Home Studio Handbook

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RECORD GREAT MUSIC NOW!

EXPERT EDITION

THE ULTIMATE

GUIDE TO MAKING PRO MUSIC AT HOME

Take your writing, recording & production to the next level RECORD BETTER GUITARS, DRUMS, BASS & VOCALS / UPGRADE YOUR HOME STUDIO / BUY THE BEST GEAR / POLISH YOUR MIXES FREE AUDIO DOWNLOADS WITH OUR EXPERT TUTORIALS www.ebook777.com

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EXPERT EDITION

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etting your head around the basics of recording can be a daunting yet intensely satisfying undertaking. With increased experience you will have seen your home recordings go from strength to strength. Perhaps you even used the Beginner Home Studio Handbook, the companion to this Expert edition, to help you improve. Now you’re probably asking yourself, ‘How can I take my music and recording skills to the next level?’ This is where the Expert Home Studio Handbook comes in, offering you everything you need to enter the next stage of your recording journey. There’s no point spending hours on a track if it’s simply no good to begin with, so we start with songwriting advice from pro writers and composers Andy Burrows, Noel Gallagher, Frank Turner and James Morrison. If you’re a singer-songwriter without a drummer, we show you how to program beats with our handy tutorial. We’ll also show you how to turn your home into a fully functioning, acoustically treated recording space, complete with your very own control room. Our Buyer’s Guides will help you choose recording gear with confidence, before we move on to the finer details of arranging your studio space for recording. From backing up your music correctly to fixing common faults during the recording, mixing and mastering processes, our advice will ensure that you don’t waste valuable time when it comes to recording. We’ll also go in-depth on some amazing recording techniques for you to try with your own music; from achieving classic drum and vocal sounds, to getting creative with distortion and using alternative miking approaches, there’s a world of information waiting for you. You can learn how to give your tracks the professional finish they deserve with our comprehensive guides to EQ, Compression and Reverb, before wrapping your head around mastering. There are tutorial audio files for you to download, too, helping to guide you further. Whether you’re recording your own music or that of another artist or band, the Expert Home Studio Handbook will be your studio wingman from solid start to glorious finish.

G on To get the tutorial files to go c, Ma or your PC .uk vault.computermusic.co is th sign in and register book as issue 33

CLAIRE DAVIES, EDITOR

EDITOR-IN-CHIEF Daniel Griffiths EDITOR Claire Davies ASSISTANT EDITOR Chris Barnes ART EDITOR Andy McGregor PRODUCTION EDITOR Chris Burke

All contents copyright © 2015 Future Publishing Limited or published under licence.All rights reserved.No part of this magazine may be reproduced,stored,transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England andWales. Registered office: Registered office: Quay House,TheAmbury,Bath,BA1 1UA.All information contained in this publication is for information only and is,as far as we are aware, correct at the time of going to press.Future cannot accept any responsibility for errors or inaccuracies in such information.You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication.Apps and websites mentioned in this publication are not under our control.We are not responsible for their contents or any changes or updates to them.If you submit unsolicited material to us,you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine,including licensed editions worldwide and in any physical or digital format throughout the world.Any material you submit is sent at your risk and,although every care is taken,neither Future nor its employees,agents or subcontractors shall be liable for loss or damage.

We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).

OTHER CONTRIBUTORS INCLUDE: Simon Arblaster, Michael

Brown, Jono Buchanan, Skip Curtis, James Hester, Elena Kay, Tim Oliver, Rob Power, Ben Rogerson, Joe Rossiter, Mick Taylor, Ian Shepherd, Jeff Slate, Robbie Stamp, James Uings, Stuart Williams

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8

SONGWRITING 8 ....... EXPERT SONGWRITING 12 ...... PRO RIFF WRITING 16 ...... HOW TO PROGRAM BEATS 16

4 | EXPERT HOME STUDIO HANDBOOK

21

YOUR STUDIO 21 ...... BUILD A HOME STUDIO

BUYER’S GUIDES 32 ..... HANDHELD RECORDERS 34 ..... AUDIO INTERFACES 36 ..... MONITORS 38 ..... HEADPHONES 40 ..... MICROPHONES 44 ..... AMPLIFIERS 46 ..... ELECTRIC GUITARS 50 ..... ACOUSTIC GUITARS 54 ..... BASS GUITARS 56 ..... DRUM KITS 58 ..... CYMBALS

SETTING UP 62 ..... ANALOGUE VS DIGITAL 68 ..... BACK-UP YOUR MUSIC 72 ..... FIX YOUR STUDIO 56

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122

96

RECORDING 77 ...... CLASSIC DRUM SOUNDS 80 ..... PROGRAM PERCUSSION 86 ..... THE THREE MIC SETUP 88 ..... RECORD HUGE GUITARS 90 ..... MID/SIDE RECORDING 96 ..... DISTORTION EXPLAINED 102.... PRO VOCAL EXCERCISES 106.... CLASSIC VOCAL SOUNDS

MIXING & MASTERING

PROMOTE YOUR MUSIC

115 .... PREPARING YOUR COMPUTER 143.... ONLINE MUSIC PROMOTION 118 .... GUIDE TO REVERB 143 122.... GUIDE TO EQ 128.... GUIDE TO COMPRESSION 134.... PRO MASTERING 128 115

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EXPERT SONGWRITING n the beginning, there is The Song. Everything you’ll learn from this expert edition of the Home Studio Handbook will teach you how to put out a great-sounding track, but all of the studio trickery in the world can’t disguise a lacklustre song. To help get you on the right songwriting track from the beginning, we’ve enlisted the help of former Razorlight drummer Andy Burrows, now a highly regarded composer, solo artist and songwriter, who reveals his approach to songwriting, offering plenty of advice on how you can craft the perfect song. In addition, we have some ace writing tips from the likes of Noel Gallagher, Frank Turner and James Morrison. So grab your pen and paper and prepare to be inspired!

I

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“I love the magic of songwriting, the combinations involved and the impossibilities” 8 | EXPERT HOME STUDIO HANDBOOK

© Andy Willsher

SONGWRITING | EXPERT GUIDE TO SONGWRITING

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EXPERT GUIDE TO SONGWRITING Andy Burrows is one of the UK’s most tasteful songwriters. We recently spoke with Andy to learn more about his approach to songwriting, and how it can help you write your own songs

A

ndy Burrows rose to fame as the drummer for Razorlight, but it was when flexing his considerable writing chops on the band’s mega-hits including Before I Fall To Pieces and America that

HOW IMPORTANT IS IT TO HAVE A THEORETICAL KNOWLEDGE OF OTHER INSTRUMENTS, LIKE BASS OR PIANO? “I’m not sure it is. I flip between piano and acoustic guitar when writing, but writing is more about your imagination and freeing that up. I’m sure there have been some wonderful songs written by people who can just play three notes on one instrument. By the same token, there have been many beautiful and clever songs written by classically trained virtuosos. Perhaps it’s about having a magical combination of both? “I like the fact that I can play a few different things. I’m anti suggesting that there’s a right method, or that something will or won’t stand in your way when writing. It’s more about not letting anything get in your way in the first place, and then making sure your imagination is allowed to behave the way it did when you were a kid.”

WHERE DO YOU START WHEN WRITING? DOES IT BEGIN WITH A CHORD PROGRESSION, A LYRIC, OR MELODY? “The most inspiring time is when one little line of lyric, a melody and even perhaps some chords present themselves all at once and the song

Razorlight properly exploded and Andy found a new calling. After leaving the band in 2009, Andy pursued a solo career, writing three albums of beautifully-crafted pop, in tandem with writing sessions alongside stars such as Tom Odell, and tackling

the score [with Ilan Eshkeri] for 2012’s festive hit The Snowman and the Snowdog. Here Andy talks about his songwriting process, and why sometimes imagination is more important than knowing the theory when you start writing.

has written itself. I feel like most songwriters will say that the most magical songs are the ones they didn’t know how they wrote. It’s more subconscious, relating to that thing I said about childhood imagination and letting it out. It’s about unblocking the stuff that’s stored deep down. “I’m not a big fan of waking up in the morning and being like, ‘Right, today I’m going to write a song’. I like to let the ideas that come in every day just happen, then with the stronger ones I’ll be like, ‘Ok, maybe I should go and sit down for five minutes and explore that’. It’s almost like they pass their own little exams throughout the day and then they get further along the development pool.”

“I’ve been very inspired by Tom Odell’s work ethic – he just keeps going at an idea until he’s happy. I don’t really know what my work ethic is. I could be perceived as being lazy, but I don’t think I am. I could be in the pub and have an idea and sing it into my phone. It wouldn’t bother me that I couldn’t run home to work on it right then. Everybody does it differently and that’s the most exciting thing about it.”

MANY ARTISTS SAY THAT INSPIRATION COMES TO THEM AT ALL HOURS, SOMETIMES WAKING THEM AT NIGHT. DOES THAT HAPPEN TO YOU? “I don’t sleep much anyway. Most of the people I know who are brilliant songwriters immerse themselves in it to the point where they can’t exist in the world. I don’t like shutting myself off. I write in short bursts and if I’m not captivated by what I’m writing, I’ll give up or come back to it later.

DO YOU EVER FIND THAT YOU SUFFER FROM WRITER’S BLOCK? “It affects me massively. There are two different types of writing: the spontaneous writing that just comes to you, and the more worked for version. It’s been a while since I’ve had that ‘fall from the sky’ track. I’ve got to the point now where I’m not so desperate to try and grab it. It’s a lovely magical feeling when you’re playing around and something appears – it’s almost like something comes over you. But you can’t force it.”

HOW DO YOU KNOW WHEN YOU’VE WRITTEN SOMETHING GOOD? IS IT A GUT FEELING? “The last time I had that feeling was with a song called If I Had A Heart, from my

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© Andy Willsher

SONGWRITING | EXPERT GUIDE TO SONGWRITING

Andy started his career as drummer in Razorlight, writing smash hit America

record Company [2012]. That song just came to me; one of those things when a lyric and a melody and a chord just happen. You think, ‘Wow, that isn’t cheesy, it’s not crap, and I haven’t heard it before’, and it moves you. All of those things contribute to the feeling. I had that recently with Tom. It’s different working with another person. You catch each other’s eye at a certain point of writing something. It’s very rare that it happens, but when it does you get that moment of, ‘This is really good’. I think we all know when something is special.”

DO YOU THINK THE ABILITY TO WRITE SONGS IS INNATE, OR IS IT SOMETHING THAT CAN BE LEARNED? “It’s a combination of things. Obviously there has to be something there to begin with, whether that’s purely imagination, or purely musical ability, or both. The best writers are the ones with a great ability and some sort of musical skill, but imagination and a sense of ambition and wonderment.”

WHAT DO YOU THINK MAKES A REALLY GREAT SONG? “What you want to get from a song is somebody else’s perspective on a subject you know well. I love the magic of

10 | EXPERT HOME STUDIO HANDBOOK

songwriting, the combinations involved, the impossibilities. Every time someone comes out with a genius song I’m like, ‘Why didn’t I think of that?’ It’s becoming slightly more difficult now [to write genius songs]. You can’t do I Want To Hold Your Hand because it’s already been done, but I don’t believe that means it’s all been done because then a song like Gotye’s Somebody That I Used To Know comes along. That’s a modern classic pop song. It sounds like Sting and The Police, but it hadn’t been done before.”

ARE YOU A REAL INSTRUMENTS PURIST, OR HAVE YOU USED DIGITAL INSTRUMENTS ON YOUR TRACKS? “I always prefer to have real instruments, but I don’t mind a bit of trickery here and there – sometimes blatant synth strings are fun! There are some tunes that use drum machines and they’re wicked. It’s a matter of right time, right place. Although, I’m not really into much music that doesn’t involve real instruments.”

WHO ARE YOUR MAIN SONGWRITING INFLUENCES? “Neil Finn [Crowded House], and I love Damon Gough [Badly Drawn Boy] and Damon Albarn. Glen Tillbrook and Chris Difford of Squeeze, and also Paul

McCartney. I love the Beatles-y interpretation of someone like Neil Finn. You know, that lyrical intelligence and the beautiful melodies. I love it when you can hear how somebody else has been inspired by the same music you have been inspired by, like The Beatles, but they’ve taken it down a different road.”

