Getting Started: A Guide To Home Recording
note-This is a work in progress.
–last update: October 16 2008–
Part 1: Introduction
It is often overwhelming, the vast amount of information on recording, microphones, speakers, and acoustics out there. What do you actually need to set up a home studio?
I aim to make a straight forward, easy to follow and logical guide to home recording, from choosing an interface to microphone placement.
There are a few things you need for recording:
- A computer: most people these days record on computers. Alternatively you can use a standalone hard-disk recorder, but then you miss out on things like editing, and plugins. You should either have a PC with at least a Dual-Core processor and 1GB of RAM, or at least a G5 Mac, to keep up with the industry and demands of today’s software.
- An Audio Interface: This is where you connect microphones and other devices to get the sound into the computer. It also is what you will connect your speakers and headphones to so you can hear it.
- Speakers and headphones: Good quality monitor speakers are so very important, they have a wider frequency range than small computer speakers and they have a flatter frequency response giving you a more detailed and accurate ‘image’ of your recording. You also need headphones designed for studio use when recording along to pre-recorded tracks, which is called overdubbing.
- Microphones: it is good to have a variety of microphones for different jobs. Dynamic, Condenser, and Ribbon microphones have their own characteristics and experimenting is the only way to know what is best for the situation. As a first microphone, a good large diaphragm condenser microphone will be the best value. I will explain this all in detail later.
- Recording Software: There is a lot of competition in this area but there are a few big names you should know. Digidesign’s ProTools, Steinberg’s Cubase, Cakewalk’s Sonar, and Apple’s Logic. Choice of software is part personal preference and compatibility with your computer and interface. For example Logic is only for Mac, and Protools is only for Digidesign/M-Audio interfaces. The software along with the computer and interface is called your Digital Audio Workstation (DAW).
- Acoustic Treatment: Bass trapping, broadband absorption and foam. This is not sound-proofing, this is getting your room sounding good for recording and mixing. People tend to skip this essential step, and in many ways this is more important than microphone, speaker and DAW selection.
- Other: Cables, external hard drive for transfers and backups, speaker stands, mic stands.
Part 2: Choosing An Audio Interface
So just how do you get started? Well, assuming you have a decent computer, the first step would be to purchase an audio interface. You may be familiar with your computer’s soundcard, an interface is similar in that it passes audio in and out of the computer and software, the difference is with the inputs and outputs (aka. I/O), and it is an external device usually connected via USB or Firewire.
Here are some key features to look for:
I/O: The inputs and outputs make up a large part of selection process. The more inputs available, the more microphones or other devices can be connected and recorded simultaneously. A guitarist looking to just record his guitar and possibly vocals could get by with just two inputs on the interface, while you may want more than that, for miking a drumkit for example. Typically there are microphone XLR jacks, 1/4″ unbalanced jacks, 1/4″ TRS jacks, RCA jacks, and often some form of digital connections such as S/PDIF coaxial or optical. I will explain the differences another time. Briefly if you want to connect a microphone you need an XLR input.
Microphone Preamps: Microphones require preamplifcation for their signal to be usable. Quality varies widely, as do the number of them on the interface. How many preamps available depends on the connection type. USB interfaces will have 1 or 2 preamps max, USB 2 will have up to 8, Firewire will have up to 8.
HI-Z inputs: A high impedence (Z for short) input is a great feature on an interface, what it does is allow you to connect an electric guitar or bass directly to the interface making it as simple as possible for recording. Without this feature you would need a DI (Direct Injection box) to convert the hi-Z instrument signal to low-z mic level. A hi-Z input is like having a DI built into the interface, however there are some great DIs out there you might want to check out in the future.
Phantom Power: Phantom power is required if you want to use condenser mics (you will), and most audio interfaces will have this option, always check.
Connection type: Interfaces are connected to the computer with either USB, USB 2, or Firewire 400 cables. This effects the maximum i/o available to you. USB is limited to 2 in, 2 out, which is fine for most recordings. If you need to record drums or full bands, you’ll need to look at Firewire or USB 2 . USB 2 will get you up to 8 inputs. Firewire will get you above 20, however most of those connections will be digital.
So lets get down to it. What do you need the interface for? Are you a guitarist looking for something quick to help with songwriting, are you in a band hoping to get some demos recorded, etc. Does portability matter? How many inputs are you going to need? What about the software? If you need to use Protools then you are stuck with only Digidesign or M-Audio products.
Think about those questions and it will hopefully be easier to choose one.
Part 3: Your New Interface
So now that you’ve bought your new audio interface, what’s next?
Well you should probably take a quick read through the manual, and then actually read the manual. You should make yourself familiar with the controls and the set up instructions.
The next thing is to go to the manufacturer website to download the latest drivers for your product. Its also a good idea to register the product because this is how you get free support and sometimes access to hidden parts of the website.
With the latest driver downloaded, run the installer and then plug in the interface and turn it on. The computer should recognize the interface and be ready to use in seconds.
Audio interfaces usually come with bundled software. Light versions of software and plugins, for you to play with and make some music and give you an overview of the DAW before you buy the full version.
Latency: Latency is the time delay between input and output. The lower the latency the better it is for recording, however it is harder on the system and is not always possible. Firewire interfaces should be capable of near-zero latency (64 samples) and most USB interfaces have a zero latency monitoring control which sends the unprocessed input directly to the output. This is also called direct monitoring, I strongly advise against using this feature. To adjust the latency of the interface you want to look for the ‘buffer size’ control. A higher buffer size is useful when mixing with a lot of plugins, and a low buffer size is preferable for tracking, adjust as necessary.
Part 4: Microphone Basics
There is a lot to learn about microphones so let’s get right to it.
