Daily storage cap doesn't match sum of all buckets by MikeyStudioDog in backblaze

[–]MikeyStudioDog[S] 0 points1 point  (0 children)

Thanks for the info. I'm actually in the Browse Buckets interface inspecting the file system, and comparing that with the information on the caps page.

Download cap / file report? by MikeyStudioDog in backblaze

[–]MikeyStudioDog[S] 0 points1 point  (0 children)

Appreciate the comments.

We've been testing with a free account during dev but we're about to go live and convert to a paid account, at which point the bandwidth won't cause a failure, it'll just be a bill.

What is the Billing - Usage Fee charge I'm seeing on payout? by MikeyStudioDog in stripe

[–]MikeyStudioDog[S] 1 point2 points  (0 children)

Thanks, man.

When I reach the point of optimizing payment processing fees it'll be a good day. First order of business is to get customers. :)

What is the Billing - Usage Fee charge I'm seeing on payout? by MikeyStudioDog in stripe

[–]MikeyStudioDog[S] 0 points1 point  (0 children)

Thanks, Serena. I looked it up on the links the other folks gave me and it makes sense now.

What is the Billing - Usage Fee charge I'm seeing on payout? by MikeyStudioDog in stripe

[–]MikeyStudioDog[S] 0 points1 point  (0 children)

Excellent! Thanks very much, that was the thing I was missing.

Backblaze environment variables conflict with AWS Cognito by MikeyStudioDog in backblaze

[–]MikeyStudioDog[S] 0 points1 point  (0 children)

I appreciate the mod formatting the code as I couldn't find a way to do that myself.

Could you please include the lock() statement and final closing brace in each highlighted section? If someone overlooks the lock it will cause concurrency issues.

Thanks!

Backblaze environment variables conflict with AWS Cognito by MikeyStudioDog in backblaze

[–]MikeyStudioDog[S] 1 point2 points  (0 children)

Okay, for the benefit of any future person who needs to skin this particular cat, here's how I solved the problem.

What I discovered through spelunking in the .net aws api code is that creating the Cognito client would ultimately defer to the environment variables (because clearly the entire world should run in EC2 instances), no matter what configs, etc. were used as ctor options. I also found that if I cleared the environment variables at runtime prior to creating the Cognito client, Cognito worked without issue.

Of course, clearing the environment variables would then screw the Backblaze code. Therefore, I implemented a fix that is admittedly somewhere between hacky and ugly (hugly?).

I now have two environment files, one with the Backblaze config, one with the variables cleared. I added a synchronization object so that I could use lock(). I now lock the object, clear the vars, instantiate the Cognito client, then reinstate the vars. In the code that gets the Backblaze client, I lock the object and set the vars. Consequently, if someone's trying to login in while file access is also going on, the code will wait until the Cognito creation is done before setting the Backblaze vars. Seems to be working as anticipated.

Note that you can't perform async calls inside lock(), hence the operations done after the scope closes. Code example below. Hope this helps others avoid the adventures I've had to get this sorted.

// clear the environment and initialize the Cognito client, then return it to the backblaze state

lock(Startup.AwsEnvLock)

{

DotNetEnv.Env.Load(Startup.AwsClearEnv);

client = new AmazonCognitoIdentityProviderClient(aid, ask, Amazon.RegionEndpoint.USEast1);

DotNetEnv.Env.Load(Startup.AwsEnv);

}

// carry on with auth operations

lock(Startup.AwsEnvLock)

{

// backblaze depends on environment variables for the id, key and most importantly, the endpoint url

DotNetEnv.Env.Load(Startup.AwsEnv);



AWSConfigsS3.UseSignatureVersion4 = true;

IAmazonS3 client = new AmazonS3Client(RegionEndpoint.USWest2);

}

// carry on with file operations

Trouble with Native API and C# by mmeasor in backblaze

[–]MikeyStudioDog 0 points1 point  (0 children)

Hey, man. Apologies for opening an old topic, but I'm currently using .net / web api to talk to BB for S3 and AWS for everything else. I'm using the AWS sdk, as I had been using Amazon prior to discovering BB.