WHAT’S THE MOST IMPORTANT THING WHEN WRITING SONGS? “If you can find that sweet spot where you feel confident and can let your mind go, that’s when writing gets really good. It’s all in there, in you. It’s what you’re soaking up and putting out; what you unlock and when you unlock it. It’s about not being afraid to make a tit of yourself. Some of the greatest songwriters I’ve worked with are the people who are the most bolshy, bounding around and not really paying attention to things. “I wrote a fair bit with Andrew Wyatt. Me, him and Mark Ronson had a band for a short while and were writing a lot. Andrew fascinated me. He was almost like this big oaf, just knocking people over, then he’d play a s**t guitar solo and fall on his back because he was so into it, but every so often genius came out. In amongst all this buffoonery, he knew exactly what he was doing.”

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PRO SONGWRITING TIPS NOEL GALLAGHER

FRANK TURNER

JAMES MORRISON

The High Flying Birds leader talks pottery and writing

The eternal quest for keeping your songwriting fresh

Why elaborate demos could kill your songs in the studio

Have your songwriting habits changed much

Has the way that you write songs changed over

How do you write? Is there a specific process

on your new High Flying Birds album Chasing

the last few years?

involved or not?

Yesterday? Did any songs start with loops,

“Yeah, it has. I’m trying to improve what I do, I’m

“Usually, the best stuff that I write is when a feeling

for example?

trying not to repeat myself, and there are lots of types

comes over me. You know, when you just look out

“No, never. It’s all me sitting with a guitar, watching

of song. You’ve got ballads and upbeat songs, there

the window late at night? Your mind is searching for

TV with the sound down. It’s like pottery or crafting,

are shuffles and fast songs… If I hear something

things. You want answers. It’s like that. I just play my

you know what I mean? You get a shape and then

that’s in a stylistic mode I haven’t tried myself, my

guitar and hum a melody, and if something happens

you make it better. You put some more water in and

first thought is, ‘I wonder if I could jam something

I’ll get a rough structure together, some chords, and

make it better and better until you can say, ‘Right,

into that approach?’ It keeps things fresh.”

I’ll let my subconscious ramble out lyrics.”

that’s finished. Let’s do another one.’” Your two solo albums have been more grooveand rhythm-based, with a broader scope than what you did with Oasis. Some fans might long for those days, though. Do you worry about that?

“Before I start to record I’ll do acoustic demos. I listen to them for quite a while before I actually commit to going in and recording the songs properly” Noel Gallagher

“Before I start the record, I’ll do acoustic demos. I listen to them for quite a while before I actually

Do you have a songwriting method?

Do you make elaborate demos? And what gear

commit to going in and recording the songs

“I don’t really. Sometimes lyrics comes first,

do you work with?

properly. I listen to them in all sorts of different

sometimes music comes first, sometimes it’s slow,

“I used to do elaborate demos, but I found that it got

guises: when I’m on a train, a plane, with

sometimes it’s fast, but my favourite moments are

in the way with trying to imagine it in the studio. You

headphones, in the bedroom, in the shower. I listen

when something comes quickly. I really feel like if

get that ‘demo-itis’ thing where you can’t get past

to them all over the f**king place. By the time I get

you’re running on pure instinct and gut, you’re

the demo. Now I keep everything really simple:

in to record them, I’ve got a fair idea of what I want

writing something good. If the song just kind of

acoustic guitar, a vocal, maybe some keys and bass.

to do with them. I’ve never really second-guessed

tumbles out, that’s way better than something

That’s the thing I try to do – write it and put it down

anything, because you can’t make records for your

you spend six months agonising over chord

in a simple way without all the production.

fans. You can’t do that. My fans would want 12

changes with.”

“Depending upon who I’m working with, I’ve been

versions of Wonderwall!”

using Pro Tools and Logic. I just try to get it in the pocket. On my second album, a lot of the demos got

Some people talk about guitars ‘having a lot

screwed over, the songs got missed, because the

of songs in them’, where they are especially

demos were either too produced or the sounds

inspiring for writing. Do you have a go-to

weren’t right.”

acoustic for songwriting?

James Morrison keeps his demos clear and simple

“No, I go for the other approach: I will have a guitar in my house for two years, but then I’ll think, ‘That’s all used up now.’ Then I’ll send it back to my lock-up and I’ll just pick another one at random. I’ll take it home, tune it up, clean it up. I think all guitars have got songs in them.

kind of dried up, so I’ll put that back in the lock-up and I’ll dig another one out to see if something comes from it.”

Frank Turner strives to keep his songs fresh stylistically

© ManxStef

Nash Strat[-type]. But the last six months it has

© CharlieTPhotographic

“Sometimes I’ll want to have an acoustic at home for years. For the last couple of years it’s been this

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GUITAR RIFF WRITING 101 Learn the basic scales and chords to help you write great riffs today with these handy exercises. Plus, get writing advice from rock and metal’s most prolific riff writers! iffs are the backbone of rock. Whether they last for just a single bar, like Sweet Child O’ Mine by Guns N’ Roses, or they hold on for two bars or more, like Song 2 by Blur, riffs are powerful. In order to get your riff-writing juices flowing, you’ll need to do some groundwork first. In this feature you will learn the basic scales and chords for constructing your own riffs, and how to develop short riffs into longer musical ideas. We’ll also bring in the likes of Joe Perry, Mark Morton and Tom Morello to talk about how they’ve

R

written some of rock and metal’s most memorable riffs.

STEP ONE: NAIL THE MINOR PENTATONIC SCALE THIS IS one of the most popular scales to

create riffs with. Example one shows two patterns of the E minor pentatonic scale – the first pattern of the scale is the most common so learn it off by heart. While the second scale pattern is less common, it’s used a lot in rock and metal music and you can develop it right up to the top end of the fretboard to create more dynamic riffs. This means you will have more

scope for using bends, slides and vibrato – elements that add extra character to your riffs. Example two shows a riff that uses the second pattern of the E minor pentatonic scale. On your first go, play the riff without the slides or vibrato. Now add them into the riff and you’ll be able to hear how much these techniques add to a riff’s effectiveness. Another common device, particularly used in blues, is to take a riff and move the fretboard pattern to another starting note. Example three shows a minor pentatonic riff that moves to follow an eight-bar blues pattern.

EXAMPLE ONE E MINOR PENTATONIC SCALE IN TWO POSITIONS

Play through the two positions of the scale to get used to its different sounds, but experiment with your own riffs. You can play the notes in any order you choose.

EXAMPLE TWO ONE-BAR RIFF

Play the first note with your first finger and slide into the third note with your third finger. Don’t pay too much attention to the slide from the final note, as this will happen naturally when you move to start the riff again. 12 | EXPERT HOME STUDIO HANDBOOK

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EXAMPLE THREE MODULATING ONE-BAR RIFF

Play the first note with your first finger and slide into the third note with your third finger. Don’t pay too much attention to the slide from the final note, as this will happen naturally when you move to start the riff again.

STEP TWO: ADD POWERCHORD COMBOS POWERCHORDS ARE an essential tool for riff

writing. Black Sabbath’s Tony Iommi has relied heavily on the humble powerchord

throughout his career, as has Green Day’s Billie Joe Armstrong. Example four shows you all the powerchords in the key of E minor. Example five is an E minor

powerchord riff to show you how you might use them. Try writing your own riffs using different combinations of these chords and trying different rhythms.

EXAMPLE FOUR POWERCHORDS IN E MINOR

This example maps out all the powerchord options on the fifth and sixth strings. It’s a good idea to start with an E5 chord, and from there you can use whichever chords you think sound good.

EXAMPLE FIVE E MINOR POWERCHORD RIFF

This two-bar riff is fairly easy to play, but mute the guitar with your picking hand after each of the powerchords to keep the sound tight and clean. These silences are indicated with rest symbols in the notation. EXPERT HOME STUDIO HANDBOOK | 13

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free ebooks ==> www.ebook777.com SONGWRITING | GUITAR RIFF WRITING 101 STEP THREE: EXPERIMENT WITH STRUCTURE ONE OF the most popular types of riff is the

‘3+1’. The 3+1 is often associated with Metallica and has been emulated by

other bands including Killswitch Engage and Avenged Sevenfold. A one-bar riff is repeated three times, then the fourth bar is a new phrase that rounds off the riff ready for a repeat. The

finest example of this type of riff is Metallica’s Enter Sandman. Try using combinations of examples one and four to create your own 3+1 riffs, as we have done in example six.

EXAMPLE SIX E MINOR 3+1 RIFF

Bar one is repeated three times and then in bar four there’s a variation on the theme, rounding off the riff. Play the opening note in bar one with your second finger so that you can reach down to the second fret with your first finger.

RIFF WRITING MASTERCLASS Ready to write your first guitar or bass riff? Heed some final words of wisdom from Joe Bonamassa, Mark Morton, Joe Perry and more before you do

MARK MORTON, LAMB OF GOD

WES BORLAND, LIMP BIZKIT

Maiden or something else. If you leave your mind

“Riffs just pop into my head. Religious people say

open, it just seeps in.”

that music comes from a higher power, but I’m an pop into their head and other people hear melodies.

TOM MORELLO, RAGE AGAINST THE MACHINE

The key is to get to some kind of recording device

“My influences come from bands like Led Zeppelin,

before it’s gone. I love my iPhone because I can hum

Black Sabbath and Deep Purple. The thing about

a riff into it and listen to it later.

Zeppelin and Sabbath is that there’s a great rolling

atheist so I believe that some people have images

“Expose yourselves to as many riffs as you can. I’m constantly exposing myself to new kinds of music and trying not to get into an incestuous

groove to their heaviest riffs, and that’s something I’ve incorporated in my right hand. “One of my mottos is, ‘If you can’t play a riff on

“Sometimes the simple stuff hits harder. That’s the

listening process where I’m only listening to music

just the first and second dots, it’s probably not

big difference between me and Willie [Adler, LoG

that sounds like [the music] I want to create. Try not

worth playing’. What makes a riff come to life is

second guitarist]. When he writes riffs he likes them

to have a filter either – just take the best of

not just the selection of notes but the ghost notes

to be really challenging, fast and tricky. I don’t think

everything you’ve heard and mix it together.”

between them and the elasticity of the right rhythm-

I’m necessarily from that school. For me, I’d rather a riff make my head bop. I can pull off some tricky

JOE BONAMASSA

stuff, too, but for me it’s more about the groove.”

“A great riff is something that hits you right away. Just Got Paid by ZZ Top is a fantastic riff,

hand guitar playing. Name a great riff writer, whether it’s Eddie Van Halen or Tony Iommi, and it’s all in their right hand.”

JOE PERRY, AEROSMITH

as is Heartbreaker by Led Zeppelin. You don’t

PHIL COLLEN, DEF LEPPARD

“For me [when writing riffs], a lot of it is picking up a

know anything about the song yet but the riff

“A riff has to be memorable but you have to keep

different guitar. Try and play heavy metal on an

pulls you in. It gives you a sense of anticipation

out of the way of the vocal. Guitar parts have to

acoustic guitar, attack things from a totally different

of what’s to come.

be either rhythmic or melodic. If a riff is too

way, and that tends to inspire some different

“[When riff writing] you have to listen to a lot of

complicated, or it’s in some weird time signature,

sounds or a rhythm. A lot of it comes from the

music. I listen to everything from John Legend to

90 per cent of your audience are going to turn off.

rhythm of things first. If a riff doesn’t make your

metal. I find little bits and pieces that inspire me

Also, a great riff has to be played right. You have to

hips move, I haven’t got much use for it.”

from lots of different music, whether that be Iron

give it some stick. You’ve got to mean it.”

14 | EXPERT HOME STUDIO HANDBOOK

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DOWNLOAD

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GET REAL!

If you’re a songwriter without a drummer that needn’t prevent you from programming your own totally convincing ‘live’ drum tracks to complement your songs any computer musicians seem to shy away from programming their own acoustic (as opposed to electronic) drum tracks, understandably concerned that since they don’t know how to play a real drum kit, any attempt to create a performance on a virtual one will fall short in terms of technicality and sound. Others go in the opposite direction, naively and overconfidently penning beats that at best would require five or six limbs to actually play, and at worst come across as mad and unconvincing, even to the untrained ear. The fact is that programming realistic, groovy drum parts is well within any desktop producer’s abilities. All you need is a MIDI sequencer, a quality sound source and some insight into the rules, limitations and standard practices that real drummers work to and within. But is

M

16 | EXPERT HOME STUDIO HANDBOOK

it really worth the effort? Why can’t you just use sampled loops of real drummers playing real drums to create your percussion parts? While the above is always a wholly viable option, the results will be qualitatively different to what you’d get from building your own parts. You would have to choose a loop based on its particular production and rhythmic qualities, and you’d have a very finite level of control over them. Program your own drums, though, and you have total command over every element of the ‘performance’ – from the notes themselves to the sounds of the individual drums and cymbals. So, if you really want to take full ownership of your beats, building them yourself from the ground up is the way to go.