All microphones are transducers. They convert acoustic energy into electrical energy. Speakers are also transducers, the exact opposite of microphones.
There are three types of microphones:
1 – Dynamic microphones operating on the Magnetic Inductance principle.
2 – Ribbon microphones also operating on the Magnetic Inductance principle.
3 – Condenser or Capacitor microphones operating on the Variable Capacitance principle.
Magnetic Inductance uses a fixed magnet and a movable diaphragm with a small coil attached. The coil is placed in the magnetic field and moves when sound hits the diaphragm. When the coil moves, voltage is generated. In Ribbon mics instead of a moving coil a very thin metal ribbon is attached to a magnet.
Variable Capacitance uses a an element consisting of two parallel plates, separated by a small space. The front plate is a thin, metalized movable plastic diaphragm and a fixed back plate. These plates form a capacitor, a device used to hold an electric charge. As the front plate is moved by acoustic energy, the capacitance change causes a voltage change, varying the signal. Condenser mics contain a preamplifier that requires phantom power, with the exception of tube condensers.
Phantom Power is a method of remotely powering an amplifier (such as in a microphone or a DI) by sending a voltage along the audio cable. Phantom power is supplied by a mixing console, microphone preamp or audio interface. Ribbon microphones should not be sent phantom power as it will in most cases destroy the very delicate ribbon. Dynamic microphones will not be harmed by phantom power.
Characteristics of microphone types:
Generally, dynamic mics are rugged, can handle high volume sources without distortion, generate low self-noise, and are usually less expensive. The higher mass diaphragms have a slower transient response.
Ribbon microphones are not as widely used, they are extremely delicate, have a low-self noise, but also a very low output signal, meaning a poorer signal to noise ratio at times. The transient response is better than a dynamic, but not as quick as a condenser.
Condenser microphones are highly sensitive instruments, with a very fast transient response. They have a high-output level resulting in low signal-to-noise, and a wide frequency response.
The next thing to know about microphones is polar patterns. A polar or pickup pattern is the shape around the microphone where it is sensitive to sound.
Omni-directional: Imagine a sphere around the microphone, sound will be picked up on all sides.
Figure 8 or Bi-directional: Pickup is front and back of the diaphragm, with no pickup on the sides. All Ribbon mics are Bi-directional.
Cardioid or Uni-directional: The most commonly used pattern, named for it’s heart shape. Pickup mostly from the front with good rear rejection. Point the front of the mic at what you want to record.
Super-Cardioid: A tighter pattern than standard cardioid, which results in sensitivity to the rear.
Hyper-Cardioid: Even tighter than super, with even more rear pickup, it is still mostly front directional.
Part 5: Choosing A Microphone
There are thousands of microphones of various types, in a wide range of prices, how are you to know which one to buy? If you already have a selection of microphones, how do you know which one is right for the job?
To answer the first question, it all comes back to your needs. Are you a musician? A guitar player, singer, or drummer? Lets go back to the different types of microphones, dynamic, condenser or ribbon.
A dynamic mic is generally capable of withstanding higher SPL levels like Marshall stacks on 11. They are durable and work well for vocals or instrument miking. A dynamic mic usually has a fixed polar pattern, usually some form of cardioid. If it is going to do double duty and be used on stage, dynamic mics are worth considering.
A condenser mic will generally have a flatter response, will be quicker to react to sounds, and will be good for vocal or instrument miking. They also require phantom power, and are more delicate, and usually more expensive than a dynamic mic. Many condenser microphones will have variable polar patterns. Condenser mics come in two types, large diaphragm being popular for vocals and general miking, and small diaphragm for acoustic instruments.
A ribbon microphone is the most delicate of all, I wouldn’t recommend as a first microphone purchase. They are very sensitive, have a bi-directional pattern and do not need phantom power. Care must be taken not to stretch or break the ribbon with excessive sound levels or blown air. They are useful if you are looking for a darker or vintage tone.
As a first microphone I would recommend a lower priced large diaphragm condenser such as Studio Projects B1, an Audio Technica 2020 although saving for something in the 40 series would be worth it. There are hundreds of mics in the sub $300 range that would provide great value for acoustic instruments, vocals, speech, or amplifier miking.
Alternately dynamic mics like a Shure SM57, or 58, AKG D5 or Audix i5 would all be great choices. Consider buying a LDC before you buy a second dynamic.
Now as for which mic is right for each situation, that comes down to experience, the characteristics of the microphones available, the instrument you want to capture, background noise rejection, and finally your personal preferences. Some microphones have become ‘industry standard’, textbook examples of what to use, such as the SM57 for snare drums and guitar cabinets. Ultimately use your ears.
Some examples of commonly used microphones for various sources:
Acoustic Guitar: AKG 414, M-Audio Pulsar II, AKG C451B
Guitar cabinets: Shure SM57, AKG 414, Sennheiser MD421, Sennheiser e609, Audix i5
Bass Cabinets: Shure SM7B, AKG D112, Neumann Fet 47
Drum Overhead: Audio Technica 3035, AKG 414, SE Electronics SE3 pair, Cascade FatHead 2
Kick Drums: AKG D112, Electro-Voice RE20, Shure Beta 91, Shure Beta 52
Snare Drums: Shure SM57, Sennheiser MD421, AKG D5, Audix i5
Toms: Shure SM57, Sennheiser MD421, Sennheiser MD441
Vocals: Shure SM58 (standard live vocal, U2 vocals), AKG C12, Audio-Technica 4050, Shure SM7B (great hard rock vocals), Electro-Voice RE20 (Radiohead)
As you record more and more, you will develop your own preferences.
Part 6: Speakers
Check back for this section
Part 7: MIDI
I haven’t written this section yet!
Part 8: Making Connections
This section is incomplete
To be continued…..