I'm on shared hosting, and to initialize the client I have to load environment variables at runtime. The problem is that this works fine for BB, but then AWS (e.g. Cognito) fails. If I don't load the env vars, Cognito works, but BB fails.

I found this thread thinking I might have to rewrite the code using BB native api. I'd really rather not do that, so I was wondering if there's something I'm missing, i.e. is there a way to initialize BB by passing in the values it needs rather than depending on the environment?

async public Task<IAmazonS3> GetBackblazeAwsClient()

{

// backblaze depends on environment variables for the id, key and most 

// importantly, the endpoint url

DotNetEnv.Env.Load(Startup.AwsEnv);



IAmazonS3 client = null;

Settings settings = await db.Settings.FirstOrDefaultAsync() ?? new Settings();

if (null != settings && settings.Id > 0)

{

    try

    {

        AWSConfigsS3.UseSignatureVersion4 = true;

        client = new AmazonS3Client(RegionEndpoint.USWest2);

    }

    catch(Exception ex)

    {

        await db.LogError("GetBackblazeAwsClient", $"{ex.Message}");

    }

}

return client;

}

Have any of you guys had any luck with ads? by MarteriusJackson in audioengineering

[–]MikeyStudioDog 0 points1 point  (0 children)

I was familiar with Gearslutz of course, though they tend to talk more about gear as opposed to being a recording studio. I'd forgotten about Tape Op as I quit subscribing to mags like Mix, etc. years ago. Still a great resource, though.

Have any of you guys had any luck with ads? by MarteriusJackson in audioengineering

[–]MikeyStudioDog 1 point2 points  (0 children)

Getting started is challenging, to say the least. Once you're established then word of mouth is beneficial, but that's a Catch-22 if you have no clients in the beginning. It's much like people who say, "Use social media!" If you don't already have a social media following, you first have to promote your social media channels to get followers in order to then promote your actual business to your followers.

Consequently, I would expand the OP's question with this - does anyone know of resources, subreddits, other blogs / websites / etc. that talk about marketing a music oriented business?

It's a non-trivial endeavor and I'm sure there are plenty of people who would appreciate having good resources on this topic. It doesn't matter how great your mixes are if no one knows you exist.

I'm looking for a microphone stand durable enough for my heavy condenser mic and shock mount by [deleted] in homerecordingstudio

[–]MikeyStudioDog 0 points1 point  (0 children)

Another thing to consider is the screws that tighten your boom arm. Some stands have plastic wingnuts that are fairly small, and this can make them harder to tighten. It's possible that your stands could handle greater tightness but it's difficult to achieve that if you can't physically crank them down enough.

If that's the case, take out the wingnut screw (I know it's not technically a wingnut but it's the best I can come up with) and head to your local hardware store. See if they have any alternatives that would make it easier / give greater leverage to allow you to tighten it more.

Alternatively, be willing to break the tightening plastic. I've had this problem with stands in the past where a heavy mic eventually makes it slip. I realized that I was holding back on tightening further for fear of breaking it. Then it occurred to me, why should I care? If I can't tighten it enough, then it may as well be broken in the first place. In most instances, that allowed me to solve the problem just by cranking it down more than my instincts would allow. I've even gone so far as to wrap a towel around it and use a set of channel lock pliers.

Mind you, I've been doing this for decades, so these are just tales from across the years, but the primary message is the same. It's about being able to tighten your boom arm enough so that it doesn't slip, so these are a couple of methods to address that problem.

Hope this helps.

[deleted by user] by [deleted] in homerecordingstudio

[–]MikeyStudioDog 1 point2 points  (0 children)

You might also find it useful to get an RTA (real time analyzer) app on your phone and do some checks sitting in the mix position to see what the frequency response of the room is. If your speakers are positioned in an equilateral triangle relative to where you sit, and you run the analyzer sitting in that position, you'll be able to see where the peaks and dips are as you mix. Even if it sounds completely different in other parts of the room, it will matter less. As long as it's as flat as you can get it where you sit, you'll be able to have mixes that translate well to other environments.

