Archive for the ‘tours’ Category

thank you greenwood

Greenwood was super-welcoming and a most excellent first exposure to renfaire. Thanks to every one of you! Eight shows in two days, omg – photos, details, more all over here, in a post made earlier today. Thanks again, Leannan Sidhe, for having me along!

thank you greenwood

Thank you, Greenwood Faire, for the welcome and the fantastic first experience at a renfaire – and thanks also Leannan Sidhe for bringing me onboard for the series! And also to Zinger and Royal Magic for letting us stow equipment and showing such hospitality. And to pirates and supervillains, yet!

Fun. Exhausting, but fun. We ended up doing eight shows, not six, not counting ‘gate sets,’ which are kind of open-mic length. Since I was filling in for so many people that meant four-instrument setup/takedown per show; I got really fast at that by the end of Sunday. So the whole thing is kind of a blur of setup-play-takedown-setup-play-takedown until dark.

That didn’t stop me from staying up late Saturday night with the Tri-Cities Drum Circle, tho’. They have a facebook page but I can’t find it – if you guys come find me, give me the group name again and I’ll link you! Thanks for being so welcoming, playing with you was really cool.

High-drama weather: 3am hour-long thundersquall with continuous lightning and nearly-continuous thunder, all experienced from a tent (which, thankfully, held out the water just fine); a mid-morning reprise the next day, scattering everyone but providing a desperately-needed reprieve from the sun. The heat was pretty brutal late Sunday, but the Faire itself is extremely well situated, in a little cool pocket by the riverside, sheltering us from the worst. It’s a fantastic site for it.

Have some pictures – I have to finish unpacking.

No more than 10 minutes after that morning squall

Jousting ponies at sunset

Ponies! The chestnut in front is pretty friendly. The grey in back, despite appearances, is not an Arabian. I was totally surprised by that; I knew an Arabian who could’ve been his twin, years ago, except the one I knew had slightly more mottled/patterned fur.

Saturday night is the big performer potluck and little groups all get together and play and hang out all over the camp; after the potluck, I found the aforementioned drum circle – which wasn’t, as they say, difficult. 😀

Also that night:

All Hail Roadie Matthew!

And Matthew’s golden backlit hair. Matthew’s golden backlit hair has a posse.

Leannan Sidhe Without Me

Despite best attempts, I wasn’t on every song, and when you’re not playing, you don’t stand there like a dork, you sit off to the side or front, depending. One set, I was out for two songs, and they were back-to-back, so I had time to grab my phone and snap a picture.

Bards of a Feather

Leannan Sidhe (official) gave way to Mickey and Wednesday’s band Bards of a Feather for the final set, appearing only at the end for one song. And they, in turn, let me open for them as Crime and the Forces of Evil, for one song. Shortest opening set evar! It was hilarious. 😀

to the east!

Here we go – to the east, to the dry side. Six shows by Monday or bust! I’m going to try to get recordings entirely on battery; I make no promises. If you’re in Richland, we’ll be at the Greenwood Faire, listed as Leannan Sidhe; there are time schedules, tho’ I don’t have one handy.

Whatever I record, I must say, cannot be as awesome as this:

…because it simply would not be musically or physically possible.

And we’re out. Zoom~!

no talking day

Overdid it a bit singing last night at rehearsal, so today is NO TALKING DAY. Well, not much talking day. I’m okay, really, and will be fine for shows this weekend, but it just shows how much you just have to be careful with songs at the very bottom of your range.

Talking of, I’m really excited that we get to do King of Elfland’s Daughter. We’ve worked out how we’re going to make it work with me having to drop out on rhythm in order to do the bridge solo (on flute, rather than fiddle) then come back in; Wednesday will be echoing me on guitar throughout and will just step it up for that section.

