In this video I’m basically tackling the thing that ruins more vocal recordings than “bad mics” ever will: the room. I’ve got a well-treated control room, an Atmos room, a treated live room, and a big hallway, and I used to track singers in the live room through my Audient setup (ADAT runs, headphone amps, talkback—the lot). It worked, but the constant back-and-forth was a workflow killer, and when I started tracking in the control room corner with a couple of panels, singers kept telling me it felt weird—like I’d sent them to stand in the naughty corner. So I let GIK send me their new PIB Modular Mk2 panels and set them up as a proper little booth in the back of the control room. The big takeaway: it’s not just “drier”, it’s broadband absorption, so you don’t get that low‑mid build-up you get with foam-covered booths and reflection filters (the kind that give you the muddiest-ass recordings imaginable). It’s also a psychological win: artists feel like they’ve got their own space, performances improve, and sessions move faster because they’re still in the same room as me. I finish with real before/after vocal examples from a session with Levi Kelly—same mic (Austrian Audio OC818), same chain (Audient iD48 into my Heritage Audio Grandchild Fairchild-style comp), same tracking approach—so you can hear what the booth changes in clarity, intimacy, and that low-mid “sustain” stuff.