Sometimes you see me writing of the dangers of the Rockhouse and that may seem an exaggeration but it really isn't.
The sleepin' place is a sofa on one wall with the instruments, cables, power supplies, etc, etc all over the room. This is a studio like a Boy Scout is Superman ... up, up, and away!
There is nowhere for any kind of a lamp near the sofa so finding my way to it has to be in darkness and this is part of why the devices are powered-up most of the time. Sure, that burns up power supplies faster but there's comfort in seeing my li'l pals all over the place ... and ... that's the roadmap as I try to find the sofa. The room is close to pitch black at that time.
Note: much of this stuff is not mine so it would be supremely uncool to break any of it.
Even on low-light setting, the action cam cannot handle this so the only other way is to try to describe the walk is in words.
On coming into the room, I have to get around one of the supports for the lights rack and then cut hard left to stay as close to the edge of the room but without tripping over miscellaneous junk which has nowhere else to go on one side and the floor devices for the music on the other. The GT-100 for the guitar serves as the marker because I know I have to stay about a meter to the side of it or I will stumble on other things.
The reason for the cut to hard left coming into the room is continuing forward will run me into the computer chair to trip and land on it and the mixer or, if I'm really lucky, land on the synth on the left side of the mixer.
That move to the GT-100 continues slowly until the GT-100 is to my right and a bit behind me because that means there's the ultra-cheap tripod for the best camera so I need to move more slowly so I don't knock it over but not too far or I will trip over the axes which are between that and the P.A. monitor which is on the far back corner of that side of the room.
Reach behind the monitor to flip it off and then move straight to the other corner but remember whether there are dirty clothes because that's where they will stack because there's nowhere else to put them.
After flipping the second one, reverse that path to go back to the first monitor and cut hard left to retreat back to just before the GT-100 and cut hard left again.
But when stepping over the GT-100, ensure it's two feet past it or I will step on one or more power supplies which will slide out from underneath me and then I'm goin' down with a big crash.
With that foot down, the right foot has to move about a foot behind the DR-880 and the distance for the same reason. The left foot can then move about a foot alongside it and then I can flop down on the sofa. Success. I did not splat this time.
So, in summary, I can make the most arcane types of connections for musical electronics known to man ... but ... find a fookin' light?? Um ... nope.
The sleepin' place is a sofa on one wall with the instruments, cables, power supplies, etc, etc all over the room. This is a studio like a Boy Scout is Superman ... up, up, and away!
There is nowhere for any kind of a lamp near the sofa so finding my way to it has to be in darkness and this is part of why the devices are powered-up most of the time. Sure, that burns up power supplies faster but there's comfort in seeing my li'l pals all over the place ... and ... that's the roadmap as I try to find the sofa. The room is close to pitch black at that time.
Note: much of this stuff is not mine so it would be supremely uncool to break any of it.
Even on low-light setting, the action cam cannot handle this so the only other way is to try to describe the walk is in words.
On coming into the room, I have to get around one of the supports for the lights rack and then cut hard left to stay as close to the edge of the room but without tripping over miscellaneous junk which has nowhere else to go on one side and the floor devices for the music on the other. The GT-100 for the guitar serves as the marker because I know I have to stay about a meter to the side of it or I will stumble on other things.
The reason for the cut to hard left coming into the room is continuing forward will run me into the computer chair to trip and land on it and the mixer or, if I'm really lucky, land on the synth on the left side of the mixer.
That move to the GT-100 continues slowly until the GT-100 is to my right and a bit behind me because that means there's the ultra-cheap tripod for the best camera so I need to move more slowly so I don't knock it over but not too far or I will trip over the axes which are between that and the P.A. monitor which is on the far back corner of that side of the room.
Reach behind the monitor to flip it off and then move straight to the other corner but remember whether there are dirty clothes because that's where they will stack because there's nowhere else to put them.
After flipping the second one, reverse that path to go back to the first monitor and cut hard left to retreat back to just before the GT-100 and cut hard left again.
But when stepping over the GT-100, ensure it's two feet past it or I will step on one or more power supplies which will slide out from underneath me and then I'm goin' down with a big crash.
With that foot down, the right foot has to move about a foot behind the DR-880 and the distance for the same reason. The left foot can then move about a foot alongside it and then I can flop down on the sofa. Success. I did not splat this time.
So, in summary, I can make the most arcane types of connections for musical electronics known to man ... but ... find a fookin' light?? Um ... nope.
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