Live the dream! Never before has it been this easy and affordable for you to record, produce, and distribute your own music. Don’t let anything intimidate you or slow down your passion for making music. If you have talent, a willingness to learn, and a desire to create, then all you need are a few key components, and you can build and use a recording studio.
What do i need?
Computer. Most modern studios rely on Mac® or Windows® computers. In general, Macs and Windows PCs are equally capable of recording and editing audio and MIDI. Your choice should depend on the operating system you prefer and the audio interface and software you plan to use. Keep in mind that if you’re planning to use a FireWire interface, you’ll need a computer that has, or can add, a FireWire port. Almost all modern computers have USB ports.
Audio interface. This essential device converts analog audio to digital audio and vice versa, so you can record to and play back from a computer. In many cases, the interface also includes MIDI input and output.
Recording software. When you are just getting started or your needs are simple, you should choose software that is easy to learn but has the features to let you grow.
Speakers and headphones. If you want to record quality sound, you need to hear what you are doing. Quality speakers and headphones are amazingly affordable, so invest in the good stuff. Normally you should mix on speakers, but you’ll need headphones for tracking, especially if your studio is packed into a small room. And of course your neighbors will appreciate you using headphones on those late night sessions!
Microphone. You need to generate and capture sound somehow! A mic, properly placed, can make the difference between a good-sounding recording and an obviously amateur effort.
Stands and cables. Cheap cables can cause audible pops, clicks, buzz, and hum, so get the good stuff. If you are sending digital audio, be sure to use cables designed for digital.
Tips on dynamics processing
Compressors are commonly used for many audio applications. For example, a vocal performance usually has a wide dynamic range. Transients (normally the loudest portions of the signal) can be far outside the average level of the vocal signal. Because the level can change continuously and dramatically, it is extremely difficult to ride the level with a console fader. A compressor/limiter automatically controls gain without altering the subtleties of the performance. Furthermore, many vocalists move around in front of the microphone while performing, making the output level vary up and down unnaturally. A compressor can be applied to the signal to help correct this problem by reducing the louder passages enough to be compatible with the overall performance.
Why use noise gates?
Consider the compressed-vocal example we gave earlier; you now have a 20 dB dynamic range for the vocal channel. Problems arise when noise or instruments (air conditioner, loud drummer, etc.) in the background of the vocal mic become more audible after the lower end of the dynamic range is raised. You might attempt to mute the vocal between phrases in an attempt to remove the unwanted sounds; however this would probably end disastrously. A better method is to use a noise-gate. The noise-gate threshold could be set at the bottom of the dynamic range of the vocal, say -10 dBu, such that the gate would shut out the unwanted signals between the phrases.
Attack. Attack sets the speed at which the compressor acts on the input signal. A slow attack time allows the beginning envelope of a signal (commonly referred to as the initial transient) to pass through the compressor unprocessed, whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor.
Compression ratio. The compression ratio is the relationship between the output level and the input level. In other words, the ratio sets the compression slope. For example, if you have the ratio set to 2:1, any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor, the output will only increase 0.5 dB. This produces a compression gain reduction of 0.5 dB/ dB. As you increase the ratio, the compressor gradually becomes a limiter.
Compression. Compression reduces the amount by which a signal’s output level can increase relative to the input level. It is useful for lowering the dynamic range of an instrument or vocal, making it easier to record without distorting the recorder. It also assists in the mixing process by reducing the amount of level changes needed for a particular instrument. How severely the compressor reduces the signal is determined by the compression ratio and compression threshold. A ratio of 2:1 or less is considered mild compression, reducing the output by a factor of two for signals that exceed the compression threshold. Ratios above 10:1 are considered hard limiting. As the compression threshold is lowered, more of the input signal is compressed (assuming a nominal input-signal level). Take care not to overcompress a signal, unless you are doing it as an effect, because too much compression destroys the dynamic response of a performance.
Compressor. A compressor is a type of amplifier in which gain is dependent on the signal level passing through it. You can set the maximum level a compressor allows to pass through, thereby causing automatic gain reduction above some predetermined signal level, or threshold. Punch, apparent loudness, and presence are just three of the many terms used to describe the effects of compression.
Frequency-conscious compression. In frequency-conscious or frequency-dependantcompression, a full-band compressor acts on the entire signal but the detector is set to be triggered by the presence of specific, user-selected frequencies.
Limiter. At the simplest level, a limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold. For example, if you have the threshold knob set at 0 dB, and the ratio turned fully clockwise, the compressor becomes a limiter at 0 dB, so that the output signal cannot exceed 0 dB regardless of the level of the input signal. Typically, compression ratios of 10:1 are considered to be limiting.
A true analog peak limiter is not just a compressor with a high ratio. A compressor’s detector circuit is usually designed to detect RMS, or average, levels, so transient peaks will usually overshoot a compressor’s threshold level. A true peak limiter employs a detector circuit that responds to peak energy levels and thus reacts faster.
Release. Release sets the length of time the compressor takes to return the gain reduction back to zero (no gain reduction) after the signal level drops below the compression threshold. Very short release times can produce a very choppy or “jittery” sound, especially in low-frequency instruments such as bass guitar. Very long release times can result in an extremely compressed sound; this is sometimes referred to as “squashing” the sound. All ranges of release can be useful at different times, however, and you should experiment to become familiar with the different sonic possibilities.
Example of compression settings: starting points
Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range. It’s good for live use. This setting helps the vocal “sit in the track.”
| Threshold | Ratio | Attack | Release |
| -8.2 dB | 1.8:1 | 0.002 ms | 38 ms |
Medium. This setting has more limiting than the Soft compression setting, producing a narrower dynamic range. It moves the vocal more up front in the mix.
| Threshold | Ratio | Attack | Release |
| -3.3 dB | 2.8:1 | 0.002 ms | 38 ms |
Screamer. This setting is for loud vocals. It is a fairly hard compression setting for a vocalist who is on and off the microphone a lot. It puts the voice “in your face.”
| Threshold | Ratio | Attack | Release |
| -1.1 dB | 3.8:1 | 0.002 ms | 38 ms |
