Home Recording Equipment: Basics
By Mosses Itkonen
Jun 28, 2010
Once upon a time before home music studios were popular the only way to do any recording was to go to a professional music studio. The reason for this was equipment was expensive and only qualified professionals had the privilege to use the equipment. Lack of consumer recording equipment made recording at home nearly impossible.
Thank goodness that those days are now long over with, and you can now do your recording at home without the big equipment or high amounts of technical knowledge. This technologically advanced age of the digital world has enabled every musician, no matter how small and unknown, to lay down tracks in their own homes. Amazingly, you can get high quality results with very little gear and expense too.
A good place to start would be the computer. Whether using a desktop or laptop what is important is having USB inputs and firewire inputs. If for some reason you feel your computer needs updating, more RAM will help speed up audio processing and a good sound card, so you can get good quality sound into your computer.
With a computer ready you can now look into the many software programs available, remember to choose one that suits the type of recording you will do. there are so many types of home recording
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I recommend looking into audio interfaces, which is the next piece of the puzzle. Audio interfaces are external sound cards that connect to your computer by either USB or firewire. Audio interfaces have great mic preamps, midi inputs/outputs, line inputs and outputs for your computer speakers. Another great feature is they have professional grade connections using XLR and 1/4' adapters, which will maintain sound quality. If you want to record midi then midi inputs/outputs are important and if you want to record your voice or instruments then microphone inputs and line inputs are important to
Digital and Analog recording which both were foreign to me, I now have a better understanding of them both now. To help me understand them I use this saying “digital data" which means that a digital recording deals with data and "analog acoustic" and analog deals with recording acoustic recording into an electric sound. The more data on a digital recording the more data you have about the actual sound that was recorded. The digital recordings you can change whatever you want about them because they are dealing with data. Then the acoustic recording seems as if you are transferring the acoustic sound to an electric sound. The understanding that I have of an analog recording is it is the exact replica of what was previously recorded. There is not much you can do to change it.
Eldridge then made the invention for your music player called the record. There would be a group of musicians in the recording room. The group got very close to a needle that carved the music into the disk. You had to be very careful with this item because it could be broken or scratched so easily, and it didn't matter if it was only a tiny crack. Once it was cracked, the song would not play right. To get to a different song on the disk, you have to find the exact spot on it, which was very difficult to find. Without records, no one would want to buy this large wooden box that spun. It did noting without these flat
Until the late 40s, most country and western artists on a major record label would record in New York, Los Angeles or Chicago as they were where the label offices and studios were located. 1945 saw the first independent recording studio built in Nashville, titled ‘The Castle Recording company’ and was created by a pair of enterprising radio engineers from WSM in Nashville, (Levy 2000, 22-23). In 1954, Nashville Producer Owen Bradley constructed a studio away from downtown in the famed Quonset hut and was soon followed by a rush of producers, publishers and performers in the late 50s to early 60s converting old houses into studios and offices. This central hub of music industry development in downtown Nashville would form what would come to be known as ‘Music Row’ (Hill 2011, 294). This rush of interest would see session musician and producer Chet Atkins persuade label RCA Victor to construct a studio in 1957, later known as “Studio B”. (Studio B, n.d.)
Most successful musicians know a hidden art carried out by the work of a good sound engineer; it is essential for a magnificent album. For the rest of us novice listeners and fans, we believe what we hear through our speakers or played over the radio are the true skilled professional musicians, soaring at their craft. Most contemporary music, from pop to R&B and acid jazz to the sophisticated realm of orchestral film scores, has been modernized by several inventions encased within the studio. The art of audio engineering has taken on new forms, from the nuts and bolts, "plug it in, and see if it works" era into the digital world, because of these wonderfully tragic solutions to a
<br>The development of recording technology has run parallel to a reorientation in popular music production. The goal of getting a good sound is no different now than it was when the first recordings were made, but the idea of what a good sound is and how it should be achieved are radically different.
cheaper and more convenient alternatives such as cable/ satellite providers offering recordings via DVR, cell phones, tablets and other electronic devices
The foundation of everything falls into the therapist- parent/caregiver relationship. The occupational therapist has to build a strong relationship with the parent/ caregiver to get their trust and support for the services they are going to provide to their child (Brown & Stoffel, 2011). The two have to work together for the child to get the most benefits from the therapy. Although in some aspects the occupational therapist may know what is best for the child, they have to be able to respect and take into consideration the parents feelings and desires. The caregiver/parent also has to be observant of the child’s actions at home to be able to tell the therapist if they believe the interventions are helping the child (Brown & Stoffel, 2011).
Edgar Allen Poe is a famous writer, who writes scary stories. One of his most famous stories is “ The Cask of Amontillado”. This story is about a murderer called Montresor who wants to take revenge from Fortunato and kill him. Thus, this mysterious and revenge story has a dark tone fulfilled with ironies. Verbal, situational and dramatic ironies have given a macabre atmosphere to the story.
To record this album an EMI console, a 16-track tape machine, a Fairchild limiters, and an EMT plate reverb were used. There were also up to five or six tape machines doing various delays, reverb delays, ect. at one time. Alan remembers “on the mix having to
They could produce pieces of music that had the purpose of not being able to be recreated live, because it is how the artist wanted to represent their music. Music started to be recorded in a much more intentional and methodical way (Frith 271-272). He asserts “By the end of the 1960s the studio was, in itself,
Ideas of mixing boards have been around since the 1950’s, in that era, most engineers would use a microphone connected to a mono, then later a stereo device to record artist and instruments. In the 1960’s the idea of mixing boards came to reality, the very first 4 and 8 track machines were introduced to the world and the industry.
The fancy microphones. The sound-proof room. The mixing boards and the recording equipment. Once you start putting together your home recording studio equipment list, it might become pretty clear pretty fast that it can be quite expensive to actually pull off that recording at home.
The adversarial media's’ role as framers in a representative democracy causes increased polarization in the United States. Those on either side of the political spectrum are already divided and news outlets take advantage of this divide, feeding on selective exposure. On social media, many people only see opinions which confirm or support their own, limiting their range of perspectives on important issues. Televised news outlets are culprits of the same crime, with some supporting extreme conservative ideas and others extreme liberal ideas. Very rarely is there a story that is looked at from multiple perspectives. Thus, the country becomes polarized on a variety of issues, especially those which get a lot of media attention, which are usually
phonograph in 1877, people have felt the need to create and record music. People have different
Recording guitar is rarely ever as easy as sloppily plopping down whatever mic 's handy at the moment in front of the speaker grille and hitting record. Majority would even argue that mic choice and placement only play bit parts in a larger production that involves pre-amps, guitar amps, cable length, A/D D/A converters, tracking through a console clean vis-a-vis applying processing going in, and of course, the choice of guitar itself! Instead of writing a fully comprehensive work (and a very, very long discussion and debate), this article aims to address some basic guitar micing technique using a dynamic cardioid microphone (such as the venerable SM57) and a condenser (such as a Neumann u87). 1 mic technique If the situation calls for using one microphone, you can position your dynamic mic either as close to the speaker grille cloth as possible (less ambiance) or 3-6 inches away, either pointing to the center of the cone or off-axis. Listen through your monitors how the speaker sounds like, and change cones if you aren 't satisfied (as in the case of a marshall 4x12). Once you 've decided on which cone to record, fine tune the guitar sound by angling the mic towards or away from the center of the cone as it makes a difference in the tone coming into your recording. A condenser is generally placed a bit farther because of its higher sensitivity (and in some cases, lower clipping point with regard to SPL handling). 2 mic technique Applying the technique above, one may