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Post by Johnkenn on Aug 12, 2023 13:22:00 GMT -6
I just spent about 30 minutes mixing and things just weren't coming together like I wanted. Realized I had the trinnov bypassed from doing some guitar tracking. Wow. Huge difference.
One day I'm gonna do a mix that sounds right in my room WITHOUT Trinnov, then come back the next day and do it WITH. Might be the best way to see how much difference it makes. Although, it would be nice of Trinnov to send me a new Nova for doing that much work.
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Post by spindrift on Aug 12, 2023 15:40:36 GMT -6
I’m selling my newish excellent condition Trinnov ST2 Pro with 3D mic, external touch screen. SOLD
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Post by drumstar2112 on Aug 18, 2023 7:31:56 GMT -6
Does anyone know if you HAVE to purchase their mic or would the measurent mic i already own suffice ? (The one that came with sonarworks)
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Post by spindrift on Aug 18, 2023 8:35:21 GMT -6
Does anyone know if you HAVE to purchase their mic or would the measurent mic i already own suffice ? (The one that came with sonarworks) The 3D mic for the Trinnov is very proprietary. |
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Post by Bat Lanyard on Feb 28, 2024 18:35:13 GMT -6
Bought the Nova bundle and installed it today. After about three hours of reference listening so far, I'm blown away. I get it now Johnkenn It's a leap but man, it brings a clarity and balance that's just enormously surprising. Obviously haven't mixed through it yet, but we'll see there. I'll report back on that. The on/off thing on the controller is revealing as well. I made some bump ups in the lowend though. Just preferences there. M83's Go! and The 1975's Somebody Else that punch was missing a bit. So, more hours of listening but it's an incredible tool. Not cheap, but worth it. My room's purpose-built from the ground up but I'm still hearing shit in reference songs I didn't realize was there. Highly recommend checking the Nova out. Edit: I'm running it at zero and putting the output through the SH Equinox. Not ready to go all-in on it as a monitor controller. I'll live with it for a while. And also didn't know you have to buy a license for each pair of outputs you use (second pair of monitors is additional if it's the controller). Very Avid-like which isn't all that cool. But, whatever. Enjoying this thing. |
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Post by andersmv on Feb 28, 2024 20:40:01 GMT -6
I would love some "general thought" here as far as moving forward. My control room is pretty much DIY, I did the basic first reflection points and ceiling above the mix position. It worked out really well. I tried to fine tune things a lot more at one point and do a lot of bass trapping and for whatever reason, I just got really weird results. I've done this long enough and worked in enough good/proper rooms, I know what "right" should be I guess  . I made things worse, got pissed off and ripped most of it out and went back to the basic configuration I had before. It was obvious on even Sonarworks as well, it was doing less correction with my basic acoustics and again, sounded "right" to me. Pretty frustrating process, who knows what was going on. My conclusion was that if I ever mess with the room again, I'm not going to half ass it and just pay a professional to tell me what to do. I don't have to skill set or desire to go down a huge rabbit hole to really learn room acoustic stuff to a high degree. Right now, I have my Barefoot MM45's and Sonarworks. I'm going to give the new IK Arc a try since it's outboard, it would make my life much more easier from a workflow standpoint. I also want to buy the Barefoot dual subwoofers that are made for the MM45's to turn them into basically "mini" MM12's. They're expensive, I'm going to end up spending as much on them as I would something like the Trinnov Nova. I've heard the Trinnov systems in a few rooms and everyone raves about them. It's really expensive, and part of me is wondering if I'm prioritizing correctly. In my mind at least, my room is "acceptable". Sonarworks audibly fixes the issues I know the room has and has been perfect for helping translate better. I feel like I should