Guitar Preamp

Home Recording Studio Basics-Here's What You Need to Record

2012-02-14T05:38:00.001-08:00

Home Recording Studio Basics-Here's What You Need to Record

After I had blown quite a few thousand Dollars in a recording studio, a sound engineer friend made a cool suggestion. "Why don't you buy an ADAPTER, and do some tracking at home?" So I purchased that venerable 8 track digital tape recorder and saved oodles of time and money putting all my synth tracks on tape. That was my start in home recording, and oh, the fun I've had since!

Home Recording Studio Basics-Here's What You Need to Record

Home Recording Studio Basics-Here's What You Need to Record

Home Recording Studio Basics-Here's What You Need to Record

What are the basic pieces of equipMent and software needs to record at home?

There are so many ways to do this! Well, since you're reading this, you probably have a Computer, so let's base our home studio on the Computer. We'll start by understanding the different functions we will need filled in home recording. Then we'll understand what the best hardware and software products to do itmacaws. In general, the principle I recomMend is to use fewer pieces of equipMent with more functions. That approach saves time and money, usually. As you advance in your recording skills, you can go for more specialized equipment.

There are two distinct phases in recording a song. One is the "in" phase, referring to everything needed to get your music into a basic performance recorded form, with however many tracks you need. The second phase is the "out" phase, where you will take that raw music, process it and create the final stereo version.

The "in" phase--sending the music to your computer

Music can be put into your computer either as audio or as MIDI. Audio is actual sound recordings. MIDI records no sounds, but only the digital instructions for aninstrument to play. It is much like a combination of a pianist and sheet music. Without an instrument, he can make no music. With MIDI, you are saving the note and volume instructions to be played on the instruments of your choice later on.

Although some programs let you put MIDI notes into your computer through your computer keyboard, and other programs have music generation features that allow you to create an enTire backing band without playing a note, the best solution is a velocity sensitive MIDI keyboard. It gives a much more realistic performance. For example, playing a key softer will record a softer notes. Other features, such as aftertouch, allow you to add vibrato and other realistic effects.

Audio simply means actual sounds. Audio tracks will include vocals,acoustic instruments and electronic instruments whose sounds you wish to use. You will do well to get at least two microphones. Some microphones are better constructed to record vocals, while others are optimized for instruments. In addition, having two mics allows you to record in stereo, or two soloists performing at the same time.

Receiving the music into your computer

All of this will get your music up to your computer's door. How do you get it inside? With an audio interface that has a microphone jack that fits your microphone cable and preamp function (so that the signal is strong enough to be properly recorded), phantom power (if you use a condenser mic that needs it), a line input for synths and sound modules, and a MIDI interface. Remember theprinciple-less products that do more. Some find it simpler to run every sound, mics and all, through a hardware mixer (with phantom power and effects) and sending that pre-processed signal to the audio interface's line input. You'll still need the MIDI interface function for your MIDI recording, though.

Once your audio and MIDI are inside your computer, software takes over. For our recording we will use what's called an integrated audio/MIDI sequencer. Famous names include Cubase, Cakewalk and so forth. These programs record multiple tracks of audio and MIDI in perfect synchronization.

Now you have all the equipment you need for the "in" phase. What will you need to take the many tracks of audio and MIDI you have recorded and make a song out of them?

The "out"phase--making MIDI into music

We mentioned that MIDI is simply digital instructions, it is not actual sounds. Now we will need to create actual sounds from those instructions. There are two options for this: external and internal.

External sounds like little boxes called sound modules (or keyboards with their own great sounds). Sound modules have hundreds of high-quality patches that re-create every instrument in the orchestra, electronic sounds, classic new synthesizer creations and spacey sound effects. To use them, you send the back out from the MIDI sequencer program through the audio interface's output and MIDI into the sound module. You then take the audio output from the sound module back into your computer via the line input on your audio interface and recordit on a new audio track in the sequencer. It is now a real sound and is perfectly lined up with the other tracks.