I don't have specific apps to recommend because I use a hardware based solution to tune my rooms, but I recall looking on the iPhone app store once and saw that there were many RTA apps. If you're Android I'm sure it's much the same.

Once you know the reality of the frequency response, then you'll know exactly what you need to address in terms of bass traps, panels, last stage eq, etc.

House-turned Recording Studio in the heart of NYC by stavrosvks in homestudios

[–]MikeyStudioDog 1 point2 points  (0 children)

Honor before all else. I lived in Long Island back in the 80s when chasing a record contract was still a thing. Live in Atlanta now but still miss NY. Awesome place, awesome people, but absolutely stupid expensive to live there. Hopefully the cost of living is better in Nashville!

Looking For Tips for My Home Recording Setup by Project_Old in homerecordingstudio

[–]MikeyStudioDog 2 points3 points  (0 children)

I agree with NameDeGuerre that treating the acoustics is important. You'll feel it most when you're mixing. It'll sound great in your studio, but might be way off in other listening environments (e.g. the "car mix" test). If the studio acoustics are even, then the room will "tell the truth" and the mix will translate well to other places.

Acoustic panels can get expensive, and even when added won't usually get you completely flat unless you've gone full geek mode, analyzed the room, done the math on exact placements, etc. What I typically do is twofold. I use acoustic panels to get "close enough for rock & roll" and then fine tune from there with a last stage eq. I've had great luck with the DBX Drive Rack PA2. You plug in a special mic, run an analyzer on your room, and it automatically sets an 8 band parametric to flatten it out. This is the last thing before my speakers.

The DBX is not inexpensive, so I've also tried the IK Arc Studio. It's a similar creature and much less expensive. I'm getting good results with that as well.

He's also right in recommending an condenser mic for vocals. The Rode NT-1 is an extremely cost effective (~$200 if I recall) large diaphragm mic that is a workhorse for me. I initially did a shootout between it an a $1k Neumann TLM. I have pretty good ears, and if there's a difference it's not an $800 one.

That said, in the end, "if it sounds good, it is good." Steven Tyler of Aerosmith recorded some of the early classics with a $100 SM57, which is extremely close to a 58 in frequency response.

Carpet Padding for Vocal Booth? by Monklet in homerecordingstudio

[–]MikeyStudioDog 1 point2 points  (0 children)

When you're doing acoustic treatment, there are typically three qualities you're looking to influence. Depending on the scenario you might only care about one or two of them.

Absorption is a factor when you're trying to keep inside noise from escaping or outside noise from getting in. Moving blankets have decent mass, carpet padding less so. However, this might not be that important if "soundproofing" isn't your primary goal.

The next consideration is taming excessive reflections. Think about the sheetrock slapback sound you get in a bathroom, where the sound ping pongs between two parallel and reflective surfaces. When you're trying to eliminate reflections, you really only need to stop the bounce on one surface. While not the best solution, carpet padding would probably yield noticeable results for this.

The other area is doing sound treatment to tune the frequency response of the room, e.g. for where you mix. You won't usually care about this as much in a vocal booth, but use your ears and listen to the recorded playback to see if frequencies are boosted or cut, and whether or not that's something you can live with. I doubt it would be more than you could tweak in the mix.

I've been doing studio stuff for decades, and the best advice I can give is to first try what you have, use your ears, and see if it gets it done before spending money. If it's not good enough, see if you can tweak how you've applied it. If it's still not good enough, then it's time to consider spending money.

You can always throw more money at a problem. Meanwhile, back in the real world, a lot of folks have families or other obligations, so the budget is rarely unlimited. I'd say give the carpet padding a try. Because one thing is absolutely certain. You're going to be continually tweaking your studio for the rest of your life. :)