Anybody have advice on what to take for a series of shows where you’re camping instead of crashing with people? There’ll be water but no electrics. I’ll be loading up on batteries and chemical cold-packs because it’s supposed to be nearly 40 for all of these shows. Uh. Nearly 100F. Ish. I am going to die. Dead dead dead. Just bring back the recordings, will you? And put them on Bandcamp. 😀

atTENTtion get it ar ar ar

I’ve never used a tent on tour which is kind of unusual amongst the people I know in music, but for these Leannan Sidhe gigs I need it. SHITTY CELL PHONE PICS, AHOY!

jfc this is a big tent

i really do not remember this tent being so big

This is actually one of TWO tents I own. The other is older because I bought it used and it’s five people, not four like this one, but I think it’s about the same size actually. But MUCH harder to set up.

fred wants to know wtf i am doing with a tent that big

honestly i have had dorm rooms smaller than this tent

I timed taking it down, which is going to be the part that needs to be done most quickly because of schedules: 14 minutes from fully set up (which it wasn’t in these pictures, a kind of rain cowl goes over the top) to fully packed in the single carry bag. I’m going to do it again later for practice because I haven’t used it since I don’t even know. 2005?


marathon session

Up quite late last night with Leannan Sidhe, working out new arrangements for a bunch of their music, since I’ll be guesting with them in Richland, Washington for six shows, June 29th and 30th. I’ve never done anything quite like this before. They have a BAND VAN. I’m told it’s kind of scary but that’s okay. I’ve never had a band van. ADVENTURE!

Hopefully not this kind of adventure.

At this point it looks like I’ll be bringing the zouk, mandolin, and bodhran, doing a lot of different things on different songs. Oh, and vocals – I’ll sing lead on “Song for a Blockade Runner,” one of mine, maybe some extra vox on “Voiceless,” one of Shanti’s, and co-lead vocals on “King of Elfland’s Daughter,” a duet which is on Leannan Sidhe’s second CD but originated with the early Celtic rock band, Phoenix, back in the late 1970s/early 1980s.

Elfland’s Daughter is a fun song on zouk, I gotta tell you. It’s chorded for guitar, but honestly I like how it sounds here better. I’m borrowing some guitar tricks and figuring out how they sound on my instrument, and it’s different, but kinda bitchin’.

I just wish we had a fiddler to do the solo, but half their band can’t make this gig, which is why I’m onboard at all, and is, in turn, why this song made it onto the setlist, because I have three octaves of vox at my disposal which means yeah, I can do Alec’s part, so suddenly it’s back on the radar. And and and.

Really, it was a fantastically productive session. Hopefully we can keep that up in the full-band rehearsals.

and in the end

The last day in St. John’s didn’t involve any playing at all, in the end – tho’ I did have a couple of people come up to me saying they loved that pirate song I did on Friday. 😀 This last day was nothing but soaking in the sun and hanging out at festival. PREPARE FOR PICSPAM!

Yet another sunny day on the tropical island of Newfoundland

Morning! We went to the Francophone tent. It was fun! Note the bouzouki. I always have to explain what the instrument I play is, in Cascadia, and even moreso in the States. Here? Yeah, they play that. <3

Even the Francophone tent!

Then we went to lunch, and caught some of the buskers at the Busker Festival also going on that weekend. Did I mention these people like their performing arts? This guy was hilarious:

On spikes. Not quite on fire. But on spikes.

We made it back up to the festival, and basically just kept it relaxed and groovy, because it was the end of the tour, and because the festival was just awesome, and we knew we were going to be there until close.

The Raw Bar Collective

I resisted the urge to add, “and Spinal Tap.” Barely.

When we went off site for dinner, we walked down to George Street, like y’do, and picked a place that looked good, like y’do, and one of the Irish Descendants popped in to do a set.

Yeah, like they do. Just like that, why not? It’s George Street.

Then into the our last evening before flying back! I gotta tell you, not without reservations, because I really didn’t want it to be over. At least I’d already bought THE BEST T-SHIRT EVER:

Disagree? You’re wrong. Sorry.

We saw The Once, who are an up-and-coming deal, and who – in rehearsal… played the zouk just a little like I do. Which is a first, frankly. Not identically, but I was very much in a “…I have to hear this” mood after that. Sadly, the song they were doing in rehearsal and sound check they did not do in their evening set. Dammit!

Still good tho’

And as the last official act of the night, Darrell Power’s band The Seven Deadly Sons! Featuring Young Bill Gates on drums.

Am I wrong? No. I am not wrong.

We were really interested in seeing them, since part of the point of Darrell leaving Great Big Sea was that he simply didn’t want to tour anymore. So his new band doesn’t! Not as a group, not outside the Atlantics, anyway.

Fifty Shades of Green

And everything was awesome and fun and stuff, and we were in that sleepy kind of good mood where you’re totally wiped out but in a good way, and then I heard Darrell start to say something about how he’d done something the night before he hadn’t done in ten years, and something about the way he said it made me go, “…no fucking way.”