Internal sounds like lots of different types. Instruments that you use from within your audio/MIDI sequencer includes VST instruments and software synths. The latter may automatically come with your audio interface, or require installation like any other program. Option two is a full-blown sampler/synthesizer program, such as "Reason", that you connect your sequencer to through a function called "Rewire software." And there are also sound modules that come in the form of PCI cards that you physically install on your computer.

Fine tuning and effects

Most every song will use spatial effects such as reverb and echo. You may find that some tracks areslightly out of tune. On others, there may be a consistent buzz that needs to be removed. For all of these, you will want to have an audio editing program or Plug-in. A Plug-in is simply a function you can add to your basic sequencer program. Plug-ins exists for all kinds of functions, including reverb, compression, equalization, noise reduction, pitch correction and so forth.

An audio editing program is a standalone program that does all of these things. With most audio/MIDI sequencers, you can configure your software to call up the audio editing program and fix the track without leaving the sequencer.

Mixing down

Once you have all of your tracks and sounds recorded, you will need to mix them down to stereo. Again, this can be done in an external or internalfashion. To do it externally, you would need a hardware mixer. This method limits you to the number of tracks you can send independently through your audio interface and the number of tracks your mixer can handle. Nonetheless, mixers give you a real surface to work on, and often includes quality studio effects, reverbs and such.

Internal mixing means using your audio/MIDI sequencer to mix down the enTire song to two tracks. The advanTAGe of doing it internally is the expanded number of tracks you can use. The disadvanTAGe is the difficulty of mixing with a mouse on a computer screen. There are, however, hardware mixing surfaces which simply control your software program.

Mastering and burning

Once you have your stereo mix, you want to put the finishing touches onit. These touches include overall compression, equalization, noise reduction, fade in and out and bringing the recording up to a normalized level of volume. Your audio editing program should be able to handle these adequately, although there are specialized mastering programs which offer higher quality enhancement features and many more.

Then you're ready to burn your song to CD. Odds are that your CD writing drive came with a program that does just that and you won't need anything more. I did mention that you'll need a CD writing drive, didn't I? Well, now I did! And if it's MP3 you're after, most audio encode MP3s programs as well.

Home Recording Studio Basics-Here's What You Need to Record

M-Audio Profire 2626-Can It Record 26 Channels?

2012-01-26T09:34:00.001-08:00

M-Audio Profire 2626-Can It Record 26 Channels?

The 2626 in the name can be a bit misleading ... yes, you can record 26 channels but you won't be able to use the on-board DSP mixer while doing so. It can record up to 12 tracks at the sampling rate of 96 kHz and 88.2 or up to 18 tracks at even lower sampling rates.

M-Audio Profire 2626-Can It Record 26 Channels?

M-Audio Profire 2626-Can It Record 26 Channels?

M-Audio Profire 2626-Can It Record 26 Channels?

Those looking to run an enTire home studio with this unit could very well do so as long as you don't need more tracks than stated above, unless you integrate it with the mixer in your DAW, which would allow you to split your track count over the two. Great for things like recording an drum kit with lots of mics and a band live off the floor, or just to have in your control room for things like vocals and guitar, keys etc.

Wether you're on a Mac or PC the Profire 2626 will work for you. I've heard some badreviews from users complaining about M-Audio drivers not getting along with certain Computer systems ... since 2010 most of the problems have been adDressed by M-Audio and getting the updates from their site will ensure you get the most up-to-date drivers for your system.

Key Features:
Quality mic pre-amps On-board Mixer/router

Now besides all the technical information about this interface, the most important thing is the actual sound quality because that's really whats most important when all is said and done. The Profire 2626 is equipped with premium A/D-D/A converters (audio to digital, digital to audio) and this is where the real quality comes from.

As a stand alone 8 channel pre-amp it can be connected directly into your first 8 ADAT outputchannels. Then use the line, instruMent/mic ins (with pre-amps) with any other piece of digital equipMent.

My favorite thing about the M-Audio Profire 2626 is the onboard DSP mixer/router. This basically lets you create as many as 8 stereo mixes, even pre-set them for later call up.

You can route 52 audio streams and send them to hardware outputs and 26 with the mixer you can select any of the 26 hardware inputs and 26 software returns as sources for any of it's 18 input channels.

