“I had a small home studio that I started building up bit by bit back in the early 2000s. I had built up a nice collection of microphones over the years and had a small pro tools rig with an Mbox interface. After a few years of not tracking very much, I started downgrading the studio and decided to use that money to invest in some new cymbals. Then the pandemic hit, and all of the gigs stopped. That was the beginning of remote recordings and virtual/online jams. It was all we musicians had to stay relevant during that time, so I ended up selling some of my drum gear and started building the studio back up.”
I was advised to get some acoustical treatment in my room if I wanted to dial my sound in better. I began to understand how important acoustic treatment is in a studio.
“I got a used API 3124+ mic pre from my buddy (and great engineer at Dauphin Street Sound) Keylan Laxton, and bought a Universal Audio Apollo x6 interface and found some great Neumann KH120 monitors. I started learning some engineering and mixing techniques over the next few months via Skype lessons from a great teacher named Vitor Hirstch. When I started digging in with my first remote recording projects and listening back to my first mixes, I realized I was just getting stuff all wrong. Nothing was sounding good to me. With the advice of Vitor and a friend looking at pictures of my setup, I was advised to get some acoustical treatment in my room if I wanted to dial my sound in better. I began to understand how important acoustic treatment is in a studio”.
“I put a FulFill Cloud 3-Pack above my drum set and treatment behind my monitors. I definitely noticed a difference immediately. Reflections were tamed. High frequencies from cymbals weren’t harsh. I previously used brushes on a lot of my tracking—nothing high volume on the past few projects. Now, with the treatment, I’ve been able to boost the gain a lot. I actually re-tracked a couple of songs after I installed the ceiling panels.”