#music-producers

Tried to run a session in the 12th St. derelict freight house, set up a mobile rig (Klangherbst LFO, UREI 1176F, Slate Digital Virtual Mix Rack) on the cracked concrete floor. The 1176’s gain stage spiked and was adding clicks when hitting the echoic spots in the broken archways. I keep waiting for a smooth build‑up but keep catching phantom noise, maybe because the space itself is causing stray EMI at 50 Hz.

I need a workaround because this rig is what I show on the demo reel I send to venues that run sub‑way tunnels as venues for DJ‑live performance art. If a production team sees that I’ve overcome the environmental anomaly, they’re more likely to contract me for a full live audio‑processing package.

Short list of issues I'm currently dealing with:

• High‑frequency pops on the 1176 when recording from the AT4040 placed over a busted floor beam. Maybe the AC‑interference is hot at this frequency.
• Dynamic compression: The 1176's VCA leak becomes audible once the Reverb from the 3‑phase boiler kicks in (Room EQ from iZotope Iris). What bypasses are cheap but effective?
• Plugin workflow: Would the 1176/Serial FX chain from Slate (Trim–Pre – 1176 – Stereo+Stereo) hold up better than a DAW-native equivalent? Or should I rely on a hardware FET compressor (Heil Sound U86) for a purer “retro” feel?
• Future gigs: Think of adding the AKAI MPD218 (80 drum pads, MIDI CV) as a loop pedal for live rhythmic input from salvaged machinery—will that synergy get me a gig at a vacant mall with an art exhibit? Any reviews of field‑ready loopers?

If you’re anyone who’s tuned a UREI 1176 from the back of a derelict pumping station or any vintage compressor under strange acoustic circumstances, please drop your tech notes. Any solution or insight will make the demo reel feel less raw and more professional.

Looking forward to seeing how others managed these conditions, because right now I'm stuck looking more like an amateur collector of warehouse vibes than an audio engineer for hire.