go ahead and buy the Barefoot subs and get my monitors squared away first. I'm planning on this being the "final" speaker upgrade here (Ya I know....). Invest in the speakers first, "band aid" with cheaper room correction and work on that system for at least a year to get acquainted with them. Next big upgrade would be to pay a smart person to fix my room specifically for those speakers, in the hopes that the cheaper room correction will be doing a hell of a lot less after that. Then after that point, maybe invest in the Trinnov if things are going well and budget allows. That's a lot of money spread out over the next few years. I'm wondering if the smarter solution would be to get the Trinnov now and work into the rest later. I feel like that's back asswards and I'm doing this in the right order, but would love feedback from anyone who's been through this. I'm not running a mastering studio or winning any grammys here. I don't need any of this to "sell" or draw clients, they'll probably all come back even if I start mixing on a boom box. I'm about to tear my studio apart, sell my console, simplify everything significantly and definitely want my monitoring in as perfect as a place as it can be though. I'm tired of playing the "what if" game on what I hear every day. This isn't a custom build, perfect studio. My control room is almost a square with parallel walls and I'm in a barn in the middle of nowhere in Arkansas . I want it to sound good in here, but it was never (and never will be) an ideal starting point from a design perspective. |
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Post by Bat Lanyard on Feb 28, 2024 21:50:39 GMT -6
andersmv hopefully can bring some perspective here that will help, but who knows, lol. Really enjoy your video content. Super informative and helpful and some fine recordings, IMO. Some 10K view thoughts on your last post. I went with Jeff Hedback because I had built two rooms previously and we moved and I had the worst situation with a 11.5 x 15.5 x 8.5 ish room to deal with. What I appreciated most about Jeff, other than being an amazing person and true musician, is he could map out the journey. When I measured it was pretty damn close to what he designed. But, I did all the work myself and it was an f-ing beat down. Extract insulation from the attic, all sheetrock torn off, build from there. I felt a bit crazy in the middle of it, honestly. But, back to your thoughts. I have a set of MM45's that I used for about 6 years. They are incredible monitors and I still have them in boxes because I don't sell much of what comes in. I eventually added a KRK 10" sub when I was using them which did the job. I ran it off of a tc electronic Pilot thing to adjust level and was using a Burl B26 so I could blend it in very controllably or turn it off. Getting a sub if your setup will handle it is a way better option, money-wise. I thought the MM45 stacked sub thing was sexy as hell but then got a bit irritated with "why do I need these then" thoughts when I'm in a smallish room anyway? That and the positioning on the Sound Anchors the MM45's were on didn't make sense. I went to MM27 Gen1's used and that worked out fine. There are so many other options, obviously. The added sub though will get it done for much cheaper with the MM45's with the additional subs, IMO. Edit: reading back through your last post, on the Trinnov I would still say treat the room the best you can. Get it to 90%. I got this thing to get me past the small room I'm in that I busted ass on for six months to build, lol. I would try a sub and see where SW gets you with that in play. I tried out the Nova because of the additional things it brings to the table and it's working so far. Sunday's Static & Silence though is sounding thin, so it's going to take a few days at least to find the balance with it.
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Post by sean on Feb 28, 2024 22:03:20 GMT -6
I think where Trinnov excels are for rooms that cannot realistically be fixed with acoustic treatment. At some point physics/budget/reality makes fixing some acoustic problems impossible or unrealistic. Like, my room in the basement has 8 foot feeling, wood panel walls, and is pretty much an “O” shape. I’ve talked with designs and acoustic companies and I’ve pretty much done all I can do without going to extremes.