SAME DIFFERENCE IF YOU’VE programmed electronic beats

before, you’ll be glad to hear that the

rhythmic paradigm that governs dance music and electronica is equally dominant in pop, rock and most other genres in which you’d find a live drummer. It’s that fabulous 4/4 backbeat, with the kick drum emphasising the first and third beats (either directly or by implication), and the snare on the second and fourth, embellished by incidental grace notes and fills. The vast majority of modern music adheres to this straightforward structure, which is good news for programmers looking to emulate the real thing. What’s more, knowing how drummers play their drums isn’t just useful for programming live-sounding parts: even your drum machine patterns will benefit from a true understanding of what the human ear has semi-consciously come to expect from contemporary percussion elements. With all that in mind, then, it’s time to take a drum lesson…

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DRUMMING 101 THE DRUM kit comprises a kick drum, a snare drum and a pair of hi-hats, plus a variable number of tom toms and cymbals. Most of the action takes place on the kick, snare and hats, while the toms and cymbals are used for accenting and fills. Most tracks will see the drummer spend the vast majority of their time playing a groove, which, generally speaking, involves nailing the backbeat on the kick and snare, and tapping out a metronomic eighth-note ‘tick’ on the hi-hats (known as ‘riding’). Assuming the drummer is right-handed, the right foot plays the kick drum, while the left foot controls the hi-hat. The top hi-hat cymbal is struck with the right hand (crossing over the left), while the left hand hits the snare. Try it now on a desk or your thighs: tap out eight evenly-spaced hits with your right hand, simultaneously tapping your right foot on hits 1 and 5 and your left hand on hits 3 and 7. Don’t worry about the left foot – just repeat ad nauseam. Congratulations – you’re drumming!

FEELING THE GROOVE THOSE ARE the fundamentals, but of course there’s considerably more to it than that. Rather than consciously calculating the

placement of kick, snare and hi-hat notes while playing, the trained drummer ‘feels’ where they should go. He or she places them in the context of the rest of the track, in which – never forget – the drums play an underpinning, supporting role. This isn’t something you need to master in order to program realistic drums, but you do need to understand the forms that these intuitive patterns might take beyond the elementary ‘kick, snare, kick, snare’. Generally speaking, the kick drum should work in tandem with the bassline,

“No drummer can hit more than two drums with their sticks at any one time” so try placing kick hits directly on top of your main bass notes. Most of the time the snare will fall on beats 2 and 4, but shifting one forwards or backwards by half a beat can utterly transform a groove. Other variants are the half-time groove (à la dubstep), with the kick falling on beat 1 and the snare on beat 3. There’s the disco-style hi-hat pattern, too: you play 16th-notes with both hands, with the right hand moving to the snare for the backbeat. There are plenty more

variations too. Download the tutorial files to check out an example. Although it should go without saying, we’ll say it anyway: no drummer can hit more than two drums with their sticks at any one time. Just like us, they only have two arms! So, if you’ve programmed a snare, a tom and a hi-hat hit on the same beat, realism has left the building.

LITTLE EXTRAS A COUPLE of drum kit variables worth bearing in mind are the ride cymbal and double-kick drums. The ride cymbal is an alternative to the hi-hats. In pop and rock, it’s traditionally used in choruses and middle eights, where the energy of the track needs to increase a touch. In jazz, it replaces the hats as the primary riding instrument – but jazz drumming is a whole other kettle of fish that we don’t have space to get into here. Another time maybe… Double-kick drums are found almost exclusively in the realm of heavy metal, where they’re the bedrock for blisteringly fast double-time grooves and fills. Feel free to use them where appropriate, but be aware that they can quickly overpower a track, and that the average drummer in the real world can’t easily pedal the hi-hat and play that second kick drum at the same time.

STEP BY STEP LAYING DOWN A BASIC GROOVE

1

This is about as simple as a drum kit part gets: kick drum on beats 1 and 3, snare on 2 and 4, and

2

Upping the complexity a bit, we draw in another kick drum note leading into the second half of

3

Displacing the first snare hit makes the groove become something else altogether. At the

hi-hats riding on every eighth-note. If this was this

the bar. Listen to the audio file to hear what a big

moment our drum part is authentic in that it doesn’t

the chorus of our track, we might consider moving

difference this seemingly minor change makes to

make any unreasonable demands on our ‘drummer’,

the hi-hat part to the ride cymbal (Basic Groove

the groove – although you still wouldn’t call it a

but it’s way too rigid and programmed-sounding to

1.mid/wav).

complicated pattern (Basic Groove 2.mid/wav).

pass for the real thing (Basic Groove 3.mid/wav).

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DYNAMICS & TIMING AS YOU’LL have no doubt noticed, our drum

part so far, while making sense in terms of playability and pattern, still sounds totally mechanical and unrealistic. This is because we drew all the notes in by hand, snapped perfectly to the grid and at a constant, fixed velocity level. The best way to remedy this problem is to play the part in live using a MIDI keyboard or drum pads. It does require a modicum of skill and the ability to ‘feel’ the groove rather than just rigidly bash it out, but you don’t have to play the whole thing at once. Set up a record cycle and play each element in separately as the track loops round – hats, then kick, then snare, for example. The result will be a MIDI part with naturally varying velocities

and subtle timing fluctuations from beat to beat (and they do need to be subtle – if anything sounds noticeably out of time, move it closer to the grid). If you can’t or don’t want to play your part in live, draw the notes in with snap turned off, aiming for the grid lines. When you’re done entering the part, manually tweak your velocity levels or use a MIDI plug-in to introduce a touch of randomisation/humanisation.

KEEP IT BELIEVABLE VARYING VELOCITIES and timing is the best way to make your parts sound realistic, then, but don’t go too mad! Keep your velocities within a relatively narrow range – a drummer will strive to be as consistent as possible, so obvious leaps in volume from hit to hit will sound wrong.

For hi-hat and ride cymbal patterns, the drummer will play the notes that fall on the beat harder than those falling in between (or vice-versa, if they’re looking to accent the off-beat). Of course, it’s not enough to trigger just the one sample per drum at varying velocities – you need a properly multisampled drum kit, so that lowvelocity hits trigger samples of drums played gently, while high-velocity hits fire off full-strength recordings. Your DAW most likely has a decent multisampled kit built in, and there are several fine third-party solutions: Toontrack’s EZdrummer 2 and Superior Drummer2, XLN Audio’s Addictive Drums 2, NI’s Battery 4, FXpansion’s BFD series, and Studio Drummer are among the best available.

STEP BY STEP GETTING REAL WITH TIMING AND DYNAMICS

1

Our drum part is currently triggering one of Ableton Live’s bundled drum kits, which only

2

We’ll load up our groove from the previous walkthrough in a moment, but first, here (and in

3

Let’s go back to our rigid, manually programmed part. The first thing we need to

comprises three layers of samples – not enough

the MIDI file in the Tutorial files folder) is our attempt

do is inject some human feel into our groove by

for a truly convincing performance. We switch to

to play the same part in on a keyboard. Note the

deactivating snap and moving the hits slightly ‘off

Native Instruments’ Battery 3, calling up the 24-layer

natural variations in timing and velocity. That would

the grid’, emulating the subtle, intrinsic variations

TightKit patch, which will massively increase the

be the whole job done were this not a tutorial on

in timing you get with a real drummer. (Groove

realism (TightKit Groove.wav).

manual programming (Live Groove.mid/wav).

Timing.mid/wav).

4

5

6

Dynamics next, and we repeat Step 3 but for velocity rather than timing. Again, our

Shifting the hits to emulate the push or pull of a real drummer changes the feel of the whole

Alternatively, we can give our tune a more driving vibe by pushing the drums ahead of the

adjustments are small – we want our snare drum

track. We load up a couple of loops, then apply 12ms

beat – dialling in -30ms of track Delay increases the

hits to range from loud to slightly less loud. We

of track Delay to the drums to pull them slightly

momentum nicely. Generally speaking, you can push

also want to make our off-beat hi-hats consistently

behind the beat. We also move the kick hits to sit ‘in

your drums further than you can pull them before

quieter than the on-beat ones, as per the drumming

the pocket’ with the bassline (Groove Track Straight.

things just start to sound out of time (Groove Track

norm (Groove Timing and Velocity.mid/wav).

wav, Groove Track 12ms Pull.wav.)

Straight.wav, Groove Track -30ms Push.wav).

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GHOST NOTES, ACCENTS & FILLS OUR GROOVE sounds pretty authentic and

‘live’ so far, but there’s still more to do if we’re to make our drums sound like they’re being played by a real drummer with a real drummer’s brain. To bring syncopation and a feeling of forward motion to the groove, we need to employ ghost notes. These are very quiet incidental snare hits, funkily filling the spaces between hi-hat strokes. They can take the form of single hits or gentle presses. Applying ghost notes is an automatic, almost unconscious process for the experienced drummer, who will play them pretty much constantly. For the programmer who takes the time to

draw or play them in, the sonic results will always be well worth the effort. The snare drum is also used for accenting, with strategically placed full-strength hits adding character to the groove and/or emphasising other track elements. Open hat strokes (whereby the left foot releases the hi-hat pedal, moving the two cymbals apart) serve a similar purpose, being deployed to lead into a bar or phrase, or doubled with a snare hit to add bite and a burst of splashy sustain.

FUNDAMENTAL FILLS EVERY EIGHT or 16 bars, the drummer might throw in a fill, bringing the toms and crash cymbals into play. A fill is a roll around the toms, a series of enthusiastic snare hits or any other free-flowing deviation from the groove, usually

concluding with a cymbal crash (which is always accompanied by a kick or snare). It’s designed to lead into the beginning of the following bar, which will serve a purpose in terms of phrasing – introducing a chorus or key change, say. Fills can be simple but effective or complex and impressive, but all the usual programming rules apply: turn the snap off; vary the velocities, bearing in mind that the first hit in a series of strokes on one drum will naturally be played harder than those that follow; and don’t ever trigger more than two things at once. If you can, alternating between separate left- and right-hand samples can only boost the realism. Finally, fills don’t have to be full-on, so exercise some restraint in your fill programming endeavours.

STEP BY STEP ADDING GHOST NOTES, ACCENTS AND FILLS

1

Ghost notes add movement and syncopation to any groove. We draw in some very low-velocity

2

Many drummers will play ghost notes on the snare drum between most of their hi-hat hits

3

The only thing a real drummer would take issue with in our groove now is the lack of hi-hat

snare presses and single hits between certain hi-hat

almost semi-consciously, so we add a few more for

variation. To remedy this, we place open hi-hats at

hits. To make the presses sound convincing, like a

good measure. These really enhance the flow and

the end of the first bar of our two-bar phrase and

real drummer would play them, the first hit needs

energy of the groove, and our drum part is now full of

on top of the last snare. These are choked by the

to be a bit louder than the following ones (Ghost

movement and sounding pretty darn funky (Ghost

following closed hi-hat hit – most virtual drum kits

Notes 1.mid/wav).

Notes 2.mid/wav).

include this feature. (Open Hats.mid/wav).

4

5

6

For accenting and elaborating on the backbeat, extra full-strength snare hits are called for.

Fills are used to mark the ends of phrases and lead into verses, choruses, middle eights, etc.

This is the sort of thing a skilled drummer would actually play as a fill! We include a variety

These can be placed on or off the beat, depending

Our first example is incredibly simple – 16th-notes

of snare articulations, different samples for left- and

on whether you’re aiming for syncopation or ‘beat

round the toms, with a cymbal smash at the end.

right-hand strokes and a set of classic Bernard

reinforcement’. We go for syncopation here, with

We show you this for demonstration purposes only

Purdie-style hi-hat kicks (at maximum velocity).

a big on-beat accent at the end of the phrase

– don’t ever use it unless you’re specifically going for

We’ve drawn everything in by hand, with snap off

triggering a rimshot sample (Accents.midi/wav).

a naive, amateurish feel (Fills 1.mid/wav).

(Fills 2.mid/wav).