And I wormed my way as close to stage as I could just in time for the other three founding members of Great Big Sea to walk on stage and do a number with as the old band again, just for the locals.

And us.

Because we were there. And I had a camera.


God dammit, I wish my still camera did better video. I tried to pull the white back in, but there’s just no data there to retrieve. I looked. At least the sound is good.

And that was the last of it, the impossibly good end of the festival.. or almost the end. The festival organisers brought all of the scheduled performers who were still around back on stage to say goodbye, and this is how they did it, with the entire crowd singing along:

We Love Thee Newfoundland

Yeah. We really do.

And that’s the last of the tour posts. Next Monday? Honestly, I’m not sure yet. The last few weeks have mostly been either about nwcMUSIC – this is a crunch time for us – or getting the house ready for winter. Most of the music I’ve been doing myself has been working on my bass skills and trying some new vocal technique lessons, the kind of thing you do when your day jobs have your life. Thursday, though – DIY day! Yay! ^_^

newfoundland and labrador and torbay

Right, back to Newfoundland and Labrador! Well, okay, St. John’s and Torbay.

We woke the morning of our third to the only rainy day we ever saw in St. John’s, and frankly, it wasn’t very rainy. But we decided to go visit The Rooms, a large museum of Newfoundland and Labrador history and culture.

It’s modelled from the outside as a collection of outsized fishing and fish-prepping buildings that every fishing family would have in the old days of Newfoundland, and there are a huge supply of exhibits – and also a large artspace showing work from Newfoundland artists. There’s also a small bookstore, where I bought a couple of histories; if you go, it’s entirely worth your time.

I took a bunch of photos of exhibits, but I’m only showing one here. Remember Red Dwarf?

Sound as a dollar-pound!

Ah, the shit you could get away with on the gold standard with fixed-exchange rates. 😀 Of course, you really couldn’t, there were all sorts of arbitrage tricks anyway, but, well, that didn’t stop people from trying. XD

Then we stopped for lunch, where there were bee-shaped light fixtures I posted on Twitter because it was CONTINENTAL DAY OF BEES! apparently, with everyone talking about bees.

Anna is not concerned about your bees.

…before it was time for the folkfest!

The Newfoundland and Labrador Folk Festival really got this whole trip started. Anna found out about it, and had long wanted to hear Newfoundland music on Newfoundland soil, and also, the third book in the Faerie Blood/Free Court of Seattle series is set partly in St. John’s, which means it’s RESEARCH!

Genuinely was, too. We walked that downtown like warders.

The first thing to understand is that like the Maritimes in general, and to some degree Quebec, this is a musical culture. That means music is something people do, rather than just watch or hear. It has cultural importance in a way that it doesn’t, say, here where I live; recorded music might be omnipresent, but if you do it, you aren’t generally thought of as a contributor – with the occasional and possible exception of classical. It’s frivolous, or worse. (I’ve been called a parasite at farmer’s markets for showing up to play for free.)

Basically, you have to have a special kind of magic to be accepted as that, which is something I’ve been working on.

So when you see festivals like this, don’t think Folklife. It’s not like Folklife. There’s one of these pretty much every week in the summer, when the weather permits, and people play all winter, too, and this event isn’t “for the tourists.” Tourists are welcomed, and they get them – from as far away as, you know, New Brunswick. Toronto? Well, sure, a few, once in a while.

Cascadia? Not so expected. Or that’s certainly the impression I got from the degree of shock we got at being from so very far away.

I promised a lot of video this post, and you’re getting it. This is a minute I shot to try to capture atmosphere.

Note most of all that this is not an old-people audience. Old people were there, absolutely, do not get me wrong; but this isn’t A Generation’s Thing, this is something people just do. I didn’t get a good shot of the headbanger pit at The Once’s show, but the fact that it was unironically and unapologetically there, I think, communicates the difference.

The next day was another glorious sunny day on the tropical island of Newfoundland:

And we always thought Alan was joking

Mornings at the Festival have a lot more participatory/educational programming, scattered over many tent platforms; we learned about Acadian chair-dancing podorythmie, sat in on a session, and! I even got a surprise chance to perform:

photo by Rick West, courtesy of the Folk Arts Society of Newfoundland and Labrador

…doing my story-and-song bit about how not to become a pirate, wrapped around Paul and Storm’s song “Ten Finger Johnny.” (I of course credited Paul and Storm.)

