On Jun 30, 2007, at 9:39 PM, David Kirkdorffer wrote: This is wise advice. Especially as during recording I tend to harbor doubts about the validity of my work.
I have several "workstations" in my studio and home and have a bunch of oblique strategies.
The main control room has the big console, HD rig and all the outboard. It demands a certain approach- the more conventional one.
I also have two different computers with controller keyboards each running different software. I don't sync them with the HD rig- just use them for sound design.
In my live room I have a dedicated looping guitar rig and a 2 track recorder (actually a computer). In the living room I have my powerbook, Live, Max/MSP and a large collection of sample material (movies). There are old computers- Atari, C64 and Amiga each running various bits of software in my spare room. They are fun to go to when all else fails- the C64 particularly as I have to code in hex and assembly. It takes ages to do anything so I have to choose carefully.
Several keyboards- usually the ones with sequencers- are kept off the network- using closed systems helps me to think differently.
I've put up a few PZM boundary mics in the control room and the live room that I have permanently connected to some older TL Audio tube channels- I'm always flipping phase and doing silly things with them.
There is a send to a small speaker mounted in my antique upright piano in the room upstairs with a mic positioned on the bass end of the piano strings that I can send audio to and then 'reamp' via the piano. It isn't always good but it is never boring.
Last week I mic'ed up the back of the air conditioner and keyed that to the kick drum to great effect. How is that for "industrial"?
Jim | 
