that mics and guitar amps didn't matter to me, I have been through them too in this quest. The Psolo has simply been showing me that even with a wonderful pre, if the room is not part of the answer, then it is a problem. There's no in between, no nuetrality. The room is either good, or it isn't. I may be able to do better actual recordings with a simple recorder like a Boss 1200 or something. That seems to be what I am facing. I may have to face the fact that this will always be a hobby, and that if i were ever to truly be able to record pro quality stuff, it means I would have to truly invest the time and money on a pro sounding room. Pro recordings come out of a pro sounding room. I realize now that there is no way to put a piece of foam on the wall in a terrble room with standing waves and peaks and valleys in the frequency response and get a pro sounding recording. It simply isn't going to happen, even with a pre like the P-solo. So, my point is, I may be having to face reality, in that I will probably never have the resources to put in the time and money it will take to truly be able to record stuff that is of the same quality as pro studios turn out.

Sorry for rambling so much.

Jeff



teainthesahara said:
Jeff, i mean this in as much of a constructive way possible. No meaness or sarcasm attatched. I read that whole, long post (i can feel your fustration dude!), and the main picture that is painted is one of a serious derangment of priorities. Nothing makes sense, and nothing adds up with your current 'recoding philosphy'. Does not compute. If your quest is to record pro-sounding stuff, then i really really dont understand your decisions. I dont understand why you have a new P-Solo, when your recording guitar rig is a v-amp and pod? How exactly is it that the room and preamp matters, but mics not really? The list of recorders you have chewed through is brutal. What exactly is your evaluation process for all this stuff? How have you come to your conclusions? Im really not trying to be an ass**** or anything, but it seems like your 'recording philosophy' and evaluation/problem solving process is leaving you entirely short changed.
Click to expand...
 
If the room is that much of a problem then you should record direct as much as possible. The difference between recorders is really very little, and has less of an impact on your sound than other factors. A recorder records what you send it. So going through a laundry list of recorders doesn't do a lot for you.

I think your emphasis should be more on amp simulators, like the Pod or other similar devices. Rather than buy yet another recorder from Boss you might want to take a look at some of their guitar floorboard fx/simulator gear. You mentioned owning the Pod, but not the Pod XT, which I think is an improvement on the original Pod.

But really, I've worked with guys who use one of those Boss floorboard things, and it sounded darn good. Not the cheap stuff, the good stuff.

Since the room is apparently not going to work out for you, you need to record direct with the best gear you can buy. Here in LA I work with guitarists who record all day on albums and film scores, and the guys I know use these kinds of amp sims and fx devices. With a good one there can be no excuses about not getting a pro sound, because that's what the pros are using.
 
hey, i've had a lot frustration with this stuff too. you may have already tried this, but have you run your pod through your psolo at line level? i've definitely gotten better results running my pod (2.0) into my cl 7602 and eq'ing it than just running it direct into my interface. you also may want to consider that whatever you're recording in the acoustic environment, you're also playing back in that same environment. if you use any of your baffles to isolate your amp when you record it, have you tried playing back the recordings in a different environment? even your car speakers may sound a lot better than playing the recordings back in the same room.
also, could you possibly go to a friend's house and do some tracking-- use their room for a couple of hours, assuming they have a better space? with all the fiberglass you have, maybe you could rig up some portable baffles. if you can find a time when the neighbors aren't around, could you set up the amp and a mic outside and record (sunny day of course :) )?
 
If the room sucks that bad... stay away from Large Diaphram Condensors... Try the 57 through the psolo... you may be pleasantly surprised...
 
Jeff, again , my words here are intended to be constructive, with no meaness/sarcasm. Given your own explanations, gear list and buying habits, i simply do not believe that the room is your major problem. What i see is that you have 100% enthusiastically jumped on the "fix the room" bandwagon as the direct path to acheive your recording goals. Except, i have a feeling, that with just as much enthusiam, and for all the same reasons, you at one time jumped on the "fix the preamp" wagon, and before that, the "fix the recorder wagon", and so on. As i said earlier, your approach and evaluation process is leaving your short changed.

The Psolo has simply been showing me that even with a wonderful pre, if the room is not part of the answer, then it is a problem. There's no in between, no nuetrality. The room is either good, or it isn't.
Click to expand...

Why paint yourself into that corner? What evidence/experience do you have for that statement that makes it representive of the truth? For the past 14 months, i've been house-sitting/renting in 5 different locations, consecutivly. All have had acoustic problems, from non-ideal living rooms to noisey, brutal basements with heating pipes and HVAC systems making tonnes of noise. Yet, over the past 14 months, my recording/mixing is getting better and better. Man, i dont think you need a new room, or new preamp, or new recorder, or new anything. I think you need to sit down, analyze why you made certain descions in the past, and come up with a new way to guide your future choices towards your recording goals.

Good luck,
T
 
teainthesahara said:
What i see is that you have 100% enthusiastically jumped on the "fix the room" bandwagon as the direct path to acheive your recording goals. Except, i have a feeling, that with just as much enthusiam, and for all the same reasons, you at one time jumped on the "fix the preamp" wagon, and before that, the "fix the recorder wagon", and so on.
Click to expand...

I agree. It's really easy to get caught up in these things. Jeff, go to the mp3 mix clinic thread and listen for a while. When you hear a song with acceptable sound quality, start asking questions. You might find that alot of people are making acceptable sounding recordings with not so stellar gear and/or rooms.
 
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