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jackson white

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  1. FWIW, the physics are solid. It's (a lot?) more expensive, and (looking for my notes...) believe I determined 2x thick/dense drywall + green glue was a winner in the bang-for-the-buck. I talked them into letting me reduce the square footage by the extra 5-6cm. As I'm sure you know, addressing all potential air gaps was critical and found temperature changes could be a bit problematic for older structures.
  2. And yet to hear anything from InMusic....
  3. exactly the Train was the first one I bought from PA and still enjoy the most, now intrigued by the possibilities of a real one... 🙂 just exploring the potential for something more than an amp sim, was looking at the Ethos, but i'm not one to obsess over what anybody else has done, just looking for tools, magic wands, etc. to inspire exploration in new directions. I tend to build tracks around guitar sounds and real works better for me than a sim. The Swart is a pretty good example, something Buddy Miller has used to good effect. Ah yes, from the Petaluma days. IIRC, he was pretty tight with Mesa Boogie.
  4. How does Affinity compare to something like CorelDraw Suite? (other than price...)
  5. The main point for me. All sims sound different from real amps to me and the player is still by far the most important factor, but some just seem to "vibe" better and I'm able to get better performances. I doubt I'll ever see a real Dumble let alone play through one but lately considering D-style pedals as an alternative to sims.
  6. Had this problem at my 2nd location. It was "sold" to me as a double wall, but might as well have been tissue paper. My poor neighbor could hear my laptop speakers. The best results for that location were achieved by pulling down the wall on my side, hanging a new wall (denser) on decouplers and green gluing a 2nd dense layer of drywall on that from floor to ceiling. Also substantially caulked around the edges (mating with a granite wall was not exactly a tight fit). Made a pretty big difference but... Ultimately undone by the concrete floor which lacked a seam/gap between the two units. As discovered, the floor managed to conduct sound pretty well and the landlord refused to let me try cutting a gap in the concrete to fix it. 🙂 The sprinkler was also a bit suspect as it crossed the barrier between the units. End result was a move after 6-7 months. At least they helped with that.
  7. Same here. It has been S-Gear for me, but these are good. The Chandler has also been useful, albeit a bit more limited in tonal range. Now if they could only get their act together on preset display/management.
  8. I suspect lower frequencies are the greater issue. Hard floors (i.e. concrete) can be excellent conductors of sound (depends on the coupling) and sounding louder in your space than the space they are generated in. Mass is your friend, as noted earlier (not 'hard'). Pb is denser than concrete = greater mass/unit volume. If it's higher frequencies, there could be an air gap somewhere, but doesn't sound like it. My experience has been granite mill spaces built in the 1880s. Wonderful places, 14 ft ceilings, awesome acoustics, ton of character. I've researched and tried green glue, glue patterns, layers of dense drywall, decoupled hangers, etc. They all work to some degree and might attenuate it enough depending on mixing levels and tolerance for ambient noise. I'm moving to an isolated adobe structure in the desert at the end of a chunk of fiber optics. Better option than prison or unscheduled stress. 🙂
  9. 😆 Sometimes ya gotta do what ya gotta do.
  10. Amen. Plus; > display the selected preset, somewhere, anywhere (this goes for a number of their plugins) > document the signal chains (they do it on a couple) > readable fonts (current is awful) or resizable > and agreed on the delay
  11. It's not clear to me if you're asking about solo kit piece volume or relative to other BFD channels. Apologies if this is all obvious, but you have a few knobs to work with to make kit pieces routed to a CxB channel louder, 1. The kit piece trim knob in Tech Panel > General. 2. The articulations in Model panel > Articulations. 3. The overal output gain for BFD in the upper right hand corner of the UI. Default is 0db, but good for an additional +6 dB. Kits in BFD often include ambient mic channels and typically buss them all thru the AmbMix channel. Some of these channels include processing (compression, distortion, etc). You can adjust both the Mix and Trim for each ambient mic in the Tech panel and the indovidual mic channels that feed the AmbMix channel. If you mute that channel in addition to the bleed mics for each kit piece, you should only hear the solo kit pieces in CxB. It might be worth double-checking to see if somehow your kick and ambient channels have been routed to the same output from BFD to CxB. HTH.
  12. 😄 Maybe crosslink it to the Deals section for some guerilla marketing. It does seem a waste though. There's plenty of far less useful plugins out there.
  13. Lol, hear ya on that. CxB has some incredibly productive workflow capability. I often feel like I'm abusing it for the types of projects I tend to work on. In my case, it's been full on speed comping with lots of 'asynchronous' clip editing across multiple take lanes and varying degrees of automation manipulation. By 'asynchronous', I mean the clips do not line up nicely across take lines.
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