Another of the best features is the very nice preamps which are on each of the 8 analogue inputs which will record pro quality 24-bit/192 kHz audio resolution.

M-Audio Profire 2626-Can It Record 26 Channels?

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

2012-01-09T01:32:00.001-08:00

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

Breedlove's Custom Shop in Tumalo, Oregon produces some of the world's best guitars. Among them, is the Focus Dreadnought SE. The Special Edition is built with a red (Adirondack) spruce top, East Indian rosewood back/sides, along with flamed Koa binding.

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

The guitar is deeply resonant with a warm yet punchy, piano-like bass. It responds particularly well to a firm touch, and the lack of a pickguard is nice for the extra resonance, although those who use a plectrum should consider using a removable pickguard, such as those produced by DS Custom Shop, which work quite well with glossy finishes.

Features include a sixteen inch lower bout, Gotoh tuners, Tusq nut and saddle, ebony fingerboard and bridge, hardshell case, and LR Baggs Dual EleMent electronics. There are no extra holes that are cut or drilled for the installation of the LR Baggs Dual EleMent pickup system, all of which is easily removable. The preamp and battery units are attached by Velcro and tape. The preamp is attached on the side or the upper part of the back, whereas the battery is attached near the neck's base. Although any changes made to the guitar will have an impact on the sound, this system's installation is minimal, and essentially not even noticeable.

Here's a quick breakdown of the differences between the Focus D and the Focus D [http://www.macnichol.com/mm5/merchant.mvc?Screen=PROD&Store_Code=MGAM&Product_Code=SD25_SE&Category_Code=Dreadnought] Special Edition:

Focus D

Sitka spruce top Ivoroid binding Abalone rosette Focus inlay

Focus D SE

Red spruce top Flamed Koa binding Master Class spoked abalone rosette Focus Special Edition inlay

Breedlove Guitar Company's Focus Dreadnought SE (Special Edition)

EQ and Compression Techniques For Vocals and Acoustic Guitar

2011-12-21T18:32:00.001-08:00

EQ and Compression Techniques For Vocals and Acoustic Guitar

Compression

When I first started reading about compressors I was hopelessly lost. The terminology was technical in an almost mean-spirited way and I couldn't make heads or tails of what was being written. To keep things simple, I think of compression as a way of evening out the loud and soft parts of any vocal or instruMent so that its behavior is a bit more predictable. In other words, compression brings up the really soft spots and tames the really loud spots so that you're not constantly reaching for the volume fader on your mixing board (or virtual mixing board on your DAW). In its simplest form, a compressor, whether a hardware unit or a Plug-in, will squeeze the audio so that its highs and lows are less pronounced. This allows you to do things like bring down the volume level of the compressed track without fear that its softer parts will get lost, or bring up the volume level without fear that the loud parts will jump out. It might help to think of all compression settings (attack, release, ratio and threshold) as ways to squeeze your audio more or less aggressively. Not enough compression will leave tracks that jump out of a mix at inappropriate times or get lost in the sound of the other instruMents; however, too much compression can make a track sound lifeless or uninspired. My rule of thumb is to be less aggressive compressing audio on the way into your DAW (because you're stuck with whatever you do) and more aggressive with my Plug-in compression (because you can always dial it back).

While a wonderful (and essential) tool, EQ is also quite possibly the quickest way to royally mess up the sound of a mix. Overuse of EQ ranks second only to overuse of reverb as the hallmark of an inexperienced mix engineer. EQ should be used to subtly (or not so subtly) color the sound of the particular track you're working on so that it relates well to and leaves space for the other tracks in a mix. My experience has been that it's what you pull out and not what you put in that makes EQ work best. For example, even when you're looking for a boost in the high frequencies of a track, it's often more effective to pull a few dB from a lower frequency which, in turn, brightens the sound.

Vocals Vocal Compression on the Way In

Since the vocal (despite what your guitar-playing pals might tell you) is the most important eleMent of any popular music mix, let's start here. Getting a vocal to sit well in a mix is a combination of compression, EQ and often volume fader automation. It's a fAirly common practice to compress a vocal a little on its way into your DAW. This shouldn't be an aggressive type of compression but rather just enough to tame some of the loudest spots of a vocal so that your overall recording volume can be hotter.