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YOUR STUDIO his is where things get real! You’re about to take the plunge into serious home recording, and for that you’re going to need a dedicated space within which to record (and polish) your music. In this section we’re going to show you how to turn your home into a prostandard studio, complete with control room. We’ll be dishing out expert tips on everything from creating the right acoustic environment to earthing your room correctly, and revealing the optimum speaker and listening positions within your chosen space. We’ve also got advice on affordable studio construction and getting the best acoustics. Before you know it, you’ll be living in the studio – literally.

T

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HOW TO BUILD A HOME STUDIO We show you how to turn your humble abode into a recording studio, complete with control room t’s never been easier to whip up great-sounding tracks, particularly if you’re into electronic or heavily sample-based music. Every DAW on the market today ships with an extensive collection of ready-made loops, hits, pads and riffs, bundled synths and samplers. And then, when

I

you’re happy with your mix, there are plenty of truly incredible plugin effects available that can give you a loud, shiny master, sometimes using just one knob. If you’re an electric guitar or bass player looking to put tracks together in your more rockin’ genre of choice, though, you’re probably more interested

in capturing the feeling you get from your treasured collection of amps and pedals being played for real. Things are even more complicated for drummers, acoustic instrumentalists and singers. In short, if you’re an instrumentalist and you’re looking to really capitalise on your talents and training in the production of

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free ebooks ==> www.ebook777.com YOUR STUDIO | HOW TO BUILD A HOME STUDIO your own tracks then there’s no avoiding the terrifying world of sound engineering. You know… with microphones. There was a time when you had to go to a studio to record – and at great expense, too – but now we have the option of doing it all ourselves. Since you’ve bought the Expert Home Recording Handbook, you’ll probably have some kind of home set-up already in place, and will have picked up a few tricks for getting the best out of it. Today, we’re spoilt for choice when it comes to microphones, audio interfaces and speakers; we have powerful computers to run the show; and we can get hold of reasonably priced software to address almost any production issues that might arise. Nonetheless, when we see our favourite recording artists at work on TV or YouTube, we can’t help but yearn to be in one of those super-posh studios. So, what’s so great about studios anyway? It’s just a bunch of rooms with

some gear in them, right? And if we have the gear, why can’t we turn our homes into studios? It’s a given that studios have good mics and preamps, and all manner of extraneous toys to play with, but it’s actually all the other stuff that makes them such wonderful places in which to record. Our first attempts at home recording are often disappointing because the sound can be crap – it can feel like there are a never-ending stream of annoying things trying to sabotage the session. Take noise, for example. It’s a problem – both keeping it out and keeping it in. Dirty signals can make recording electric guitars a nightmare. When you set up for a session for the first time, you inevitably end up searching for just one more female XLR-to-quarter-inch jack adapter. And why are the guitar signals so weedy, and where did that buzz come from? Don’t even get us started on drummers. Studios, of course, have cupboards full of useful stuff for solving just these

problems, because they’ve been there time and time again.

AUDIO FENG SHUI APART FROM all the peripheral requirements,

the main hurdles in the home studio are the rooms themselves. Good studios are masterpieces of acoustic design, whereas our own rooms contain all kinds of acoustic gremlins that can make it difficult to get a good recording – and even more difficult to hear it properly. Here we’re going to look in detail at the problems you’ll encounter recording at home, and suggest in-depth solutions. Starting with the control room, we’ll show you how to get the optimum monitoring set-up and solve the most common acoustic problems. We’ll debunk myths, reveal trade secrets and show you, step by step, how to make proper acoustic treatments that don’t involve gimmicky software or bits of sponge. Follow our advice and you could be living in your own studio by this time next week.

THE ALL-IMPORTANT CONTROL ROOM IT’S ESSENTIAL to get your control room

right first, then sort out your recording rooms. If your monitoring environment is rubbish, how can you expect to make good judgements on the sounds you’re recording in other rooms, let alone try to mix and master it all when it’s recorded? Our quest for good monitoring and great-sounding rooms is thwarted by the unholy trinity of anti-bass, honk and reflection. Fortunately there are sonic equivalents of garlic, holy water and silver bullets to help stave off these evil forces, which we’ll show you in the following walkthroughs – and these techniques apply equally to both control rooms and recording spaces.

BASS NODES AND MODES RECTANGULAR ROOMS inevitably suffer from standing waves or ‘modes’. These are a bigger, badder version of what happens when you blow over a bottle and make it resonate, or sing in the shower and find a particularly loud note that seems to fill the space. A normal-sized room will have

22 | EXPERT HOME STUDIO HANDBOOK

X and Y dimensions that are long enough to correspond to long-wavelength bass and sub-bass frequencies (300Hz and below), and being amongst the resonance of these low frequencies results in an inaccurate listening environment and, ultimately, a mix with a bottom end that sounds totally different when played anywhere else.

points where the two different frequencies will meet and interfere with each other, causing exaggerated peaks and troughs, and if your listening position happens to be in one of these places, you’re going to end up with a highly compromised sound – either too much or too little of the modal frequencies. As well as that, loud, high-pressure anti-nodes occur near hard walls, and are often the reason why you might hear more bass on the sofa at the back of the control room than in between the speakers. This all creates a very uneven bass response that in turn causes an unbalanced listening environment.

The bass response is invariably at its weakest at the halfway point of a rectangular room

THE 38% RULE

Imagine you can see two big, luminous sine waves hovering in your room when you play a low bass note on your synth; one lengthways, one widthways. If you move around the room these frequencies will appear to be louder at points where the sine waves are peaking, and quieter where they trough. There will also be

MOST DOMESTIC rooms are rectangular and suffer from these bass issues, but on the other hand, it’s easier to target problems in a predictable room, so you’re actually probably starting from a fairly positive position. The bass response is invariably at its weakest at the halfway point of a rectangular room, so listening at the centre of a square will be disastrous.

free ebooks ==> www.ebook777.com HOW TO BUILD A HOME STUDIO | YOUR STUDIO Fortunately, we can use the ‘38% rule’ to find a position in the room where we’re least likely to encounter bass nodes or interference. This rule says that a point 38% into the length of the room is most likely to offer an interference-free listening position. If you measure 38% in from both ends of your room, then you’ll get two options. Some engineers also do the 38% calculation on the width of the room, which gives four starting positions at which to place the chair. See the walkthrough below for more on this.

TUNE YOUR ROOM FINDING A good listening position can solve

your bass problems, but it may be that the modal frequencies of your room are

just too boomy. This typically happens at around 65Hz and 125Hz. Unfortunately, no amount of foam, egg boxes or mattresses will solve this problem – you will need bass absorbers. A perusal of the websites of manufacturers like Real Traps and RPG will reveal some great and effective products, but they’re often prohibitively expensive. A single 50500Hz low-frequency absorber can cost £300 or more – and you might need six of them! It’s not difficult, time-consuming or prohibitively expensive to make your own versions of all this stuff, though. Lowfrequency absorbers work by vibrating in sympathy with the low frequencies and are mostly constructed from metal and

high-density foam or rubber. From old BBC documents to public patent information from the Fraunhofer Institute, it’s all there if you look. We already have, and here we’ll show you how to make your own dual-function treatment panels using sheet steel, rubber and the amazing MelaTech melamine foam (quite expensive but worth every penny). These will handle both low- and mid-range absorption. You can’t make your own microphones or speakers, but with a couple of hundred quid you can make your own acoustic treatments. Admittedly, you may need the assistance of someone who understands basic DIY, but all of this is doable – we know, because we’ve done it.

STEP BY STEP FIND YOUR LISTENING POSITION

1

2

Use a mic and a spectrum analyser to see what an even bass response looks like. With your best

Set the test tone and input level of the mic so the level meters at around -12dB. Insert a spectrum

3

Freeze the spectrum analyser display. You should see the bass response drop away evenly.

condenser mic a couple of inches away from one of

analyser on the input channel, set it to ‘peak hold’

Typically, the slope begins around 100Hz and drops

your speakers, use your DAW or a synth to send a sine

and slowly sweep the test tone from 500Hz all the

off 10dB by around 60Hz, plummeting nearer 40Hz.

wave test tone at 500Hz to that speaker only. Set up

way down. Give the analyser time to register each

This will vary depending on mic and speakers, but

an input channel for the mic in your DAW and mute it.

frequency, and repeat the sweep two or three times.

we’re looking to see an even slope for comparison.

4

5

6

Now move the mic to your proposed listening position, reset the tone to 500Hz and boost the

Draw a plan of your room and measure out the 38% points. Measure both length and width to

After trying a couple of options, hopefully you will have found the place with the smoothest

mic input so that it still meters -12dB. Insert a second

give four possible options for our new listening

bass response curve. If there are any persistent

spectrum analyser and repeat the sweep procedure.

position. (Of course, some of these points won’t be

humps you’ll need further bass/broadband

Now freeze this second curve and you’ll probably see

practical.) Once you’ve found a likely spot, move the

absorption, but this will be the best listening position

a few lumps and bumps in the journey from 500Hz

mic there and put a speaker where it would be if you

bass-wise, and you should build your control room

down to 20Hz. If the trace matches Step 3, you’re

were monitoring from that position, then repeat the

around it. The next thing is to get your speakers

sorted. If it’s lumpy, find a new position.

sweep and measure process.

correctly placed.

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SPEAKER POSITIONING BEFORE WE correct the bass, our speakers

should be placed so that the tweeters are at ear level and the woofers are not exactly halfway between the floor and ceiling. The speakers should form an equilateral triangle with an apex just behind your head. Using the 38% rule is a trade-off between physical symmetry (good for stereo imaging) and bass response (good for tonally balanced mixing), so check how good the ‘phantom centre’ is in your new position by listening to a vocal. It should sit bang in the middle. If your high-frequency

diffusion is up to scratch, you shouldn’t have too many problems. The more solid your speaker stands, the better. Hollow metal stands aren’t great, since they can remove your bottom octave – if yours are hollow, at least fill them with kiln-dried sand. Breeze-blocks are great, but should be wrapped in clingfilm and fabric to prevent dust shedding. And don’t use foam speaker pads – speakers work more efficiently when they can’t move. Every time the cone moves, the cabinet tries to move as well, so preventing the

cabinet from moving makes the speaker more efficient. Don’t make a bad situation worse by adding floppy foam into the mix!

CORRECTING BASS RESPONSE MOST SMALL and medium-sized rooms end

up with a couple of problem areas, typically down at 60Hz and a little higher at 150Hz. If we’re going to fix these, it’s time we introduced MelaTech properly. Made by H&H Group in Melton Mowbray, MelaTech is a high-density open-cell melamine foam that boasts powerful and

STEP BY STEP CONTROL ROOM BASS CORRECTION PANELS

1

First we need a way of mounting our heavy panels on the walls. By using batons rather than fixing everything directly to the wall, we can minimise ‘wall

2

Drill holes in your 1200x600x2mm steel panels to hang them on the long screws. Push them right back to reduce stress on the screws. Hang sheets of

trauma’, keeping partners, parents or landlords happy. Use captive fixings/T-nuts

rubber of the same size so as to dampen the steel, taking away its reverberation. A

to attach long threaded screws to the batons, then fix the batons to the walls

piece of wood glued to the rubber can prevent curl if necessary. The steel plate now

using rawl plugs and screws.

resonates down in those problem areas, helping to cancel excess bass.

3

4

The rubber makes an undesirable reflective surface, so use a big piece of 100mm-thick MelaTech to cover it. We’ll now have a bass absorber and a

Here’s the whole dual-purpose treatment panel. Ideally you should have some like this and also some that are double the width (1200x1200x2mm)

broadband mid- and high-frequency absorber in the same place! Glue a drilled

to make sure you’re acting on a wide range of low-end frequencies. These panels

aluminium plate to the MelaTech, as shown. Evo-Stik works well, but be sure you

are ideal on a wall behind the listening position, or to each side in order to ‘take

have good ventilation!

out’ nearby walls. Cover them with fabric and they’ll even look nice!

