#16
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Quote:
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Tom '21 Martin D-18 Standard | '02 Taylor 814c | '18 Taylor 214ceDLX | '18 Taylor 150e-12 | '78 Ibanez Dread (First acoustic) | '08 CA Cargo | '02 Fender Strat American '57 RI My original songs |
#17
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Kray, a non-cubic or non-rectilinear shape will go farther for good small room acoustics than adding acoustical panels. Think of anything you add later as a Band-Aid to fix an underlying problem that was not avoided. Non-parallel surfaces that avoid integer room dimension ratios (1:1:1 being the worst of all) as much as possible are your best bet. Room shape is the "macro" picture. After that it is a matter of "micro" adjustments as needed using absorptive panels, diffusers, etc.
(For those of you who may be puzzled by the sidebar, Kray and I have briefly communicated off-line about his studio space. My day job is as an acoustical engineer, and I have designed many studios and other buildings over the last 34 years). |
#18
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No parallel walls.
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YUP.... Emerald: X-20, Center hole X-10 (Maple) and X-7 (redwood), Spalted Chen Chen X 10 level 3, CA: Early OX and Cargo McPherson: Early Kevin Michael Proto Some wood things by Epi, Harmony, Takamine, Good Time, PRS, Slick, Gypsy Music, keyboards, wind controllers.. etc |
#19
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Well, I didn't have the money to try and build anything other than some version of a box, so I tried to make it as far away from 1:1:1 as I could get. The loft, the hallway leading back to the bathroom door, and the vaulted ceiling will help some, tho' not as much as designing some seriously asymmetrical weirdness, which would have been fun! The overall structure itself is 14 x 22 with the ceiling angle beginning at 8 feet (I think...)
Acousticado - yah, I will post pics when it's all done. There was originally a shed in the backyard built in the 50s made of old growth redwood. I took that apart board by board (and spider by spider) and saved as much of it as I could for the trim and one wall and such. Ray Bradbury said "Go to the edge and jump and build your wings on the way dawn". I used to make a living playing music but woke up one morning and was a single Dad. So the last 20 years have been Dadhood (which I wouldn't trade for anything) but last year everything converged at the same time so I quit the day job, moved down to California from Alaska, and am building the studio and touring to play music full-time again. My Dad says he goes out onto the porch every morning to listen to me screaming "Where are my wings?! Where are my wings?!" :-p |
#20
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Quote:
__________________
Tom '21 Martin D-18 Standard | '02 Taylor 814c | '18 Taylor 214ceDLX | '18 Taylor 150e-12 | '78 Ibanez Dread (First acoustic) | '08 CA Cargo | '02 Fender Strat American '57 RI My original songs |
#21
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Wondering if there is anybody in the Florida area with an emerald 12 who could attend you show in January to compare the sounds.
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#22
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Oh, I'd love that, Doc!! The show is the Southwest Florida Folk Festival, in Ft. Lauderdale... anyone there or maybe Miami play an X20 or an X20-12? I'm bringing both the 6 and 12 Leviora with me on that trip.
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#23
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Over $10,000 worth of string holders...yikes ...and cool.
__________________
YUP.... Emerald: X-20, Center hole X-10 (Maple) and X-7 (redwood), Spalted Chen Chen X 10 level 3, CA: Early OX and Cargo McPherson: Early Kevin Michael Proto Some wood things by Epi, Harmony, Takamine, Good Time, PRS, Slick, Gypsy Music, keyboards, wind controllers.. etc |
#24
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Interesting. It will be great if there is a chance for comparing Leviora guitar with Mcpherson Sable too. Looks like many great reviews around.
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#25
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I played a Sable in Nashville earlier this year. I was extraordinarily taken with the bass response - just about had a fit in the little playing room at Gruhn Guitars. But the bass was offset by a reduction in treble response (it'd be nice to actually measure the treble volume instead of just 'relative' to the bass). The Leviora is more even in the bass/treble distribution to my ear, though experimenting with some heavier bass strings might be really interesting.
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