An approach to the vocal chain in my studio runs as follows: microphone into hardware preamp/compressor and then directly into my DAW. To get into the nitty gritty, I generally set my hardware compressor's attack settings at around 30ms and release settings at about 1 second and my compression ratio to 3:1. Then, I play with the threshold making sure that at the hottest parts of the vocal, the gain reduction is at a maximum of -3dB. This leaves me room in the mix to compress further using a software compression Plug-in. The danger of compressing too aggressively on the way in is that you'll end up stuck with the sound of the overly compressed vocal with no way of changing it later.

Vocal Compression in the Mix

Once the vocal is in the mix, I go to a Plug-in compressor to further help keep the vocal present in the mix without jumping out too much in the loud spots. My recomMendation would be to find a compressor that has a smooth, transparent sound that allows you to squeeze the vocal just a little more (approximately -3dB of gain reduction at the loudest spots) so that the vocal maintains it's presence. I set my attack at 26ms and my release at around 300ms. For more detail, take a peek at my general vocal settings in the screen shots on the right. If the mix is a particularly full one where the voice needs to cut through a bit more and show a little more sparkle, I'll use a frequency-specific compressor (like the Waves C4 on its "pop vocal" setting) which is a little more specific in terms of which frequencies it chooses to compress. In this case, 40hz, 500hz, 6khz and 16khz. To see exactly how the attack and release settings are set up for each frequency, take a look at the screen shot here below.

Vocal EQ

I rarely, if ever, EQ my vocals on the way in. I prefer to get a good uncolored vocal sound so that when it comes time to mix with the final instrumentation, I have the flexibility to work with the un-EQed vocal audio. This is particularly useful when you start by tracking a vocal against a single instrument like the acoustic guitar but end up mixing it in with a full band. EQ decisions shouldn't be made in a vacuum. Ultimately it's the relationship of the voice with all of the other elements in the mix that determines the EQ approach. Often, a vocal EQ that works in a mix won't sound particularly good when the vocal is soloed. As I mentioned earlier, my preference is to cut the EQ in certain frequencies as opposed to boosting it.

Here are a couple of instances where cutting frequencies can solve common vocal problems:

Muddy or Boomy Vocal - In this situation, I tend to pull a dB or two at around 200hz. This also has the effect of making the vocal cut through a mix better or sound brighter. Piercing or Painful Vocal - Here, I'll pull a few dB at around 3 khz. This tends to take the edge off of the vocal without removing any of the clarity.

Here are a couple of instances where the tasteful boosting of frequencies is useful:

Bringing out the low end in a vocal - add 1 or 2db of gain at between 80hz and 100hz Adding Brightness - Occasionally if a vocal sound is just a bit too dark or undefined, I'll add a few dB of gain at 5khz Adding Air or Breath - Here I'll use a shelving EQ which boosts all frequencies above 12.5khz
Shelving

In a shelving EQ, a band of frequencies, in either the high or low frequency end of the spectrum, is increased or attenuated by a fixed amount. The term shelving doesn't usually apply to a mid-range boost or cut.

Acoustic Guitars

While working as an engineer in Nashville, I spent a lot of time miking and recording acoustic guitars. Despite the steadily improving pickup systems being installed in acoustic guitars, I still believe that there is no substitute for a well-placed condenser microphone (or microphones) when it comes to capturing the warmth, body and Air of an acoustic guitar. However, as with all acoustic instruments, it's a challenge to properly sit one in a mix and preserve its texture and character while also blending it with the other instruments. There are a couple of approaches to compression and EQ that will go a long way towards solving this problem.

Acoustic Guitar Compression on the Way In

When compressing acoustic guitar on the way into my DAW, I find it's better to be a bit more aggressive with attack and release settings than you would with a lead vocal. I'll use the more of a medium Fast attack (approximately 22ms) and release (approximately 500ms) on a hardware compressor with a ratio of 3:1 and then play with the threshold knob until, again, the gain is attenuated by about -3dB.

