RECORDING November 2022 - 34
A Space for Creative Inclinations
An Interview with
David Crowder
I can see your acoustic panels for
absorption and reflections. What are you
doing for bass trapping and diffusion?
The big piece of artwork behind me is actually the diffuser,
and all the slats are at different heights and angles, so the
sound bouncing off the back wall is coming back at different
reflection times and directions.
Then, the rear wall is recessed on the sides, and is actually a
super thick bass trap wrapped in white fabric.
What about the overhead beams, are those
for ductwork or acoustic purposes?
So, that is holding up the kitchen. When we removed the
support poles that were everywhere in the basement, we had
to put in steel crossbeams.
Let's talk lighting.
As you can see, we are just in a white space. Everything is
white. But using color-changing LED smart lights, we can immediately
transform the room's feeling to suit the music.
Do you let other people use your space?
If you look up studios in Atlanta, you're not going to see my
phone number and 'gimme a call', but yeah, it's been really fun
to share the space with friends.
That is another reason it's important to be simple and immediately
usable. It's tough to mess anything up. If you know how to
get around in Pro Tools, I have everything set up and labeled in a
template. When you pull up the Mellotron, you will hear the Mellotron.
All the inputs and outputs are labeled and ready to record.
You also have a DJ station?
Yes, and that wall is a great waste of time, and I love it! I
fancy myself able to pull off a great wedding reception one
day! I have a lot of fun over there! [Laughs].
What advice do you have for
someone setting up a studio?
Make a space that makes you want to make stuff.
My last two questions. What is your
favorite thing about your room? And if
time and money weren't an object, what's
the one thing you would change?
Let's go with the last one first. I would have more analog
gear-more preamps, compressors, and analog effects, like
more tape delays and reverbs and that kind of thing. Stuff
that would get me in trouble.
And then, my favorite part about my room is just the
accessibility. I'm excited when I get home because
I know I can go down there rather than turn on
the Xbox, and that is way more fun. I don't
spend time setting anything up other than
launching a Pro Tools or Ableton session to
catch whatever might pop out. I constantly
stumble into new surprises and stuff I have
not heard yet.
I appreciate this.
Thanks so much, David.
Absolutely, Man.
Good to talk to you.
You mentioned that you do not mix
your tracks. Do you have people
come and mix in your space?
Even though it's well-treated, this is not really a mixing environment.
It's for writing and creating. To mix in a space, you need to
be comfortable there, spend time there, and know the room really
well ... I don't have any friends that are that friendly [Laughs].
What are you monitoring on?
I have Focal Trio6 Be monitors with a pair of Focal Sub6 subwoofers.
I love them so much! And they did them in a custom
white finish for me.
Looking at your wall of synths, do you
basically buy every white synth that
comes on the market sight unseen, and
is that all you buy? [Both laugh].
Probably half of those are my fault-they did not come that
way. Up-close, you can tell which paint jobs are mine. The
Moog Voyager and Mellotron are legit. But yes, when I see a
new white synth on the market, I tell my wife, " Honey, this has
to go downstairs. " I have a closet with some other synths that
didn't make the wall.
34 RECORDING November 2022
RECORDING November 2022
Table of Contents for the Digital Edition of RECORDING November 2022
Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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