People were coming up to me two days later saying they loved my pirate song. That was awesome. 😀

But the biggest part of that day, of course, was not in St. John’s, but heading up to Torbay to see the first Great Big Sea show of the 20th anniversary tour. It was also Torbey 250, their 250th year celebration. We met up with Krista and Sile, local fans Anna knew through GBS fandom…

Actually from dinner the night before…

and got there super-early…

Queue position… 12 through 15?

Which meant we got set up here

Front and God Damned Centre

…for the show. Now, non-GBS people won’t know that Murray Foster wasn’t their original bassist; that was Darrell Power, and he left about 10 years ago because he just couldn’t deal with the touring anymore. And Murray’s great; the boy had a lot to contribute. But we were thinking, just maybe, for the 20th, right here where he lives, maybe, just maybe, we might see Murray show up. For the 20th.

Then a gust of wind blew this literally to our feet:

I am not even lying

…the Great Big Sea setlist for that evening. Now, if you’re not a GBS fangirl, you won’t know that EXCURSION means “Excursion Around the Bay,” and that it’s in the encore, and that it was Darrell’s signature song. They’ve still been doing it since he left, but, well, in the encore? That was kind of a big fucking hint right there.

But first! Other bands! Repartee opened; they’re good, and a rising thing in Newfoundland right now. Lots more experimental and synth-rockish; I liked a lot of what they were doing, and went to their tent later; when she found out I was a musician too, we traded CDs, or, as she put it, “really expensive business cards.” It’s true. 😀

They were followed by The Trews and Jimmy Rankin. Both acts were quite good but not my thing, so we’ll skip past those. Cute roadie, tho’:

…but I’m pretty sure he doesn’t know what that labrys he’s wearing means…

And then, at last, Great Big Sea! The boys put on a show heavily on the trad and heavy on the goddamn well rocking – it was very much a show straight out of 1999, in a lot of ways, which, as far as I’m concerned, is perfect. To be honest a moment – their last couple of albums, while wildly successful, have really been moving towards country/folk. And, while I wish them the best of continued success – that’s not what I care about.

I care a lot about a lot of original music. I like their older originals, which were more in the Newfoundland style, and less in the western/country style. But not where they’ve been headed. So for them to do it up old-school for the home crowd? That made me extremely happy. And if I had to go to Newfoundland to see that kind of show again?

Worth. Every. Goddamn. Penny.

Here’s what the audience is like before they’re really worked up:

Hear us? We just took over on some songs. Alan would lean the mic out, like y’do, and let us go for a bit. Straight out of the Great Big DVD, honestly. It was fantastic.

And then, well, it’s encore time, and…

…guess who steps out of the fuckin’ shadows…


And he does exactly what we expected:

Aw, Yeaaaaaaaah.

And we were right there.

I’d really intended to wrap up the tour with this post, but it’s so long already, I just can’t. So next week: one more day in St. John’s, some more performance video of awesome, and some closing thoughts.

PS: have 37 more seconds of Darrell and Great Big Sea being awesome. You’re welcome. ^_^

and newfoundland (part 1)

And then we left for Newfoundland.

small airport; small plane

I didn’t have any playing set up in St. John’s; the Newfoundland and Labrador Folk Festival had been the starting idea that got this whole tour+trip going, and it’s for maritimes musicians. But Anna’s wanted to hear Newfoundland music on Newfoundland soil for a long time, which sounds good to me (ar ar ar), and besides, with the third book in the Free Court of Seattle series being set partly in St. John’s, she wanted to see it for herself.

So that formed the nucleus of the original trip plan, and everything else I’ve typed about got bolted on to that.

Pretty much as advertised

We spent the first day mostly wandering around downtown, getting a feel for it. A big theme in Faerie Blood and its sequels to come is that warders of towns – magical protectors, more or less – know their towns by walking them, and that comes straight out of, well, that’s what Anna and I do, whereever we go. I also take about a zillion photos.

Which is why this post is mostly photos. 😀

We stayed at the B&B on the far right

Strongbad’s new business

Downtown by the waterfront

Trekkies Only Need Apply

So many row houses, so many colours

Of course, we hit George Street

No sign of Captain Blue or Captain Scarlet

I mentioned that this was a musical culture, and I carried around my zouk a lot of the time. Not all the time, but a lot. So when we stopped late for ice cream at Moo-Moo’s:

Stop here, seriously

…the guy who took our order was all, “What’s in the instrument bag?” and when I told him it was a zouk, he didn’t need to ask what it was – he got all excited and wanted me to play it right there. Which, of course, I did, and people were all excited by that.