24 | EXPERT HOME STUDIO HANDBOOK

free ebooks ==> www.ebook777.com HOW TO BUILD A HOME STUDIO | YOUR STUDIO even broadband absorption from 125Hz to 250Hz upwards. Best bought in 100mm-thick panels or big, pre-cut blocks, MelaTech will deal with all your high-frequency reflection problems and is going to be a vital component in building our bass treatments. We’ll also be needing some pre-cut 2mm-thick steel plate (which should be easy to obtain from any engineering company), and some 3mm rubber sheeting. These will come together to make panels offering good bass correction, while the MelaTech will help us fix the honk and reflection. You can buy purpose-made diffuser panels designed to break up honk and

reflection, but these are expensive, and a load of shelves filled with books and bits and pieces will do just as good a job, if not better. Putting MelaTech on the ceiling and bass absorber panels to the sides, between us and the speakers, will effectively make those walls disappear by ensuring that the high frequencies from the speakers get to our ears free of reflection from above and the sides. The downturn in fortunes of big recording studios has made it possible to find cheap acoustic treatments on eBay, but watch out – all that thin, bumpy, dark grey foam isn’t really going to do anything. Neither are egg boxes!

Make sure your speakers are solidly mounted on some form of immobile stand if you want them to be properly effective

STEP BY STEP KILL CONTROL ROOM CEILING AND FLOOR REFLECTIONS

1

More MelaTech, but this time in chunky shapes. Wherever you end up sourcing your open-cell melamine foam, it’s worth buying it ready-cut. A steady hand

2

Use a plasterboard fixing like this one to screw a circular neodymium magnet to the ceiling. This is by far the easiest way of getting your foam up and down,

and a breadknife will get the job done, but unless your going to cover it, it’s

and if you accidentally knock it with something, it’ll move rather than get holed.

definitely better to get it pre-shaped. Shapes like this are great for removing

The magnets also enable positional adjustment, of course, so you can easily move

floor-to-ceiling flutters and tightening the stereo image.

your shapes next door into your ad-hoc vocal booth!

3

4

Use 200x100mm aluminium plates as your magnetic fixings. For the best join, use a glue gun and a hot iron on the plate for a minute, and leave to dry

Last but not least, the flooring. If possible, use a thick underlay and wool twist carpet. As well as softening the room, it’ll be very comfy! Add to

overnight. If your ceiling’s high enough, use a long screw on the magnet, making a

that an extra rug underneath the chair and you’ll have pretty much eliminated

200mm gap between the MelaTech and the ceiling. This increases efficacy, as

floor-to-ceiling problems. The general rule with home rooms is that they’re never

sound hits the MelaTech, goes to the ceiling, then back through the MelaTech.

great acoustically, so the idea is to kill the reflections completely.

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NOISE IN THE RECORDING SPACE WITH THE control room sorted, it’s time to consider the recording room. All the treatments discussed for the control room apply equally to the rooms we want to actually make noise in. Let’s be honest: you’re never going to achieve a large, neutral, ambient space in the average home, so unless you have a hall with a minstrel gallery, you need to aim for dry. The issue that usually first springs to mind when thinking about making a studio space at home is soundproofing. Unfortunately, unless you’re purposebuilding a control room or live room and you want to spend a fortune and render the space pretty much unusable as a part of your house, there’s very little you can do about this. Double and triple glazing will do a good job of keeping out general noise, but it’s almost impossible to keep 100 percent of noise

out (or in) unless you’re physically isolated from your surroundings. Low frequencies will arrive in your room by physical transmission from outside, and nothing you can stick on your walls will make any difference – you just have to work around it. If you live in a flat or a terraced house, you might want to think twice about attempting to set up anything more than a small control room with some high-quality headphones for your musicians. Sometimes even the physical sound of someone playing a keyboard can be a nuisance to neighbours living below. Windows are often cited as a weak point, and all you can really do is shut them tightly, use thicker glass, or seal them (with mastic, say) if it’s safe to do so. If the window is in a recess, you could try cutting a 100mm-thick MelaTech shape to fit snugly in it, but this will only earn you 1-2dB of reduction at most. Using tightly fitting fire-doors with acoustic seals can also help a bit. Whatever you do, avoid the following totally useless sound isolation treatments – not only because they don’t work, but also because most are fire and/or health hazards: egg boxes, carpet on the walls, furniture foam on the walls, cavity wall insulation, fibreglass insulation panels on the walls, plywood or MDF on the

THANKFULLY WE’VE seen a vast improvement in the quality of noise reduction software. Waves X-Noise and Z-Noise are great for tackling broadband noise like computer cooling fans, while apps like iZotope RX are very useful for dealing with planes, trains, birds, creaking chairs and kicked mic stands. Used with care, they really can help solve incoming noise pollution. If your studio is a one-room affair (ie: just a control room), you’re going to find it very difficult to record soft vocals or acoustic instruments in there – especially picked acoustic guitar – without also capturing the sound of your computer’s fans. It’s well worth getting your computer into a different room if you can, or just out into the hall. USB/DVI-over-CAT5 extenders are affordable, and make it easy to ferret that noisy gear away. You can also do a fair bit to quieten your PC. Macs are pretty quiet, by and large, which is fortunate because they can’t easily be tampered with. PCs, on the other hand, are much easier to modify, and if yours is making a racket, it might not be too difficult to replace your stock CPU cooling fans with liquid cooling systems. One of the best is the Zalman Reserator 1 V2, which uses a freestanding, finned cylindrical aluminium radiator to cool the liquid in the loop, leaving you with a silent computer.

NOISE REDUCTION TACTICS

cab sounds great, but it’s always going to make an

You could always re-amp it later if the sim doesn’t

undefeatable racket.

do it for you.

priority to get hold of a high-quality amp/cab

and metal bands – is a MIDI drum kit (eg, the

There are some awesome bits of software that can

simulation software suite such as Native

Roland TD series) combined with a drum ROMpler

help you side-step many of the traditional noise and

Instruments’ Guitar Rig, IK Multimedia AmpliTube

like FXpansion BFD, perhaps with real cymbals and

loudness problems that are so intrinsic to recording

and the like – if you’re a Logic Pro user you’ve

hi-hats thrown in for good measure. This could get

live musicians, particularly when recording them in

already got some good options in the form of Amp

you a better result than recording a real drum kit –

a home environment. Even in a well-soundproofed

Designer and Bass Amp Designer. This can give

not the easiest of tasks in an average house. This

building you can still hear a band playing, especially

your bassist and guitarist a really great sound,

won’t be so good for soft, more expressive playing,

if they’re working late at night. A drummer hoofing

enabling them to perform to the very best of their

but if that’s the vibe you’re going for, a softly played

a kick alongside a hefty bass amp powering a 15"

ability while you capture their performance via DI.

real kit may be a viable option anyway.

The Zalman Reserator 1 V2 replaces your noisy CPU fan with liquid coolant – and it looks pretty good doing it, too

26 | EXPERT HOME STUDIO HANDBOOK

So, if you don’t have one already, make it a

walls, rubber matting on the floor, any kind of ‘soundproofing’ paint!

NOISE REDUCTION SOFTWARE AND HARDWARE

Another realistic option – particularly for rock

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EARTHING

The best thing you can do to keep your audio

prone to earth hum as they can’t take advantage of

clean is to use only balanced connections wherever

balanced connections. The walkthrough on this page

When you send a signal from one particular device

possible. Connecting mics to audio interfaces using

shows how this can be dealt with.

to another, it becomes susceptible to all kinds of

XLR-to-mono-jack cables is simply not allowed,

interference that can in turn show up on your track

we’re afraid, and mono jack leads are for connecting

EARTH LIFTING

as unwanted buzz, fizz and hiss. The most common

guitars, pedals, amps and unbalanced instrument

To solve earth hum, ‘lift’ or disconnect the earth

sort is earth hum. In a perfect set-up, all your audio

outputs (such as old synths) only. If you’re serious

(ground/pin 1/sleeve). Eg, at the input of an audio

equipment would be grounded at a single, effective

about recording, this is an unbreakable law.

interface. This can be done on an individual cable, on

earth so there would be no current flowing in

For all mics, you must use balanced XLR cables.

conductors and cable shields, so no current

Balanced connections use three wires: ‘hot’, ‘cold’ and

to label wherever you’ve lifted an earth as, while it

introduced into circuits and signals. Your home

‘ground’ (earth). On an XLR, these are pins 2, 3 and 1

may get rid of hum, it could allow also different

probably has reasonable earthing, but earth points

respectively, while on a TRS jack they’re tip, ring and

interference in. Care should be taken with lifting

can be numerous, shared between houses and

sleeve. The cold wire carries no signal, but will pick up

earths on guitars and amps; electrocution is a real

sometimes a good distance away. Installation may

the same interference as the hot wire. When one is

possibility. Use a specialist unit for earth lifting

not be up to ‘broadcast’ standards, and the

electronically phase-reversed, the noise cancels itself

guitars if possible. It’s not the most exciting thing to

distribution of power in your house may be on ‘rings’,

out, leaving a clean signal. Guitars, pedals and amps

blow £200 on, but it’ll make your home recording

which can cause further problems.

are more problematic to connect over distance, and

experience more pleasant – and safe.

a loom or across a section of your patch bay. Be sure

STEP BY STEP GETTING RID OF EARTH HUM

1

This is the transmit end of a buffered line driver system: a powered unit with a high-impedance instrument input. The first step is to plug the guitar

2

A balanced XLR cable takes a clean, boosted and balanced instrument signal as far as you need it to go in order to reach the amplifier. You can even join

into the input. If the guitarist is in the control room, a DI output can be taken direct

XLR cables together without fear of interference creeping in. This particular

from the transmit box to your DAW for later re-amping or processing through an

system uses its own signal type; you couldn’t plug the other end of this cable

amp sim plugin.

into a microphone input!

3

4

This is the receive unit, and it lives at the other end of the house, next to your amp. This particular unit also lets you take two amp feeds from

The Gig Rig Humdinger (£109, www.thegigrig.com) is a simpler and more economic solution for signal cleansing and dual-output operation. If, for

a single signal and drive two amps at the same time without worrying about

example, your guitarist wants to be with the band rather than in the control room,

an earth loop between the two – a feat that can be difficult to achieve at the

the Humdinger enables you to feed and record an amp, and take a second feed for

best of times.

a DI or amp sim at the same time. Boring… but very useful for home recording.

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STEP BY STEP SIX HOME STUDIO CONSTRUCTION TIPS

1

Empty, closeable cardboard boxes can really help clean up the low-frequency response of a room. They’re just closed volumes of air that will resonate at

2

A rolled-up, stiffish rug around the kick drum delivers dual benefits. First, it can augment the low resonance and ‘note’ of the drum and help

those key frequencies – the bigger the box, the lower the frequency. This trick is

boost the bottom octave; and secondly, it acts as a physical barrier, so you

often discovered by accident when unpacking new monitors – ever wondered why

can wind some serious top end in on your kick mic without adding high-

they sound worse when you tidy away the packaging?

frequency kit spill.

3

4

Domestic walls tend to be painted plasterboard, with a natural sound you could only describe as ‘quacky’. Patio doors/windows are equally unhelpful.

Moongel pads are small, sticky gel rectangles that you can stick to drum heads to reduce unwanted ringing and general flappiness. Most good

Luckily, your home studio already contains just the thing for diminishing these

studios will have some, but a square of jelly from your kitchen cupboard or

unpleasant reflections: a duvet. Use cable ties on curtain poles or rails, and try and

local shop (any flavour will do) will be just as effective in helping to get that

get the duvet a few inches away from walls if possible to maximise its effect.

perfect snare sound.

5

6

One of the problems with killing the reflections of our rooms is that we then can’t get any natural ambience into the recordings we make in them. If

Sometimes, a surprisingly big sound can be made by a small amplifier. 1x12 combos or smaller are great for tucking away in cupboards or under

possible, stick a mic in the bathroom or kitchen – bright and bouncy-sounding

stairs and miking up, so that they don’t bleed into your drum or vocal mics.

rooms – then record your drums or amp in an adjoining room, with the doors

The perfect place is a wardrobe filled with clothes – good isolation and no nasty

open. Delay this ambient signal by a few milliseconds for extra ‘size’.

room reflections.

28 | EXPERT HOME STUDIO HANDBOOK

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13 TIPS FOR BETTER STUDIO ACOUSTICS LOST IN SCIENCE

However, don’t think of these as a replacement for acoustic treatment – they’re not. They can, however, aid in achieving that “last 5%” of sonic purity in an otherwise well-treated room, or help to make the best of a situation where full-on acoustic treatment is not possible.

AS USUAL, there’s a lot of information

available on the internet. Just remember that acoustics is a science, and as such, there are some very deep and hugely involved texts out there, and a huge number of people who want to come across as being cleverer than you are. Rely on measurement software rather than equations and jargon – you’re building a decent studio, not a stateof-the-art acoustics laboratory!

