Check out the “About N40°” page to see what the production environment is like and how I can help. I’ll add pics shortly.
I’m working on a “Rates” page and a “Demo Reel” page now too.
Now I’m really bragging, but dang those floors look good, too. They’re almost 100 years old now. I just refinished them about 2 months ago when I was wrapping up the remodel. But I’m most proud to have been able to build these gear racks from the leftover scrap pine I had too. It’s what’s on the vaulted ceilings upstairs.
I’m waiting for a monitor controller with headphone amp to come in today. Sounds strange to some but gear heads will appreciate this: I bought an SM Pro MPatch2 so I could replace the main attenuator with a stepped attenuator with Dale resistors, replace the switches with military grade ones, and hopefully, if the chassis allows, replace the headphone amp in it.
How many people buy new stuff and rip it apart and upgrade it? Well, how many engineers in the crowd?
In the not too distant future, I really need to upgrade a number of things in my monitoring chain, starting with the room itself. The only redeeming quality about my control room is the 14 foot peaked ceiling. It has parallel walls which is a huge no no when trying to balance and flatten a room’s response. I’ve measured and treated the room and it sounds as good as it can.
However, I need to upgrade the monitors themselves. My monitors are decent. To most they’re probably great. And with most of the listening world using ear buds, laptops, phones, and cars for their listening pleasure, why would it matter? Critical listening. I still reference everything on ear buds, car audio, iPad, laptop, iPhone, and mono speakers like the super market has. But you can’t do any critical listening and adjustments through them, only as a result of them. That’s when you go back to your monitors to do the work. In my case, I’m using KRK as my main nearfields. I’m still working out the 5.1 in here, too. That won’t be KRK but I don’t know what, yet.
Then there’s the monitor controllers. Cranesong Avocet. Unless something ultra-amazing comes along, that’s THE one. Then there’s the headphone distribution with independent mixers for the performers. All in all it’s a pretty big investment, at the $10k range, and I really can’t justify it until 1) I’m in a better control room for mixing and mastering and 2) I have a larger client base.
That’s why the SM Pro MPatch2 makes sense for me. First it’s completely passive. So there’s no potential coloration to the sound. But it’s the chassis I’m buying, really, and it only cost me about $140 direct from Australia. The stepped attenuator and military grade switches will run me about another $150. The headphone amp? I still have to work that one out. It’s not too important since headphones are managed through the distribution panel anyway. Not this chassis.
But all that’s left for me is to do some tearing apart and soldering the new attenuator and switches. What’s the cost of silver solder these days? About $30/lbs.
A couple song placements in blockbuster films, a couple songs on some platinum albums, or my vibrating, meditation pillow invention takes off and I’ll get a new room, monitors, cranesong, and phones distribution.
In fact, I’ll have Tree Audio build me one of these (skip to 6:20 for the console only)…