They have music festivals there all summer; we’d just got in late for one on George Street, and were arriving for another that was coincident with a busker/street performance festival.

So, yeah, already, my kind of town.

We’d arrived too late in the day to get to either Fred’s Music or O’Brian’s:

Pilgrimage stop achievement: unlocked!

So we hit both of those the next day. Anna bought CDs, I noticed they were selling the Quebecois spoons I’d got in Joliette, we nattered, and got advice at Fred’s about the more interesting hiking paths up Signal Hill.

Now, if you don’t know, Signal Hill is a big historical deal, in part because it’s the site of the first battle of the Seven Years War, and guards the entrance to St. John’s, the easternmost harbour in North America, and was all strategic and such during the Napoleonic Wars and even later.

But more relevantly to my interests, it was also the reception point for Marconi’s first trans-Atlantic wireless transmission – a supposedly impossible feat, due to the curvature of the Earth. (They didn’t know about the ionosphere yet, which bounces radio waves, which lets you transmit around the world.)

The original receiver set is long gone, of course. But a shortwave station is maintained at Cabot Tower, and if you’re wondering: yes, they do contact postcards. I have one now! In person doesn’t entirely count, of course, but I had to.

Trail up!

Oh look, the lowlands of Skyrim!

Easy-peasy. Hop up this like a goddamn goat.

No, really

Green means gold mine, right?

The hiking was really pleasant. We took the more aggressive routes – you can pavement it all the way up to the old gun fortifications and towers and everything if you want – but the trails are really just nice. It feels like you’re really pretty far out there, even though you’re not.

Napoleonic Wars Gun Emplacements

Nice views, too:

St. John’s, from about a third of the way up

Lighthouse at the Narrows

The fog was rolling in pretty thickly.

Music from the Edge of Heaven

Cabot Tower

After touring the museum (which is mostly placards and such; super interesting, but not hugely photoworthy)…

Well, okay, one

…Anna and I went back outside the tower and played like we were shooting a goddamn music video. It was awesome.

Okay, I want the musicians in that courtyard, and we’ll bring the helicopter shot up the hillside on the right. See it?

Eventually we headed back down the hill. We stopped at a geology centre, ironically for food and not rocks…

No, Anna, put it down

The boring way up the hill

There are lots more, but the photo count here is crazy already. So we went home for dinner, ate at a little Chinese place, wandered downtown a little more and went on a ghost tour.

Hey! The Atlantic is cold!

Down the hill from our house

One second exposure, handheld

Next up: Festival! I sing stories about how you don’t become a pirate! And! Great Big Sea in Torbay!

studio buildout, part 3: playback amps

Woo! We’re Newfoundland and Labrador Folk Festival official photos page. Wait for it and you’ll see Anna and me both! Front page! 😀 We’re in fact in several photos here – one where I’m performing solo (my extended version of Ten Finger Johnny) and later with Anna in session. 😀

(Sadly, the photos – by Rick West – were taken down in when they redid their website)

Newfoundland music on Newfoundland soil. That’s called the correct way Even if I do have an uncanny ability to blink just in time for the photo. XD

But now, back to business.

Last time, we talked about monitor speakers; what to look for when you have no money, characteristics to seek out, simple mods to improve their behaviour, and so on.

But unless you went with powered monitors, you’re going to need amplifiers to drive those monitor speakers. Since you’re reading this, you probably aren’t going to just go out and pay full retail for some very nice new equipment; let’s talk DIY!

First, I need to repeat something I said last time:

The cheap but rebuildable equipment you want mostly comes from the 1970s… There are a couple of key reasons for this: 1. By this time, transistor audio technology had settled down, and no longer sounded like ass. 2. The state of the art was finally good enough (in transistors) that the then-goal of broad and equal frequency handling – meaning, flat audio reproduction curves – became realistically attainable, and people were still trying really hard for it.

This is true in amplifiers, too. Some would argue that in amps, you want to stick to the early 70s. I don’t particularly agree, but be careful when you get into the early 80s, just because of audio fashion trends being what they were.

You can also step back a bit into the 1960s, if you’re willing to learn vacuum-tube equipment. In some ways, that’s easier to work on, and you’ll get fantastic bang-per-buck. Look for EICO, Dynaco, Harmon-Kardon, just for examples; and research tubes first, to see what’s back in production.