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Post by andersmv on Feb 29, 2024 8:48:38 GMT -6
andersmv hopefully can bring some perspective here that will help, but who knows, lol. Really enjoy your video content. Super informative and helpful and some fine recordings, IMO. Some 10K view thoughts on your last post. I went with Jeff Hedback because I had built two rooms previously and we moved and I had the worst situation with a 11.5 x 15.5 x 8.5 ish room to deal with. What I appreciated most about Jeff, other than being an amazing person and true musician, is he could map out the journey. When I measured it was pretty damn close to what he designed. But, I did all the work myself and it was an f-ing beat down. Extract insulation from the attic, all sheetrock torn off, build from there. I felt a bit crazy in the middle of it, honestly. But, back to your thoughts. I have a set of MM45's that I used for about 6 years. They are incredible monitors and I still have them in boxes because I don't sell much of what comes in. I eventually added a KRK 10" sub when I was using them which did the job. I ran it off of a tc electronic Pilot thing to adjust level and was using a Burl B26 so I could blend it in very controllably or turn it off. Getting a sub if your setup will handle it is a way better option, money-wise. I thought the MM45 stacked sub thing was sexy as hell but then got a bit irritated with "why do I need these then" thoughts when I'm in a smallish room anyway? That and the positioning on the Sound Anchors the MM45's were on didn't make sense. I went to MM27 Gen1's used and that worked out fine. There are so many other options, obviously. The added sub though will get it done for much cheaper with the MM45's with the additional subs, IMO. Edit: reading back through your last post, on the Trinnov I would still say treat the room the best you can. Get it to 90%. I got this thing to get me past the small room I'm in that I busted ass on for six months to build, lol. I would try a sub and see where SW gets you with that in play. I tried out the Nova because of the additional things it brings to the table and it's working so far. Sunday's Static & Silence though is sounding thin, so it's going to take a few days at least to find the balance with it. Great feedback, thanks! I forgot to mention... When I got the MM45's, I had Footprint 01's that I had mixed on for a couple of years. There was a big/noticeable upgrade in the mids and highs on the MM45's, but the difference in the low end was significant. It was so much more powerful on the Footprints, and was more aligned with my experience with the MM27's I knew really well. It was such a huge difference. Long story short, I needed to at least solve the headroom problem I was having in the MM45's. They just were't able to handle raw/unprocessed drums during tracking sessions (even at low levels), the limiter was constantly kicking in. It was also impossible to get them loud enough to track bass guitar in the control room with my first 2 clients. I ended up just grabbing the $800 Kali 12 inch sub, since it's got a footswitch input that will bypass the sub. It's been a great holdover considering how cheap it is, gave me GOBS of headroom. The passthrough/amp in them is a little noisy, that's my only real complaint. It's been obvious to me with just the Kali's, that the MM45's have the capability to be a lot more. Headroom aside with the cheap sub, I can head things like the tone in punchy snare drums change completely. Taking the sub in and out on "Gravity" (John Mayer, Continuum) is really telling. Once the sub is on and the MM45's have that low end load taken off them, the tone and punch of that snare is significant. So I'm convinced the barefoot subs will be a substantial upgrade. I think I also need to decided when "enough is enough", I might hit that wall with the cheaper speaker correction and the sub upgrade with the room as is. Or, maybe just stick with the Kali sub for a bit longer and try the Trinnov? I might just reach out to Trinnov in the next month or two and see if they'll send a Nova here for a bit and I'll do a video review on it. I don't know.... |
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Post by drbill on Feb 29, 2024 9:19:31 GMT -6
I'm sure my thoughts and approach are somewhat controversial. LOL. No shade cast on those whose mixing experience has been improved by Trinnov. I really can't comment on Trinnov, as I've never owned or used one, but I have built a handful and used many great rooms over the years. In my "new" - getting older now LOL - room, I made the decision that I wanted the best monitoring / writing / mixing environment I could afford - within reason. I didn't spend a fortune, but I did spend a lot of money for me. I went from a purpose built out building, to annexing a guest suite in the house and converting it. I realized that spending a couple hundred grand PLUS (cause it never ends) on a ground up build wasn't going to increase my bottom line $10. So that was that. A studio has the definition of "bottomless pit" in the dictionary. And it can become a millstone around your neck if not careful. THEN, there's the gear!!! hahah
The guest suite had what I needed, although there were a couple of "gotcha's". I consulted with a couple of acousticians / studio builders, and was told multiple times, that I'd have to kill the aspects of the guest suite that made it desirable - ending up with another "traditional cave" which was what I left behind in LA. Enter Jeff Hedback. He totally got my needs / desires. As @bat Lanyard mentioned, he was wonderful to work with. An "outside the box" thinker, he took on the challenges and I ended up with a room that measures out and translates exceptionally well which lets in the outside environment that I desired. The end room measurement results are among the best of the best worldwide. Jeff and I discussed the pro's and con's of Trinnov post build, and he suggested that I didn't need to go there. Ultimately, I ended up switching speakers to dial things in that extra few percent.
