[Marc Theriault]

Avoid sound traveling directly at walls… try aiming amps at slightly skewed angles. Having the sound reflecting at one wall and bouncing staight back to the wall behind it can be a big source of reflective sound, especially at the volumes often used in rehearsal rooms. The more reflective sound, the louder folks turn up so they can be heard, which adds to the problem.

If you can swing it financially, plexiglass barriers around the drum set allows everyone else to lower their volume and still be heard, while still maintaining good eye contact. This can help as well. A cheaper alternative to plexiglass might be a carpeted wooden wall (3′ high?), we used to use those at Berklee in the late 70’s for isolation in studio recording.

[Marc Theriault]

Shane,

Thanks for freely sharing your expertise. Of course, I had already “blundered” my way through the process, working on a project for my in-laws, but it was cool to see that I had figured out on my own the right way to do things.

Regarding the 12 frame adjustment after setting the cross dissolve, I found a more precise way to do it was to move the playhead to the beginning of the clip, enter new keyframes (duplicating the originals by default), clicking the “next” keyframe arrow and deleting the originals – repeating the process for the outpoint. This was truly a blessing when I had reached the 2AM, bleary-eyed phase of trying to get the project finished.

Thanks again for sharing.

Marc