This isn’t a technical question, but it nonetheless involves a problem in my studio. It seems whenever I buy gear these days, there are lots of extras—manuals in non-standard formats, a sheet of paper with some kind of authorization code, rubber feet for a rack unit, a software CDROM, weird adapters I don’t need now but may need someday, etc. I can’t file these, I don’t want to keep the original boxes for just a few things, storage boxes waste space, and I don’t want to throw any of this stuff out. You guys must get a lot of gear. What would EQ do?
Robert Randall, Minneapolis, MN
EQ: Actually, there’s a pretty cheapo solution as long as you don’t need to access these things on a regular basis. Go to the supermarket and buy a bunch of 1 or 2 gallon plastic storage bags (you don’t need freezer bags, which cost more). Then, visit an office supply store and get some non-removable labels, along with one of those medium-size, threedrawer stackable storage units.
Dedicate one bag per piece of gear, label it (along with the date of purchase and serial number, just in case), then toss all the associated extras in there. Put the bags in the drawers.
Should you ever need to access any of this, just go through the bags until you find what you need. Problem solved!
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How much do you mix sampling with live instrumentation in your productions?
1 I mainly just use samples.
2 I use some live instrumentation in my tracks.
3 I use some samples in my tracks.
4 I mainly just use live instrumentation.
In Carl Tatz’s Monitor Setup Basics on page 9 of the 8/10 issue, the second step should have read “Do space your near-field monitors far enough apart so that the apex of your equilateral triangle is 18" from the front of your console. (I recommend 67.5 inches from tweeter to tweeter and tweeter to apex.) You’ll need to place your monitors accordingly.”
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Getting Creative in the Studio
How much do you experiment with instruments in the studio? Do you primarily stick to traditional instruments, or do you also get creative with found objects (seashells, chairs, mason jars, etc.)?
I’ve used punch-balloons (for tympani and squeaks), Pyrex cooking bowls (for church bells), cookie tins (for brash gongs), and I keep an assortment of toys and odd noisemakers around to dip into on a regular basis. Chip Gilchrist
I love using Latin and African shakers to accompany my percussion tracks. Problem is I use a lot of programming for percussion, so I’ve got to put in a lot of work with all the non-digital percs. But I’ve used padded chairs for bass kicks, and whenever I have clap tracks for hip-hop usually, but other styles as well, I always track them real. Programmed claps sound too fake. Taylor Hominda