Although I have learned a lot after building multiple studios over the years, after building and being immersed in the craziness of this one for 6-8 months, I'm with what many have mentioned - I don't have the time and energy to become an expert at acoustics - I want to hire someone who is exceptional at their job, go back and forth until I'm happy and TRUST them. Jeff's incredible expertise was inexpensive IMO, and the money that he actually SAVED me during the build made his fee an actual net positive financially. My personal advice would be to get the room as best as you can first - then consider Trinnov if the room is not spec'ing out to your desired results. IMO, any other approach is a band aid. No offense or shade cast to those whose mixing lives have changed with it - there are many pathways to any given destination....
[edit] PS : I also wouldn't cling to tightly to any one particular speaker or brand. Your room / monitoring position / speaker choice is all wrapped up into one big ball. They are all parts of the greater whole.
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ericn
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Post by ericn on Feb 29, 2024 12:06:17 GMT -6
Don’t think of room correction as a substitute for room treatment, it’s like comparing a shovel to a scalp. Room treatment is using very broad strokes Digital Room correction works in very, very fine strokes. The 2 work best in tandem. Using the limited expensive resources of a Trinnov or similar to do what room treatment can do is a very poor use and never really show what it is capable of. If you use it without treatment it will prioritize the broader issues, but buy using it’s limited DSP on these you won’t have the horsepower to deal with the micro issues treatment can’t address.
The other thing is DSP can do things treatment can’t mainly in the area of phase correction in both the macro and micro. One reason for dedicated hardware is latency, this is going to be part of your monitor chain it’s always going to be running and you are going to want it operating as fast as possible.
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Post by Johnkenn on Feb 29, 2024 14:01:32 GMT -6
I'm sure my thoughts and approach are somewhat controversial. LOL. No shade cast on those whose mixing experience has been improved by Trinnov. I really can't comment on Trinnov, as I've never owned or used one, but I have built a handful and used many great rooms over the years. In my "new" - getting older now LOL - room, I made the decision that I wanted the best monitoring / writing / mixing environment I could afford - within reason. I didn't spend a fortune, but I did spend a lot of money for me. I went from a purpose built out building, to annexing a guest suite in the house and converting it. I realized that spending a couple hundred grand PLUS (cause it never ends) on a ground up build wasn't going to increase my bottom line $10. So that was that. A studio has the definition of "bottomless pit" in the dictionary. And it can become a millstone around your neck if not careful. THEN, there's the gear!!! hahah The guest suite had what I needed, although there were a couple of "gotcha's". I consulted with a couple of acousticians / studio builders, and was told multiple times, that I'd have to kill the aspects of the guest suite that made it desirable - ending up with another "traditional cave" which was what I left behind in LA. Enter Jeff Hedback. He totally got my needs / desires. As @bat Lanyard mentioned, he was wonderful to work with. An "outside the box" thinker, he took on the challenges and I ended up with a room that measures out and translates exceptionally well which lets in the outside environment that I desired. The end room measurement results are among the best of the best worldwide. Jeff and I discussed the pro's and con's of Trinnov post build, and he suggested that I didn't need to go there. Ultimately, I ended up switching speakers to dial things in that extra few percent. Although I have learned a lot after building multiple studios over the years, after building and being immersed in the craziness of this one for 6-8 months, I'm with what many have mentioned - I don't have the time and energy to become an expert at acoustics - I want to hire someone who is exceptional at their job, go back and forth until I'm happy and TRUST them. Jeff's incredible expertise was inexpensive IMO, and the money that he actually SAVED me during the build made his fee an actual net positive financially. My personal advice would be to get the room as best as you can first - then consider Trinnov if the room is not spec'ing out to your desired results. IMO, any other approach is a band aid. No offense or shade cast to those whose mixing lives have changed with it - there are many pathways to any given destination.... [edit] PS : I also wouldn't cling to tightly to any one particular speaker or brand. Your room / monitoring position / speaker choice is all wrapped up into one big ball. They are all parts of the greater whole. So, you haven’t used one. |