Acoustic Guitar Compression in the Mix

At this point, it's a good idea to base your compression settings on the kind of a mix you're doing. If it's a simple acoustic guitar and vocal recording, it's enTirely possible to leave off all compression on the acoustic. However, if it's a full band mix and I want to make sure you can hear the acoustic strumming or finger picking clearly among the other instruments, I'll use a compression plug-in (like Metric Halo's Channel Strip) and compress a bit more aggressively: 16ms attack and 160ms release with a ration of 3.5:1. Take a peek at my settings.

Ratio

A compressor reduces an audio signal's gain (level) if its amplitude exceeds a certain threshold. The amount of gain reduction is determined by a ratio. For example, with a ratio of 4:1, when the input level is 4dB higher than the threshold, the the compressor will process the signal so that the output signal level will be 1dB over the threshold. So the gain (level) has been reduced by 3 dB.

Acoustic Guitar EQ

Very much like vocals, I don't believe in EQing acoustic guitar while I'm recording it, only because I rarely know what the other elements of the mix will be. However, there are a two very specific approaches I use to EQing an acoustic guitar depending on whether or not it's accompanying a vocal performance or a part of a bigger mix. In general terms, the EQ approach is more subtle in the simple guitar/vocal to preserve the fuller tone of the acoustic and more aggressive in the full-band mix to make room for other instruments while still preserving the essential elements of the acoustic's sound.

Here are some EQ settings for a simple acoustic guitar and vocal recording:

Removing Boominess - I like to pull 1 or 2 dB at 125hz to remove the boominess that often accompanies miking an acoustic too close to the sound hole. Adding Sparkle - If after removing some of the boominess, I'm still looking for more sparkle in the acoustic, I'll boost a dB or two at 5khz.

Below are some EQ settings for an acoustic in a full band recording:

Adding Clarity - I've found that a high-pass Filter at 120hz leaves room for the kick drum and bass guitar in a mix while allowing the acoustic to shine at the higher frequencies. Leaving in the low parts of the acoustic's frequency will often muddy the mix and obscure the kick drum and bass. Still muddy? - don't be afraid to take your high-pass Filter up to 200hz or even 300hz if the guitar still isn't cutting through the mix. It may sound terrible soloed but perfect in the mix and that's the key. Adding Sparkle - As above, if cutting out the low frequencies isn't enough to get the acoustic to cut through a mix, adding two or three dB at 5k will do a lot to bring out the strummed or finger picked strings of the acoustic.

Compression and EQ are two very powerful weapons in your mix arsenal, but as with anything, overuse will do more harm than good. I think back to the words of an engineer whose work I really respect who liked to say "I'll compress until it sucks and then back it off from there." In other words, knowing when to say "when" is an equally useful skill. A final thought...as far as signal path is concerned, I tend to place compression after EQ because EQ effectively raises or lowers the volume of the track and I've found I get a more effective response from the compressor if I hit it with the EQed audio. I would highly recommend using the above EQ and compression settings not as an ironclad rule but rather as a jumping off point. Every mix is different and your ears will tell you what's working and what isn't.

Good luck!

The Problem With Recording Schools

2011-12-04T12:20:00.001-08:00

The Problem With Recording Schools

I remember about 5 years ago. I bitten by the recording studio bug. Before I knew it, I had maxed out a few credit cards and taken out a large loan to pay for enough recording gear to record a full band. I was excited about recording bands. I knew nothing, but I certainly wanted to learn. I saw a few ads in beginner recording magazines for these immaculate looking studios combined with classrooms. I thought these guys would transform me into a recording genius.

I quickly enrolled into one of the best recording schools in the country. I was excited. They even turned me on to Tape Op magazine, which I am very thankful for. I thought I was going to go into the recording school as an idiot and walk out recording Aerosmith. Somewhere in there I got to thinking. How many recording engineers are there? Since the school has hundreds and hundreds of graduates every year and there are other recording schools all over the country, how could all of these engineers be recording Aerosmith. More than likely, there are only one or two engineers working with Aerosmith. There are probably two more working for Metallica and two more working for Van Halen and that pretty much wraps up the mega big boys. That's right. There are six mega big boys. There are more all stars in professional baseball than there are top recording engineers.