FABRICATING PANELS FABRIC IS surprisingly expensive and can easily be your biggest expenditure in making sound absorbers. It’s tempting to cheap out here, but bad fabric just looks bad. Ring around local fabric suppliers and see if they have any quality end-ofline stock you can snap up for a bargain.

SEEK THE PROFESSIONALS IF YOU don’t have the time or inclination to build your own traps and panels, check out companies like RealTraps and GIK Acoustics. They’re a friendly bunch who will throw in a consultation to hammer out a treatment plan that works best for your specific room and budget.

BUILDING BY VIDEOS CHECK OUT YouTube for videos detailing how to build your own bass traps and early reflector panels. The concept is quite simple, but if you’re shy with the DIY, then any new angle you can get on how to tackle the challenge will only help.

AVOID FLIMSY FOAM BEWARE OF foam suppliers selling cheap

acoustic foam. There’s no way of verifying if they are up to scratch in terms of performance so it’s usually better to spend a little extra with specialist companies such as Auralex

No half measures – use proper acoustic measurement software rather than improvising a test in your DAW who have a proven track record of delivering the goods.

ACOUSTIC PHILOSOPHY TAKE THIS axiom to heart: “In acoustics, if

something seems intuitive, it’s probably wrong.” Acoustics is a deep and complex topic, not something to be taken on a hunch. There’s a wealth of great resources on the web (eg: gearslutz.com’s Studio Building/Acoustics and johnsayers.com’s Acoustics forum) so don’t be shy to ask questions and make sure to do the necessary background reading.

TAKE MEASUREMENT SERIOUSLY

GET THE SPECS MINERAL WOOL suppliers usually publish the

Sound Absorption Coefficient specs for their brands. These are often found on the manufacturers’ websites and detail how well a given product performs at absorbing energy at various points across the frequency spectrum. Basically, an absorption coefficient is a measure of how much sound is absorbed by the material – between 0 (no sound absorbed) and 1 (complete absorption). You can use sound absorption coefficients to get an idea of whether certain materials are right for certain tasks. They can also tell you what materials you can use together to increase your absorption across the entire frequency spectrum.

PLAYING IT BY EAR

WHEN TAKING room sound measurements, blasting pink noise and looking at the result of the mic input on a spectrum analyser in your DAW is no substitute for proper measurement software. There’s no reason to not do a proper job, when software like REQ Wizard is free.

IF YOU really can’t get your hands on an omni mic to take room measurements, you’ll have to do some educated guesswork. For small rooms (less than 1,500 cubic feet), ‘the more bass traps the better’ is a sensible strategy.

OTHER RESOURCES

GETTING YOUR MINERALS

THE KEY players in acoustic treatment

YOUR LOCAL builder’s merchant will

often have a wealth of resources on their websites to aid the novice. These guides are aimed at the beginner, so the important take-homes are laid out in an easy to understand manner.

often have killer deals on mineral wool, potentially allowing you to slash your costs by half. Be sure to take them up on their offer for delivery as you’re in for a shock if you think you can fit more than a bale or two in the back of your hatchback.

SOFT SOLUTIONS SOFTWARE-BASED SYSTEMS such as IK

Multimedia’s ARC System 2 can compensate for acoustic deficiencies.

Good manufacturers will make their absorption coefficients available online

VERTICAL ADJUSTMENTS IF YOU can afford solid speaker stands

with adjustable height, it will open up, literally, a whole new dimension to experiment with speaker positioning. Just be sure you likewise grab an adjustable chair so you can boost your listening position up or down to align your ears with the tweeters.

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HOME STUDIO GEAR GUIDE hen you’re creating music at such a high level, it’s important to use the best gear you can afford. After all, you’re poring over every other detail – especially if you’re following the in-depth tutorials in this edition of the Home Studio Handbook. With that in mind, we’ve rounded up a raft of pro level instruments, accessories and software for the serious home studio recordist; any of which will go a long way to enhancing your recorded sound. From top of the range mics, headphones and monitors through to electric guitars, basses and drum kits, we have all of your gear needs covered. You might want to hide this bit from your bank manager...

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HANDHELD RECORDERS hile handheld recorders are useful for recording flashes of inspiration, they can also be used for more expansive projects, particularly on location. As you work your way up the price brackets, you’ll find additional options, from built-in stereo mics to XLR inputs, enabling you to run external

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condenser mics for studio-quality sound while on the move. Decide how seriously you’re going to take your handheld recordings before you buy; if you’re just taking down ideas, you won’t need to splash out as much as if you intend to drag and drop handheld audio into your mixes.

BLUE MICROPHONES MIKEY DIGITAL

YAMAHA POCKETRAK PR7

£99

£131

If you love the idea of recording on an iPhone but crave better sound quality, the

Lightweight, this battery-powered stereo recorder features a crossed X/Y

Mikey Digital will sing to your inner perfectionist. Connecting to your iOS device’s

microphone and you can also plug in an external mic. Setting up for recording

30-pin or Lightning dock, it handles loud sounds and has a line input for guitar.

is simple with five preset modes.

www.bluemic.com

uk.yamaha.com

32 | EXPERT HOME STUDIO HANDBOOK

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OLYMPUS LS-12 & LS-14

ROLAND R-26

£144 (LS-12), £199 (LS-14)

£345

Both offer a tuner and three modes. Quick mode equals instant recording,

The top-end R-26 offers two types of built-in stereo mics, a touch-screen

Manual lets you set the recording level, and Smart adjusts to the optimum

display, USB interface functionality, plus a pair of XLR/TRS inputs and

level after ‘hearing’ the audio.

three stereo channels of simultaneous recording.

www.olympus.co.uk

www.roland.co.uk

TASCAM DR-40

ZOOM H6

£135

£319

Pro features for serious recording, and phantom-powered XLR mic/line inputs

With two interchangeable stereo mic set-ups, facility to record a lower-level

alongside adjustable internal mics. Records two identical stereo tracks

back-up track, and four phantom-powered XLR mic/line inputs, the H6 is

simultaneously via one set of mics.

capable of six-track simultaneous recording.

www.tascam.eu

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AUDIO INTERFACES f you’re looking to take the next step up in AD/DA conversion, or simply upgrade your existing multi-channel audio interface there is a lot to consider when making new purchase. Are you looking for onboard DSP, or digital I/O expansion? Perhaps

I

you need a master clock included, or portability might be the main focus? Either way, you are going to want the finest mic pre’s and converters that your budget will allow. Here’s a small selection of some of the best mid-pro interfaces on offer.

ANTELOPE AUDIO ZEN STUDIO

UNIVERSAL AUDIO APOLLO 8

£1,525

£1,579

A portable audio interface with a plethora of analogue and digital connectivity:

The updated Apollo 8 is an 18 x 24 Thunderbolt 2 interface. They were desirable

12 world-class mic pre’s, Antelope Audio’s signature clocking and on-board

before but they’re close to irresistible now, if you’re Mac-based, have the budget

DSP effects delivered through their proprietary zero-latency USB connection.

and want to put UAD effects processing at the heart of your production.

antelopeaudio.com

www.uaudio.com

34 | EXPERT HOME STUDIO HANDBOOK

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UNIVERSAL AUDIO APOLLO TWIN

SPL CRIMSON

Solo £565; Duo £726

£400

A twin-channel analogue and digital audio interface which hosts UAD’s plugin

About as good as it gets when it comes to compact desktop interfaces. Six

range. Solo or Twin SHARC processor options, with two great-sounding

ins (four analogue), two discreet mic preamplifiers and two instrument

preamps delivering up to 24-bit/192kHz resolution.

preamplifiers (Hi-Z, +22dBu). And six outs, with lots of routing flexibility.

www.uaudio.com

http://spl.info

APOGEE ENSEMBLE THUNDERBOLT

PRISM SOUND LYRA 2

£1,999

£1,704

A stunning sounding interface with flexible I/O, more straightforward

A truly pro quality, small format convertor with flexible monitoring options. Lyra

front-panel control and ultra-low latency recording. Ensemble will particularly

is a 2-in/4-out interface with mic pre’s and eight-channel optical I/O. Incredible

appeal to the guitar-playing producer but it’s got plenty for everyone else too.

conversion quality, outstanding mic amps and excellent control features.

www.apogeedigital.com

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STUDIO MONITORS ere we look at the end of the near-field monitor market and ask, should you be considering a near/mid-field option for your studio set-up? If you’ve the space and budget, then yes – bigger is always better. The clarity, depth and the

H

broader sound-stage achieved with larger drivers will only make your music better. Detail is key. If you just don’t have the room for the larger enclosures, then there are still smaller options out there that can deliver great results.

MUNRO SONIC EGG 150

ADAM A7X

£1,999 (pair)

£758 (pair)

Two-way studio monitoring system with separate standalone amplification

Active studio monitors with 7" mid-woofer and X-ART ribbon tweeter. One of

system updated to feature a more defined and fuller low-end. These are serious

the best monitors on the market. The mids are accurate and revealing, though

contenders for the best monitors in their price range.

with none of the hi-fi smoothness of their bigger brother the AX8s.

www.munrosonic.com

www.adam-audio.com

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GENELEC 8330A PACK

KRK ROKIT RP10-3

£1,279

£798 (pair)

Allowing adjustments of all aspects of monitor settings and full system control,

The RP10-3s offer high quality three-way monitoring at an incredibly

the pack includes everything you need to calibrate and manage the DSP

competitive price, and they are far more detailed than two-way Rokit

yourself; two monitors, mic, interface correction kit and software.

designs. Featuring a 10" woofer, 4" mid-range driver and 1" tweeter.

www.sourcedistribution.co.uk

www.krksys.com

DYNAUDIO AIR 12

FOCAL TWIN 6 BE

Master £1,748; Slave £1,455

£1,135 (each)

Rear-ported two-way design built around an 8" woofer and 1.1" soft dome

A three-way active near/midfield studio monitor with beryllium dome tweeter

tweeter. Each driver gets a 200W amp, and peak SPL for a pair is 128dB. Slave

and two 6.5" woofers. These speakers are hard to beat at any price. Exactly

satellites connect to the Master unit via the Ethernet-based TC Link system.

what a great studio monitor should do!

www.dynaudioprofessional.com

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HEADPHONES hrough necessity, convenience or critical listening we all have to use headphones. The trick is to avoid hearing their use in your finished work. With so many different types of headphone out there, it’s very easy to get bogged down by the

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sheer numbers available. Our advice is to try before you buy. You can pick the most impressively-specced cans, but if they are uncomfortable to wear you’re not going to get much use out of them. Choose wisely – here’s a pick of the best.

AKG K812 PRO

AUDIO TECHNICA ATH-M70X

£1,099

£245

The top-end open back, dynamic, reference studio headphones from AKG.

Audio Technica’s M-range has a new flagship model in the form of the

Large 53mm transducers offer a frequency range up to an impressive 54kHz.

ATH-M70x. These closed-back ’phones feature 45mm drivers and are tuned

The K812s do not disappoint, delivering detailed sound with depth and clarity.

to accurately reproduce an extreme frequency response of 5Hz to 40kHz.

www.akg.com

eu.audio-technica.com

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AUDIO TECHNICA ATH-R70X

SHURE SRH1540

£290

£369

Audio Technica’s first foray into the field of open-back reference headphones,

Top-end closed-back headphones, the high-end is crystal clear and transient

not that you’d know it. The R70x are feather-light in weight, but give a

detail is immaculate across the board. Sound staging is deep and wide, making

heavyweight performance in terms of accuracy.

subtle mix placement easy. And they are nearly as light as the ATH-R70x’s.

eu.audio-technica.com

www.shure.co.uk

FOCAL SPIRIT PROFESSIONAL

SENNHEISER HD6 MIX

£165

£169

Matched 40mm transducers deliver the sound and provide a quality all-round

As part of Sennheiser’s HD range, the HD6s are firmly aimed at studio use.

listening experience. They deliver a clear and neutral sound that translates

Lightweight and comfortable, these dynamic, closed-back transducers deliver

familiar mixes with accuracy.

an accurate and balanced sound with a frequency response of 8Hz to 30kHz.

www.focal.com

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MICROPHONES he microphone is one of the most important links in the recording chain, so you should evaluate your needs and upgrade wisely. Here’s our pick of 12 mid-to-high-end microphones that deserve to be on your shopping list – from versatile ‘all-rounders’ through to more specialist and

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high-end options. Note that the prices we’ve quoted are the manufacturers’ retail prices, correct at the time of going to press; some official SRPs may have increased slightly, while many prices from retailers will be lower – we’d highly recommend you sure to shop around!