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Post by Johnkenn on Feb 29, 2024 14:03:44 GMT -6
Bought the Nova bundle and installed it today. After about three hours of reference listening so far, I'm blown away. I get it now Johnkenn It's a leap but man, it brings a clarity and balance that's just enormously surprising. Obviously haven't mixed through it yet, but we'll see there. I'll report back on that. The on/off thing on the controller is revealing as well. I made some bump ups in the lowend though. Just preferences there. M83's Go! and The 1975's Somebody Else that punch was missing a bit. So, more hours of listening but it's an incredible tool. Not cheap, but worth it. My room's purpose-built from the ground up but I'm still hearing shit in reference songs I didn't realize was there. Highly recommend checking the Nova out. Edit: I'm running it at zero and putting the output through the SH Equinox. Not ready to go all-in on it as a monitor controller. I'll live with it for a while. And also didn't know you have to buy a license for each pair of outputs you use (second pair of monitors is additional if it's the controller). Very Avid-like which isn't all that cool. But, whatever. Enjoying this thing. Maybe you could expound on your opinions of the Trinnov before and after using one… |
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Post by drbill on Feb 29, 2024 15:59:15 GMT -6
I'm sure my thoughts and approach are somewhat controversial. LOL. No shade cast on those whose mixing experience has been improved by Trinnov. I really can't comment on Trinnov, as I've never owned or used one, but I have built a handful and used many great rooms over the years. In my "new" - getting older now LOL - room, I made the decision that I wanted the best monitoring / writing / mixing environment I could afford - within reason. I didn't spend a fortune, but I did spend a lot of money for me. I went from a purpose built out building, to annexing a guest suite in the house and converting it. I realized that spending a couple hundred grand PLUS (cause it never ends) on a ground up build wasn't going to increase my bottom line $10. So that was that. A studio has the definition of "bottomless pit" in the dictionary. And it can become a millstone around your neck if not careful. THEN, there's the gear!!! hahah The guest suite had what I needed, although there were a couple of "gotcha's". I consulted with a couple of acousticians / studio builders, and was told multiple times, that I'd have to kill the aspects of the guest suite that made it desirable - ending up with another "traditional cave" which was what I left behind in LA. Enter Jeff Hedback. He totally got my needs / desires. As @bat Lanyard mentioned, he was wonderful to work with. An "outside the box" thinker, he took on the challenges and I ended up with a room that measures out and translates exceptionally well which lets in the outside environment that I desired. The end room measurement results are among the best of the best worldwide. Jeff and I discussed the pro's and con's of Trinnov post build, and he suggested that I didn't need to go there. Ultimately, I ended up switching speakers to dial things in that extra few percent. Although I have learned a lot after building multiple studios over the years, after building and being immersed in the craziness of this one for 6-8 months, I'm with what many have mentioned - I don't have the time and energy to become an expert at acoustics - I want to hire someone who is exceptional at their job, go back and forth until I'm happy and TRUST them. Jeff's incredible expertise was inexpensive IMO, and the money that he actually SAVED me during the build made his fee an actual net positive financially. My personal advice would be to get the room as best as you can first - then consider Trinnov if the room is not spec'ing out to your desired results. IMO, any other approach is a band aid. No offense or shade cast to those whose mixing lives have changed with it - there are many pathways to any given destination.... [edit] PS : I also wouldn't cling to tightly to any one particular speaker or brand. Your room / monitoring position / speaker choice is all wrapped up into one big ball. They are all parts of the greater whole. So, you haven’t used one. Second sentence. |
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Post by Johnkenn on Feb 29, 2024 16:59:43 GMT -6
So, you haven’t used one. Second sentence. I saw it. I'm just saying I find it foolhardy to dismiss without ever trying. I'm sure you have the room dialed in extremely well...but even then, there are issues you can't solve...e.g. - my room would have required (I don't remember the exact number) like 3 feet of absorption in the back of the room to really get rid of the bloom at 30-50Hz. Just not feasible for me. My room is treated very well (I paid for it, that's for sure...) But is still pretty weird on the bottom just because of the dimensions. |
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Post by Bat Lanyard on Feb 29, 2024 17:59:49 GMT -6
andersmv if you end up with the MM45 subs, please report back on your impressions!
