Building a Home Recording Studio | Part 2

PC or Mac, this is the ultimate question. If you're unsure of which one to get, you can always get a Mac and install parallels to run both platforms. A PC will ultimately be a little more affordable and have multiple options for a decent DAW.

I have personally had both computers and over the years have settled on a Mac. I started with a G4, then moved to a G5, and now I currently use a Mac Pro. If you're going to run a ProTools HD system, you'll need a computer that can handle PCIe cards. You can buy a chassis to house the PCIe cards, but then that is one more cable and device on your desk.

Be sure to get a computer with a fast processor and at least 8 GB of RAM. The i5 & i7 processors are excellent options for audio production. If you're not quite sure what to choose, call a specialist. I work directly with Joseph Secu at Sweetwater.com (800) 222-4700 x1232.

Also be sure to get a good monitor. With all the mainstream TVs having the ability to connect via HDMI or VGA ports you can have a large selection of monitors to choose from. Being able to see what you're working on is very important. You're going to be starring at this computer sc

reen for hours on end, so it would be a good idea to invest in a screen that doesn't strain your eyes.

Tomorrow we'll cover microphones.

Building a Home Recording Studio | Part 1

Starting a home studio can be confusing at times. There's so much information on the web that you don't know where to start. Here are a few helpful tips on how to get your studio going.

Start with a budget. Stick to the budget. You're not going to build a world-class studio overnight. It takes time to develop a feel for how a studio operates. Buy affordable gear at first to determine if you have the talent and stamina to run a studio. Running a studio is a full-time job and will consume all of your free time. So it's best not to invest all your money into the studio up front. 

Get a decent interface. One that has a few mic preamps and some routing options. As you grow, you can upgrade your interface. There are so many options, but you can find used Digidesign 192 HD interfaces on eBay for about $500. Start with one of these if you can afford the system setup. If you're on a tighter budget, I recommend an interface that has been modified by Black Lion Audio. They offer superior A/D conversion and at a price that won't break the bank. 

This will be the core of your studio, so spend a little bit of time researching what will work best for you. A good computer is also vital and there are many PC & Mac options. We'll get into that tomorrow. 

Music Review | EsZ "Maybe I'm Trippin"

Brooklyn's hottest musical genius, EsZ, has released a new single, "Maybe I'm Trippin" and brings his smooth flavors to the music industry. A reflective track with lyrics that reminisce the vintage styles of artists from the past decades with a flare for the progressive direction that the hip hop movement is making. EsZ is a pioneer into the uncharted territory of the unknown future of music. The track finds a way to combine instruments in a composition that brings emotions from all directions. When you here this track it strikes a chord with your own feelings even if the lyrics are not what's repeating in your own mind.

Production techniques on this track are very progressive and exemplify the deep creativity of everyone involved in this production. EsZ has surrounded himself with a team of professionals that are breaking ground on a new voyage deep into the heart of new musical ideas. Great things come from the artists that think outside of the box and this track will definitely have you trippin' on the unique style of the flow from beginning to end. Take a few minutes out of your day and check out the track. It just may take you to a new level of consciousness and possibly lead you to adding the track to your music collection.

Recording Drums

Tracking drums is an art form that takes years to get right. There is a lot of trial and error, so get used to disappointment. You have to really grasp your mics, gear, and room. That said, there's one major problem with tracking drums. The drummer keeps changing. Not all drummers can be good studio drummers, so here's a few tips on making sure you get good drum tracks on your recordings.

First, studio drumming is not the same as live performance drumming. When you have microphones all around your kit, it does take a little finesse to get good takes.
Second, the drum setup is completely different in the studio. There needs to be separation between the high hat / cymbals and the toms. This means that the cymbals need to be raised up higher so they're not in the same plane as the drum heads. You may not agree with me, but your album will be all washed out.

Third, microphone placement is crucial! This one I can't stress enough. If you have a tom, a cymbal, or whatever the hell is on your kit and you only hit it once, get it out of there. That can be overdubbed later and does not need to take up real estate that the mics need.

These are just the foundation for a good drum setup in the studio. Leave comments or questions if you want to hear me rant some more.

More info about recording drums on our site: http://shineonstudio.com

Recording Guitars & Amps

Recently recorded a project that had some heavy guitar riffs. The guitarist wanted to get that overdriven tone, but still retain clarity. This is always a challenge for any engineer. Mic choice and placement are crucial. Amp volume rears its ugly head in your face and can create a nightmare for you in the mix. Here's how I did it without spending a lot of time trying to get just the right take in one shot.

Setup a few mics in front of the cab. I like to use a Shure SM57, Shure SM7B, Sennheiser e606, and Sennheiser 421. Put one in front of each cone slightly off-axis and pointing away from each other. Then run the guitar to a DI for tracking the clean signal and then thru to the amp head. Based on how many mics you setup + the DI, you'll have a decent amount of tracks to work with. Normally, I don't use all the tracks, plus there can be phasing issues. All I need is one good track from the take and we're golden.

The first take should be at the level of over-driven tone that the guitarist prefers. Then re-amp the clean signal with the amp at a slightly lower volume. This should give you more clarity from the performance. You can keep doing this routine until you get enough layers to blend in the desired sound for the guitar tone. Pan out the different takes and adjust volume levels to widen the mix.
This is just the concept. You'll need to experiment with your setup to find out what works best.

More recording techniques and info on our site: http://shineonstudio.com

Mixing without plugins

How many of your mixes have plugins strewn across each and every channel? I'm going to guess almost all of them or at least a good portion of them. Are you relying on the plugins to make your recordings sound better? Have you ever tried to mix with just panning and volume adjustments?

Today's modern engineer has become too dependent on digital enhancements of recordings. Things like proper mic placement and quality mic preamps have been replaced with software that constantly needs to be upgraded. Thus, music is loosing the ambiance and mood of the performance that was captured in the studio. Lush layering techniques are being replaced with copy & paste keyboard commands.

I pose this challenge to all engineers that are mixing with a DAW; make a rough mix of your recordings with no plugins just so you can hear the naked truth about your mics, mic placement, and room reflections. Mastering what mic to use and where to place it to capture the best sound will exalt your recordings to unparalleled quality. Musicians will flock to you once you've learned how to capture the purity of sound and translate it in to timeless recordings. If you are using plugins like training wheels on a bike, it's time to grow up and learn how to balance your mixes with knowledge and experience.

View more articles on our site: http://shineonstudio.com

Mixing Vocals | Adding Distortion and Lo-Fi

Vocal distortion can be the glue that pulls your vocal tracks together. Just a simple side-chain with the vocals being processed through a distortion plugin or amp head can pull the vocals coward in the mix and at the same time find the right pocket for the vocals in the mix. You may be saying to yourself, "I don't want my vocals all fuzzy and gritty." Not to worry, by side-chaining the effect, you can blend in the dry and wet vocal signals to a level that works best for your mix. The distortion will add just enough color to the vocals so they feel like part of the music and not just ambiguously floating above the music. Slap some EQ on the distortion track to get a brighter or darker tone to your distortion coloring. Just don't go overboard with the vocal effects, unless that is the goal for the track. Happy mixing!