So what are these schools really selling you? They may be teaching you how to work a console and they may teach you a few engineering tips too, but where are the Jobs? Many of the big studios are hurting. This means there are less and less big time recording Jobs available. So where are the thousands of 20 year old kids who owe ,000 in student loans going to find Jobs in the audio industry? Most of them will not be working in recording studios. The sad part is most of them are going to have trouble finding a decent paying Job at all. Graduating from "tech school" doesn't usually look the best on a resume. You may be able to run a Neve console, but the only job that needs that is an audio engineer and those jobs are getting harder and harder to find.

I'm not saying that you shouldn't go to recording school. Honestly, I'd love to attend a recording school. That would be great. Unfortunately, there is reality and recording schools don't make much sense in mine. Maybe you will be next guy to go to recording school and then end up with a few grammy awards sitting on the mantle.

If a person is really serious about learning how to record, there is no better time than 2 minutes ago. You are late. Get on it. All it takes is a Computer from 3 years ago, a recording soundcard, and a few microphones. (Okay, there are some other things needed, but I'm trying to make this look easy). The hard part comes not from buying the gear or even figuring out how to work it. The hard part comes from figuring out how to make a killer record that actually sounds good. That one is still a mystery to me. The experience you could gain by jumping face first into recording bands could be just as good as learning the old school way. I'm guessing that both have their flaws.

In the end, some of us were just meant to be in audio. We'll find a way. If recording school is the way for you, by all means, go for it. I have to say that I'm glad that I pumped my tuition money into fancy microphones and preamps. My studio stays busy and I'm learning as I go. Life could be worse.

acoustic guitar preamp kit

How Do Guitar Amps Work?

2011-11-17T06:41:00.001-08:00

How Do Guitar Amps Work?

Guitar amps are strange commodities in the music world. Anyone with a pickup on their guitar has got to Plug into one, but it's rare that people understand just how the little boxes make your guitar sound so loud. Learning about how guitar amps work might help you learn about using the electronics and settings on both your guitar and amplifier in a more practical and efficient fashion. Here is a short lesson on how that big sound comes out of that little box.

The Anatomy

The anatomy of a guitar amplifier is quite simple. There are just three major components - the preamp, the power amp, and the Speaker. Don't be confused by those big huge stacks that people use as amps too (head and cabinet designs), they are exactly the same, just the pieces are not contained in one little box like the practice amp you have at home. Each piece of the amp serves a certain role.

Preamp

The preamp is what you are actually Plugging your guitar into. It receives an electronic signal from your guitar. This is also where those little controls you love to mess with are located, in the preamp you'll find the treble and bass, some fancier models have reverb and other distortion eleMents included as well.

Power amp

After the electronic signal is received by the preamp, it is passed along to the power amp. The power amp is what super charges the signal and makes it nice and loud. If you've got a huge and powerful power amp, then you'll be able to get huge and powerful sounds from your guitar. The power amp takes the signal from the preamp (and any information about treble and bass adjustMents etc.) and finally passes it to the Speaker, where it reaches the human ear.

Speakers

Bigger Speakers allow the lower sounds of an instrument to be stronger, which is why you'll notice that bass amps are bigger than guitar amps. The most prominent part of the amplifier that you can see is the speaker, you may or may not be able to see much of the preamp and power amp. Typically all three of these components are housed inside the same unit, a little (or big) box.

Variations

With an understanding of the anatomy of an amplifier and how it works, you can now begin to experiment with different combinations. The head and cabinet design mentioned before features two parts, the head, which is the preamp, and the cabinet, which houses the power amp and the speakers. Head and cabinet designs are common for professional musicians because it gives them the ability to combine different preamps with another power amp and speakers. These are not popular among amateurs because they tend to be large and cumbersome, not easily transported from home to your buddy's garage practice location.

Understanding how guitar amps work will give you the ability to make adjustments in your sound more carefully, especially if you have a preamp with lots of features. As you progress, you'll get more particular about the sounds you want your amp to produce.