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Post by drbill on Feb 29, 2024 18:21:33 GMT -6
I saw it. I'm just saying I find it foolhardy to dismiss without ever trying. Why would I? I love the way my room "sounds", my mixes are translating, I let Jeff do whatever he wanted, and the room specs when finished and treated turned out at the top of Jeff's game. Puzzle = Solved. If I was in a weird room that wasn't going to be tamed, or at a temporary space, or didn't have the money to make the room "right" - I'd give it a try. But I have none of those issues. My opinion is only that - my opinion: First : get the room as good as you can, and then weigh your options with : 1. Further Treatment, 2. Different Speaker options, 3. Electronic or EQ calibration. I see many throwing bandaids at their speakers, rooms, monitoring position, etc. without ever trying to get the room "right". That just sounds bassackwards to me. For anything short of perfection, it's almost always going to be cheaper to do a Trinnov than to properly fit out a room - but if that (Trinnov) would have gotten me where I needed to be, then call me a big idiot. IMO, whatever gets you to where you need to be is the goal we're all after. There is no need or justification for a "one size fits all" solution. You take your path, and I'll take mine. PS - a bonus for getting the room right acoustically instead of electronically that many tend to overlook is that when you throw up a microphone......it sounds GREAT!!! No more fighting mics to get a neutral, pleasing sound. Plus, your entire mic collection gets better instantly! A buddy just moved to town. He mostly plays - and records a tiny bit - for a living. He saw no need to do anything at all to his writing / recording / mixing room other than arrange his recording stuff the way he wanted, seal off an open wall and put in a solid core door. When the contractor he used - (a mutual friend of both of ours) asked what kind of treatment he needed - he said that there was no need to spend the kind of cash I did on the room. So he has been happily working away. I had him over for sessions the last few weeks. LOL - I heard it back thru the contractor grapevine that now he "gets it". He's beginning to understand what a real designed room does to the sound of everything that passes thru it. Not just what it sounds like when mixing. YMMV!!!!! |
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Post by Johnkenn on Feb 29, 2024 20:04:15 GMT -6
Dude, I completely understand what treating a room means, you're being a bit condescending. I'm just trying to figure out why you're commenting on something you've never physically touched. I've never played with a Silver Bullet, but you don't see me in SB threads saying, "Man, I'm sure it's fine, but why would I buy it when I already have 20 pres and can do the same thing without it?"
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Post by drbill on Feb 29, 2024 21:54:05 GMT -6
Dude, I completely understand what treating a room means, you're being a bit condescending. John - I sincerely apologize for offending you. Of course I know that you know what treating a room means. Didn't mean to insinuate you didn't. <<peace>> |
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Post by andersmv on Feb 29, 2024 22:35:38 GMT -6
Drbill is commenting in the thread because I asked for some opinions on which order/upgrade path to take (tackling room treatment before room correction). He gave his opinion and it was appreciated. Sorry if it derailed or went off topic, but I thought his comments were valid and fair given what I was asking.
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Post by Johnkenn on Mar 1, 2024 9:11:16 GMT -6
My apologies. I didn’t see you tagged him.
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Post by ml on Mar 1, 2024 10:08:34 GMT -6
Last time I sent my room measurements in for analysis, there was a significant bump likely from my desk. I’m assuming this is an ideal situation for software correction? I currently use sonarworks but only correcting the low end as the highs are pretty flat.
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Post by longscale on Mar 4, 2024 11:06:30 GMT -6
How are people running their Nova systems? Feed it digital - or analog? I like my DA converters (Burl) so I'd probably be wanting to feed it analog. But then I also really like my Monitor Controller that I have too (Coleman Audio). I assume if I would feed it analog it then goes through an additional round trip through AD/DA in the Trinnov.
I'm growing frustrated with SonarWorks for my workflow so I'm considering a Nova. I'm also considering dumping some $$$ into additional room treatments instead of the Nova...but frankly this room has it all stacked up against me so I think I'm stuck in the "learn to live with how things sound wrong, to make them translate right on other systems", or the "must use technology to make it right".