SHURE SM57

RODE NTK

£85

£429

An industry standard across the globe, the famous ‘57’ is used for all manner of

A cost-effective valve condenser from Australian mic giants Rode. Its cardioid

applications – but its natural home is the guitar amp thanks to its compact

polar pattern and warm, natural tube sound are ideal for capturing high-quality

windscreen, which allows it to get right up close to the grille.

vocals, overheads, drum ambience and acoustic instruments.

www.shure.co.uk

www.rode.com

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AKG RHYTHM SET DRUM MIC SET

VIOLET DESIGN THE WEDGE

£449

£579

This set packs the ubiquitous, modern classic D112 – a large diaphragm bass

The distinctive shape and retro style of this mic will instantly appeal to some,

drum mic – alongside two C430 condensers and three D40s to handle snare

and its crisp top-end makes it a fine choice for recording vocals, with a slight

and tom duties. All work in sweet harmony to deliver a polished kit sound.

presence lift being an added boon. Good value for money.

www.akg.com

www.violet-design.com

AKG C 414 XL II

LEWITT DTP BEAT KIT PRO 7 MIC KIT

£959

From £999

The list price might seem astronomical, but it can be found for much less online

The range of mics on offer here – four dynamics, two overheads and a dual

(£700 to £800), and it really is pro studio standard. A highly detailed, crisp

capsule bass drum mic – are sturdily built and produce undeniably great

sound with very little colouring, this mic is also available as a matched pair.

quality audio, whatever the recording scenario.

www.akg.com

www.lewitt-audio.com EXPERT HOME STUDIO HANDBOOK | 41

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SE ELECTRONICS SE5 PAIR £479 A matched pair of condenser mics is a sound investment for the project studio owner who wants to expand their range of recording options. For anything that needs to be recorded in stereo, the sE5 pair is a solid choice for decent sound quality at a reasonable price. This matched pair of small-diaphragm condensers are supplied in a foam-lined aluminium carrying case that holds the two mics, their shock mounts and a mounting bar so that you can fix both mics to the same stand for stereo recording.

www.seelectronics.com

SONTRONICS ARIA £899 The Aria replaces Sontronics’ Omega valve condenser, but is a new design and slated primarily as a vocal mic. The Aria was one of our favourite high-end mics of 2014, with its faithful, silky smooth response and the touch of colour courtesy of the ECC83 valve-driven power supply. With acoustic guitar it’s easy to capture a non-boomy sound, and once again the non-hyped sound is great. The smooth response also lends itself to complex sounds such as guitar amp, strings and percussion.

www.sontronics.com

COLES 4038 £920 Known for its use throughout the BBC and broadcast studios around the world, the 4038 is an elegantly classic ribbon condenser that’s another classic on our list. Its rich, dark frequency response won’t give you the excessive brightness that other mics do, but its dusky smoothness captures jazz instruments, drum overheads or ambience with unrivalled class. Plus, the resulting recordings respond exceptionally well to EQ lifts above 10kHz. The 4038 is sturdily built, so you’ll need a solid stand to support it. Also available as a matched pair.

www.coleselectroacoustics.com

42 | EXPERT HOME STUDIO HANDBOOK

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NEUMANN U 87 AI £1, 675 The most revered condenser on the planet is a large dual-diaphragm design, featuring three switchable polar patterns: cardioid, figure-of-eight and omni. A low frequency attenuator reduces proximity effect, while the 10dB pad switch attenuates the mic’s sensitivity – allowing for levels of up to 127dB SPL. Sonically, the U 87’s luxuriously warm, clear sound and incredible transient response justifies its price tag, excelling at almost all recording applications: lead/backing vocals, acoustic instruments, drum overheads, orchestras and more. If you have the cash to splash on a new condenser, you could do a lot worse than the ultimate studio classic.

www.neumann.com

TELEFUNKEN ELEKTROAKUSTIK AR-51 £1,522 The AR-51’s tone is classic smooth all-rounder: never sounding exaggerated or scooped, always allowing the reality of the source to come through unmolested. The sheer quality of this condenser makes its hefty price tag seem reasonable considering that it will easily fill that ‘lead vocal’ spot in a mic collection. Transient response is excellent, easily capturing percussive sources realistically across a wide dynamic range, from the subtlest snare ghostings to the most intense floor tom wallops. Overall, it’s a smooth condenser with great all-round performance that lives up to the Telefunken name.

www.telefunken-elektroakustik.com

ROYER SF-12 £2,350 A microphone or two to pick up the general room ambience is vital to add colour and character to the overall sound of your drum kit or ensemble recording. You’ll need a pair to capture in stereo; ribbon mics are popular here, and have a mid-range character that brings the best out in a room. The SF-12 is a high-end stereo ribbon microphone featuring two matched ribbon mics at a 45° axis for the classic Blumlein technique. It’s perfect for any situation where a nuanced stereo performance must be captured: acoustic guitar, drum overheads, jazz or classical instruments.

www.royerlabs.com

EXPERT HOME STUDIO HANDBOOK | 43

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STUDIO AMPS hile valves and lower output wattages are your main priority when it comes to home studio amps, a higher budget affords you the luxury of pinpointing exactly the kind of sound you’re after. American-style amps are famed for their shimmering cleans, while Brit heads and combos are

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associated with ringing crunch and overdrive tones. Then there are some amps that bridge the gap, delivering the best of both worlds in one package, and some that do away with valves altogether, opting for cutting-edge digital modelling. Here are some of our favourites from across the spectrum.

SUHR CORSO

VICTORY V10 THE BARON

£849

£1,249

Aside from its stunning looks, Suhr’s five-watt head offers variable wattage

With a range of 6L6 and EL84 sounds, The Baron is a versatile, toneful beast

down to zero via a built-in attenuator, facilitating silent recording, plus minimal

thanks to its intelligently designed hybrid of hand-wired and PCB construction

noise and tones that range from ‘blackface’-style cleans to all-out high gain.

and solid pine cabinet.

www.suhr.com

www.victoryamps.com

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FRACTAL AXE-FX II XL+

ORANGE OR15

£1,849

£459

It’s pricey, but Fractal’s modelling super-processor could be all the amp

Much of the Brit amp legend’s output is geared towards the stage, but the

you ever need, with modelling tech that is second to none. Add in the built-in

OR15 keeps the wattage down (as low as seven watts), while still delivering

effects and tone-matching tech, and that price starts to make sense.

the compressed, touch-sensitive crunch for which the company is famed.

www.fractalaudio.com

www.orangeamps.com

PRS ARCHON 25

MARSHALL 2061X

£1,249

£1,249

The smallest of the Archon range, which has found favour with players

This hand-wired head aims to recapture the tones of Marshall’s ’70s ‘Lead and

from camps as diverse as country and metal, this 25-watt combo packs

Bass’ amp, with a 20-watt output that delivers those trademark crunch and

a high-headroom clean channel, and a modern-sounding overdrive.

distortion sounds at relatively low volumes, employing two distinct channels.

www.prsguitars.com

www.marshallamps.com EXPERT HOME STUDIO HANDBOOK | 45

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STUDIO ELECTRIC GUITARS here are a number of classic electric guitar models that are considered essential for recording – Fender’s Strat and Tele, Gibson’s Les Paul et al – but there’s more to a home studio guitar than just heritage. Adding to your six-stringed arsenal not only changes the sounds you lay down but also affects the way

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you play, which could alter the entire direction and dynamic of a track. We’ve rounded up a selection of pro-grade models that offer history, updated specs and new approaches, but they all have great tone and reliability in common. Time to add to that collection!

IBANEZ UV70P

FENDER CLASSIC SERIES ’60S STRATOCASTER LACQUER

£1,055

£994

Seven-string guitars can add an extra dimension to your sound in terms of

A decent Strat can be invaluable in the studio. This nitro-finish model brings

low-end clout, and this Ibanez Premium axe is based on the one that started

some of the vibe and tonal palette of higher-end American Vintage reissues

it all: Steve Vai’s 1990 Universe.

to a more affordable package.

www.ibanez.co.jp

www.fender.com

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FENDER AMERICAN VINTAGE ’64 TELECASTER

LTD EC-1000 EVERTUNE

£1,996

£999

The Telecaster has sweet yet biting single-coil tones that make it an evergreen

As well as a pair of high-output EMG humbuckers, ripe for high-definition metal

choice for rhythm and lead parts that sing out in the mix. This ’64-spec model

tones, the EC-1000 boasts a cutting-edge EverTune bridge, whose mechanical

evokes a golden era of tone.

system ensures your guitar never goes out of tune – a boon for recording.

www.fender.com

www.espguitars.com

GIBSON LES PAUL STANDARD 2015

FRET-KING CORONA 60 FLUENCE EQUIPPED

£2,499

£1,699

Radical updates to the Les Paul include the G Force Tuning System and a wider

This Fret-King packs Fishman’s cutting-edge Fluence active single coils, which

neck, but the depth of tone remains consistent with its forebears thanks to a

eliminate single-coil hum, and offer two voices: vintage and a hotter, more

pair of Burstbucker Pro humbuckers, which ape early models’ PAF originals.

muscular sound – both deliver hi-fi tones that are ripe for recording.

www.gibson.com

www.fret-king.com EXPERT HOME STUDIO HANDBOOK | 47

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GIBSON MEMPHIS ES-335 SATIN 2015 £1,899 Gibson has a long history of semi-hollow designs, but the ES-335 is its most popular, used by everyone from late blues man BB King to session legend Larry Carlton. A little sweeter and less rock-focused than a Les Paul, it’s as dependably versatile as Fender’s Telecaster – you could make use of the warmth and punch of its two Burstbucker humbuckers on everything from a slow blues to crunchy indie rock. Aside from the classy satin finish, this example shoots for vintage accuracy. But when a guitar has contributed to as many milestone recordings as the ES-335, there’s little need to fix what is very far from broken.

www.gibson.com

GRETSCH G6137TCB PANTHER £2,926 Is there anything cooler-looking than a Gretsch? The trouble is, the all-hollow designs can be a nightmare with any kind of gain and volume. Finally, after five decades or so, we’ve got what we really want: a centre block to suppress feedback at volume. The big yet deceptively subtle Gretsch tones you’ll get from the Panther’s pair of Filter’Tron humbuckers really do constitute the ‘third’ classic guitar voice of rock, alongside Fender and Gibson tones. As a serious studio tool, this is worthy of consideration. The price is breathtaking, but Gretsch’s lower-tier Electromatic Center-Block models, such as the G5622T-CB, offer a credible alternative. Where do we sign?

www.gretschguitars.com

PRS S2 CUSTOM 24 £1,375 While new models come and go with alarming frequency at PRS, the Custom, first seen in 1985, remains the company’s true classic. The S2 series name refers to a second production line set up within PRS’s Stevensville factory, which was designed to make a more cost-effective PRS guitar. To achieve this, the S2 version features a bevelled edge rather than a fully carved maple top and a three-piece mahogany neck. Hardware is all USA-designed and sourced from either Korea or the USA. Likewise the pickups, which ape the USA models but are made in Korea. The result? A fine, modern-voiced solidbody without the eye-watering price tag.

www.prsguitars.com

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STUDIO ACOUSTIC GUITARS nce you get into serious recording territory, you’re going to want to invest in a top quality acoustic guitar. Rather than the quality of the wood – unless otherwise stated, we’re deep into all-solid wood territory here – your concerns will be over which tonewoods to opt for; spruce is brighter than

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mahogany, for example. The quality of built-in electro preamps, as featured on some of the models shown here, is improved over cheaper models, too, and you may actually end up preferring the zingier tone – not to mention the convenience – over a mic’d sound.

