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When the material isn't dense enough the air moves too freely through it to break up the sound waves. If it can move too freely through four inches it will move to freely through sixteen. So since this is leftover material the trick to make some usefull use of it is going to be to find a way...

Be sure that you are getting the right stuff. 16 inches is the common width for the fluffy in-wall thermal building insulation. That is not dense enough to have any particular accousting properties worth noting.

To return to the original question Midi does not have anything to do with effects, it has to do with the ability to use/control midi instruments or virtual instruments. One choice that is being left out here is whether to go internal or external with the audio interface. In othwords to get a...

If you are using unframed panels consider impaling clips to hold the panel to the wall. It will eliminate the need for the lattice strips and be an easier installation than the toggle bolts. Here is one place to get them: http://www.acousticalsolutions.com/products/hardware/impaling_clips.asp

2x4 is way overkill for absorber frames. 16" is an odd width for them because rigid fiberglass is usually sold in 2x4 foot dimensions, and if you go to a fabric store you should have no trouble finding either felt or burlap, the two most common choices for DIY panels. Also most fabric stores...

If you were going DIY on a one room studio it would be more like $250 for room treatment. A bale of 703 costs about $175 and frames and cloth arent THAT expensive. Wilesly used one bale of 703 should tame just about any room.

For unframed panels the best mounting is done with impaling clips. For framed panels treat them like you would a picture.

In addition to all of the vocalists that use it the SM7 is one of the two most commonly found mics in radio broadcast studios (the other is the RE20)

I would use the pair of MSH's. I would use them one of two ways: 1. Mounted in a XY or ORTF pair on a stand located at the curve of the piano body covering pretty much the whole range of the strings with the lid wide open. 2. Taped to the underside of the piano lid (thus acting as PZM's)...

For the pop filter what you would use to clean it would depend on whether it was a metal or fabric filter but in general I would soak it in a mild gentle soap and water combo, like maybe some Simple Green. For the Grille of the condenser absolutely take it off and then do the same. for the...

Fro those really on a budget the MSH-1 or MSH-2 mics are hard to beat. They save you money two ways on overheads. Not only are they cheap but they are so light you can put them at the end of a fully extended arm of an inexpensive boom mic stand without it sagging or tipping over. So you save...

The vast majority of professional and even home recording is done with two microphones. It can be for one of several reasons. The room isn't all tha good, or large, for far field recording. They want different qualities for each mic. For example a Large diameter condenser for the vocal and a...

You may want to do some live experimetning. "Bass occuring in corners" isnt a matter of some physical attration, but rather that the diagonal from one corner to the opposite is the longest dimension in the room and thus that air column has the lowest resonant frequency. But in this room you...

Put heavy drapes in front of the window and speak toward a corner of absorbers with bass traps on opposite corners.

Correct, rock wool and fiberglass are equivalent accoustically. The important thing is the density. You want between 3 and 5 pounds per cubic foot.

I have no tests, but there is logic behind it. The reason why the absorbers work best with a boundary is that it forces there to be a maximum velocity point 1/4 of a wavelength away, as you said yourself. However sound just flowing through would still have some of its pressure wave be at...

do you have lyrics?

Do you track vocals and the amp cabinet simultaneously?

The booth plan is a link to myspace, not much I can help on.

I am of the opinion that a crappy preamp can do worlds of hurt but that a good preamp can't add something that wasn't in the instrument/placement/mic, it can only hide it. If I hear a problem (other than not enough gain of course) my reaction is to look at the room/instrument/placement/mic first.