For the learning how to make things sound wrong so they translate right - I did have an experience a few days ago. A friend sent me a link to a song by a band I'd not heard before. Singer songwriter, acoustic guitar and Male Vocals. The acoustic guitar had the "thing" going on in the low mids I struggle with in my room. I remember thinking - huh this guitar sounds like what I spend half my time trying to not have my acoustic guitars sound like when I record. Turns out - yup - did not have SWs on. After all of these years battling that - I clearly now understand it is not my guitar/mic/pre signal chain or setup - it is the room. But for those that are clueful and more experienced you are all laughing at me and saying well duh.
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Post by andersmv on Mar 4, 2024 11:55:18 GMT -6
How are people running their Nova systems? Feed it digital - or analog? I like my DA converters (Burl) so I'd probably be wanting to feed it analog. But then I also really like my Monitor Controller that I have too (Coleman Audio). I assume if I would feed it analog it then goes through an additional round trip through AD/DA in the Trinnov. I'm growing frustrated with SonarWorks for my workflow so I'm considering a Nova. I'm also considering dumping some $$$ into additional room treatments instead of the Nova...but frankly this room has it all stacked up against me so I think I'm stuck in the "learn to live with how things sound wrong, to make them translate right on other systems", or the "must use technology to make it right". For the learning how to make things sound wrong so they translate right - I did have an experience a few days ago. A friend sent me a link to a song by a band I'd not heard before. Singer songwriter, acoustic guitar and Male Vocals. The acoustic guitar had the "thing" going on in the low mids I struggle with in my room. I remember thinking - huh this guitar sounds like what I spend half my time trying to not have my acoustic guitars sound like when I record. Turns out - yup - did not have SWs on. After all of these years battling that - I clearly now understand it is not my guitar/mic/pre signal chain or setup - it is the room. But for those that are clueful and more experienced you are all laughing at me and saying well duh. No one’s laughing at you, that’s literally the process I have to go through every time I have a breakthrough. You’re doing yourself a disservice if you just take everyone’s word for it, instead of putting in the work to learn/fail. It’s even worse when it comes to recording engineering, because you’re always walking a fine line between the technical and artistic. Room correction is a difficult topic, because there’s right/wrong in terms of making things better. There’s also preferences with things like speaker voicing, it’s a mess trying to talk about this stuff. |
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ericn
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Balance Engineer
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Post by ericn on Mar 4, 2024 12:23:22 GMT -6
How are people running their Nova systems? Feed it digital - or analog? I like my DA converters (Burl) so I'd probably be wanting to feed it analog. But then I also really like my Monitor Controller that I have too (Coleman Audio). I assume if I would feed it analog it then goes through an additional round trip through AD/DA in the Trinnov. I'm growing frustrated with SonarWorks for my workflow so I'm considering a Nova. I'm also considering dumping some $$$ into additional room treatments instead of the Nova...but frankly this room has it all stacked up against me so I think I'm stuck in the "learn to live with how things sound wrong, to make them translate right on other systems", or the "must use technology to make it right". For the learning how to make things sound wrong so they translate right - I did have an experience a few days ago. A friend sent me a link to a song by a band I'd not heard before. Singer songwriter, acoustic guitar and Male Vocals. The acoustic guitar had the "thing" going on in the low mids I struggle with in my room. I remember thinking - huh this guitar sounds like what I spend half my time trying to not have my acoustic guitars sound like when I record. Turns out - yup - did not have SWs on. After all of these years battling that - I clearly now understand it is not my guitar/mic/pre signal chain or setup - it is the room. But for those that are clueful and more experienced you are all laughing at me and saying well duh. If I really liked my DA I , I do, I would probably go digital in to the Nova and out to the Burl. Part of this is probably why I lean more towards Dirac, I can always go with the 8x8 Mini DSP and incorporate crossovers into the processor and not have filters fighting filters. Believe it or not when you’re modeling drivers you can often tell the driver manufacturer actually designed a driver with a particular x-over point and type of filter in mind. |
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. I made things worse, got pissed off and ripped most of it out and went back to the basic configuration I had before. It was obvious on even Sonarworks as well, it was doing less correction with my basic acoustics and again, sounded "right" to me. 