Tube equipment has downsides, though: you can’t tip them on the side, they use a lot more electricity, need more ventilation space, generate a lot more heat, and most importantly of all, the power rail tends to be hanging out in the 450 volt range. Careful with those pliers!

Think of it as the advanced class

So unless you’re okay with that, stick to the transistor era.

If you poke around, you can find a pretty good number of old 70s component-stereo-system amplifiers for very little money. Don’t buy the combined units, with turntables and tape decks built in; those were junk then, and are junk now. You’ll see nostalgia for some of that era, and entertaining tho’ that might be, it’s not our goal. Look for something that’s just amplifier and pre-amp – preferably a unit without even a radio.

Undeniably groovy, but still kinda terrible

Pioneer is usually a good, safe bet, as brands of the era go; it’s right in that sweet spot of quality and commonality. So is Harmon Kardon. Sansui, Kenwood, and Marantz are often excellent, but tend to cost more even now. My general approach is to keep an eye open and when I see something of the right sort, then search the web for it and see what people have to say. AudioKarma and Gearsluts are both pretty good data sources in this regard.

My current studio monitor amp is a Pioneer SA-5200. It was made for all of three years (1972-1975) and I picked it up at a thrift shop for all of $5. They go for under $35 on eBay, working to various degrees.

Not mine, but same model. Not so groovy, but far more competent.

It has no power to speak of (20w), but you don’t need it for this application; most importantly, it’s noted for being a very clean amp; very low distortion and very low noise, at least as it shipped from the factory. And it has enough power to drive all my mains, and reference headphones.

That said, it sounded pretty terrible when I bought it, and got worse over time. This is where you need to know something which may and may not make any sense to you, depending upon how much you know about electronics: electrolytic capacitors age and die. And every audio chain you’ll find in any of these amps uses lots of them.

You’ll have to rip out and replace every one.

I’ve talked often about how the most important item in your studio toolkit is the soldering iron. Amps of these vintage can be rebuilt, without complex tools. The parts are large and relatively easy to access. You’ll want a low-wattage soldering iron, so you don’t damage the board with too much heat. You’ll want direct-value replacement swaps on those capacitors, in terms of uF rating. (You can go higher in voltage if you want; that’s a matter of how much the capacitor will tolerate, so replacing with higher voltage is safe.)

The electrolytic capacitors look like this, on the circuit board:

Or Doctor Who. Are you The Doctor? No? Don’t reverse polarity.

Coming out of the bottom of each of those cylinders are a pair of metal wires. Those go through the circuit board and are soldered into place, making contact with the printed circuit on the other side of that board. You’ll need to de-solder those connections, pull up the capacitor, and replace it with caps of the same capacity.

As a side note, these are not the only kinds of capacitors. You’ll see many flat discs; those are ceramic capacitors. Barring physical damage, you’ll never need to replace one. Similarly, you’ll occasionally find flattish rectangular capacitors. Those are usually film, and again, leave them alone, they’re fine.

Doing all this is kind of a pain in the ass, but you generally need to do it in equipment of this vintage. Here’s a bit of a map:

It’s dangerous to go to Toshi Station alone! Take this.

Any stereo amplifier is really two amplifiers combined together into a single box, one for the left channel, one for the right channel. You can see above how this results in symmetrical layout of components! Anywhere you have that kind of symmetry, you’re dealing with the left and right channels, duplicated. Anywhere you’re not seeing symmetry, you’re probably looking at power circuits.

Advanced students will want to bypass the tone controls. There’s no single way to do that, so I’m not going to post pictures. But I will explain why: it’s because, as with the monitor speakers, you don’t want help. You want flat response, or as close as you can get to it. The ideal studio monitor amplifier would be a wire, with gain – that is, a wire that magically changed nothing about your sound other than volume.

Tone adjustment knobs and systems, by definition, deviate from flatness. They’ll also add noise, so just bypass them. It’s also one less set of components to rebuild, so saves you time!

And that’s how to get a quality monitor amplifier on the smallest budget – at least, that I’ve found so far. Next week: I dunno! Microphones, or possibly digital audio workstation software and computers to run it on. One of those. Happy rewiring! ^_^

ps: Let the kitty help!

No, no, not wire snips – can opener! Here, I’ll get it.


This post is part of The DIY Studio Buildout Series, on building out a home recording studio.

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