TAYLOR 712CE

LARRIVÉE OM-40

£2,969

£994

Featuring Taylor’s own Grand Auditorium body design for a warm, commanding

Featuring a Larrivée-exclusive bracing system to control bass frequencies, the

sound from its Engelmann spruce top and rosewood back and sides, the 14

OM-40 sits perfectly in a mix, owing to a warm yet crisp low-end and rounded

series is a benchmark in the company’s long history of acoustics.

highs from its Sitka spruce top and mahogany sides.

www.taylorguitars.com

www.larrivee.com

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FAITH PJE SIGNATURE FSGNCLPT LONDON PLANE

TAKAMINE P6NC

£1,499

£1,894

Designed by master luthier Patrick James Eggle, the PJE features an unusual

Part of the Japanese brand’s Pro Series, featuring a spruce top, flame maple

London plane wood for its back and sides, and solid Engelmann spruce top. The

back and laminate flame maple sides. Well-built for picking; plugged in, its

combination produces a modern, dynamic voicing with a shimmering top-end.

comprehensive preamp produces a convincing miked-like sound.

www.faithguitars.com

www.takamine.com

ALVAREZ MG75SCE

COLLINGS CJ35

£879

£4,615

Borrowing the grand auditorium body shape from Taylor and tidily constructed,

If money truly is no object, we point you towards this Texas-made dreadnought,

its cedar top and rosewood back and sides deliver crisp highs and an even

whose painstaking attention to detail delivers an articulate sound with deep

mid-range. Its dual-pickup system is ideally suited to percussive players.

bass, which captures the 1930s golden era of acoustics.

www.alvarezguitars.com

www.collingsguitars.com EXPERT HOME STUDIO HANDBOOK | 51

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GUILD F-512 £2,422 You’ll find 12-string acoustics littered across classic tunes – Wish

You Were Here and Hotel California to name but two – and the F-512 is a celebrated example. The upper octave and unison string voicings will add an elegant shimmer to any recording. Handmade in the USA, the F-512 is certainly not an impulse purchase. In fact, we’d say that it’s either a totally frivolous, got-to-have-the-best choice for the guitar player who has everything or, conversely, the realisation of the 12-string dream for anyone deadly serious about playing them professionally.

www.guildguitars.com

GIBSON ACOUSTIC J-45 STANDARD £1,599 A rich bass and inspiring dynamic response made the J-45 an iconic acoustic workhorse for more legends than you can shake six strings attached to a stick at, from rock’n’roll trailblazer Buddy Holly to modern-day minstrel James Blunt. A great all-rounder for fingerpicking and strumming, it’s hard to get a bad sound out of this round-shouldered dreadnought in the studio. Not content with being stone-cold classic acoustics, Gibson’s latest models also feature quality LR Baggs Element active pickup systems for additional tonal options.

www.gibson.com

MARTIN D-15M BURST £1,239 By Martin’s standards, this is a fairly affordable model, but everything about the D-15M Burst screams quality, with the focus placed squarely on tone over visual appointments. With an all-mahogany build, it has a rich resonance to its core sound, with a punchy, present mid-range. Admittedly, there’s less complex bass and treble here than the spruce and rosewood combination you’ll find on many other acoustics, but the dark yet vibrant tone of an all-mahogany guitar is one that’s well worth experiencing, and the D-15M is a fine example.

www.martinguitar.com

52 | EXPERT HOME STUDIO HANDBOOK

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STUDIO BASS GUITARS

hile you won’t find as wide a range of classic bass tones as you will guitar, the world of low-end still offers a number of definitive sounds. All the basses listed in this buyer’s guide offer record-ready tones, but some also deliver useful additional options courtesy of active electronics or

selectable pickups, which can help to hone in on the frequency that sits best in your mix and will mean you have a guitar that can handle a variety of sessions. That said, some of the greatest recorded bass tones in history feature one-pickup basses, so don’t discount the versatility of one good sound!

FENDER AMERICAN VINTAGE ’63 P-BASS

FENDER AMERICAN STANDARD JAZZ BASS

£2,350

£1,402

The P-Bass is perhaps the bass guitar, and this American Vintage model gets

If you seek old-school tones, the defined, bright tonality of the Jazz Bass will

incredibly close to Fender’s golden-era instruments, thanks to a ‘63-faithful

get you there. This latest American Standard model is more versatile and

split-coil pickup, which maintains an even output across the strings.

distinctive than ever, making it a fine choice as a do-all recording bass.

www.fender.com

www.fender.com

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MUSIC MAN CLASSIC STINGRAY 4 BASS

RICKENBACKER 4003

£1,949

£1,499

A classic design, thanks to its powerful humbucker, active two-band EQ and

The 4001 was often found in the hands of players as diverse as Paul McCartney,

through-body stringing, increasing variety of tone and sustain. This model

Chris Squire and Lemmy; this model, first released in 1981, features the same

replicates original ’70s designs, but its hi-fi tones still sound contemporary.

twin-single coil design and wild output, which yields gritty rock bass sounds.

www.music-man.com

www.rickenbacker.com

GIBSON SG STANDARD BASS 2015

WARWICK THUMB BOLT-ON

£998

£2,179

Based on Gibson’s EB-3 (as played by Jack Bruce and Bill Wyman), with a 30.5"

Warwick’s high-end basses have become favourites among session players,

scale length for an easier playing experience for guitarists. The combination of

owing to rock-solid construction and pro-level tones. The switchable active/

humbucker and mini-humbucker pickups give a distinctive low-end growl.

passive pickup circuit in this ovangkol-bodied bass delivers a wide sonic palette.

www.gibson.com

www.warwickbass.com EXPERT HOME STUDIO HANDBOOK | 55

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DRUM KITS f money is no object then you can really go to town on your studio drums in terms of quality, quantity and detail. At this level, shells should be almost perfectly round and made from the very best species of wood. In many cases you will have your pick of depths, diameter and shell construction.

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Drums will be built to elicit the best natural tone of the wood, often with minimum-contact hardware and bass drums undrilled to let the shells resonate at their optimum. Tuning will be reliable and, when combined with the right choice of batter and resonant heads, your drums will ‘sing’.

DW COLLECTORS SERIES

MAPEX SATURN V

£custom

£1,539

With its sumptuous finishes, attention to detail and an awareness of

Building on the already impressive Saturn IV, key features include SONIClear

drummers’ needs, Collectors lets you chose everything from wood type

bearing edges and tom holders for more consistent tuning and better

and grain orientation to finish and hardware colour. Truly custom drums.

resonance, and short stack toms. As happy on stage as in the studio.

www.dwdrums.com

www.mapex.co.uk

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YAMAHA ABSOLUTE HYBRID MAPLE

PEARL REFERENCE PURE

Shells start from £494

Shells start from £706

The kit exemplifies Yamaha’s pursuit of excellence in sound and optimum shell

If your budget can stretch to this kit, expressly tailored for the studio with its

tone and resonance with a maple/wenge ply construction and new generation

dark and focused sound and optimised shell construction, this is a top quality

YESS mount. This is a beautifully designed, versatile sounding kit.

investment. Drums are thin mahogany-shelled and lavishly equipped.

uk.yamaha.com

www.pearldrum.com

TAMA STARCLASSIC

PREMIER MODERN CLASSIC

From £1,099

From £1,980

Moving production to China allowed Tama to cut the cost of its Starclassic

For something more vintage sounding, but with the reliability and construction

without impacting on quality. These kits bear all of Tama’s hallmarks – solid

of a modern kit, these high-end, UK-built kits are instant classics. Concert

build, quality components and careful detailing, and amazing sounds.

Master and Bebop configurations feature pre-rock thin shells.

www.tama.com

www.premier-percussion.com EXPERT HOME STUDIO HANDBOOK | 57

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CYMBALS ith a higher budget your options for cymbal voices appropriate to the music you’re recording becomes huge, as does the cost, so choose wisely. Are you looking for warmer, darker tones for jazz, or something brighter or trashier for rock or heavy metal? Regardless, at this end of the

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spectrum you will be treated to the very best alloys that are cast rather than pressed or rolled, and labour-intensive, often hand-worked processes that result in more complex, rich and consistent tones. You should definitely try before you buy at this level as the voice and character will differ per cymbal.

PAISTE 2002

MEINL BYZANCE

From £126

From £90

The Swiss manufacturer offers plenty of choice at this pricier end of the

Meinl’s broad Byzance range will offer something to match the sound inside

spectrum, but the CuSn8 Bronze of this classic line has been driving rock

your head. From Extra Dry to Brilliant, via Traditional and Jazz, these cymbals

giants from Led Zeppelin to AC/DC for decades.

use the finest alloys and state-of-the-art manufacturing processes.

www.paiste.com

www.meinlcymbals.com

58 | EXPERT HOME STUDIO HANDBOOK

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ZILDJIAN A/K CUSTOM

BOSPHORUS MASTER VINTAGE

From £104

From £227

The A Customs are brighter, designed to suit the rockier player. K Customs are

A warm, vintage sound without having to unearth decades-old metals. Master

warmer cymbals more at home in jazz or soft rock. Looking for something in

Vintage are left relatively unlathed, their complex, dark sounds extracted by

between? Why not mix cymbals from both ranges?

expert hand hammering instead. Perfect for singer/songwriter ballads.

www.zildjian.com

www.bosphoruscymbals.com

SABIAN AAX OR HHX

ISTANBUL XIST

From £107

From £70

In the same vein as the Zildjian As and Ks, these two lines represent the lighter

If you’ve spent almost all your budget on drums then you might be outpriced by

and darker ends of the cymbal spectrum. Cymbals are available in natural or

cymbals at this level. For something mid-range but great sounding the

brilliant finish that adds an extra layer of sparkle to your sound.

consistent quality of the Xists punches through in most modern settings.

www.sabian.com

www.istanbulcymbals.com EXPERT HOME STUDIO HANDBOOK | 59

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BEFORE YOU RECORD he best engineers will tell you that unless your studio space is well-ordered and set up, your recording sessions will be fraught. In fact, there’s a whole world of things for you to consider before hitting record and beginning your journey to creating the perfect track. Not only do you need to get your recording space prepped, but you need to engage your producer’s brain for the work ahead. Over the following pages we’ll show you how to fix up your studio so that it’s ready for action. We’ll advise you on backing up your precious work, and we’ll be delving into subjects such as analogue to digital conversion, clocking, digital formats, the merits of analogue equipment versus digital and more. Time to gen up...

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DIGITAL & ANALOGUE EXPLAINED Making a recording requires a basic understanding of how sound, as air vibrations, becomes ones and noughts inside a machine. Our guide will help keep your analogue and digital signals simple… 62 | EXPERT HOME STUDIO HANDBOOK

free ebooks ==> www.ebook777.com DIGITAL & ANALOGUE EXPLAINED | YOUR STUDIO elcome to the digital world, where bit rates rule and sample rates affect everything. In terms of convenience, digital is a good thing, a very good thing. In terms of sound quality, it’s amazing. Is it better than analogue? We’ll not get into that debate here but the ease in which audio can be chopped around, corrected, duplicated and improved in the digital world makes recording on tape feel positively Stone Age. However, in order to cope in the digital world and get the best from all it has to offer there are fundamental principles we all need to understand. These issues traverse the analogue world into our digital computers and back again, affecting everything we do with our music.

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voltage) corresponds to the amplitude of the sound wave. Connect that microphone to an amplifier and speaker and the electrical signal moves the speaker cones generating fluctuations in air pressure; our electrical signal has been converted back into sound waves. In digital audio we represent this electrical signal as a stream of numbers that computers understand, a process known as analogue-to-digital-conversion. An analogue to digital (AD) converter takes a ‘sample’ of the voltage that’s present at its input and represents that as a specific number; the higher the voltage, the higher the number. The amount of times it takes that sample in a second is known as the ‘sample rate’, and the range of numbers used to represent that voltage is the ‘word-length’ or ‘bit-rate’. In the most general sense, the higher either of these settings are, the better the sound quality.

Be careful. An error of less than a single millisecond could cause the entire system to fall down

WHAT IS DIGITAL AUDIO? SOUND IS a form of longitudinal wave;

peaks and troughs of air pressure that our ears and brains convert into the sensation of hearing. Soundwaves are relatively easy to represent in analogue and digital forms and then convert back, to reproduce accurately whatever sound we first captured. A microphone consists of a capsule that moves in response to incoming sound waves, generating an electrical signal whose amplitude (a fluctuating

ANALOGUE TO DIGITAL CONVERSION THE ACCURACY of these AD converters has a big impact on the quality of your digital recordings; professional engineers won’t touch cheap sound cards and with good reason. Many factors can influence

ARM YOUR PHASERS Audio waves have a positive and a negative side. When a mic’s capsule is pushed away from the front of the mic by a sound pressure wave, this typically generates a positive voltage to the mixing desk. When the capsule is pulled forward by the sound wave, it produces a corresponding negative voltage. It’s these fluctuations from positive to negative, the opposing phases of a sound wave, that represent the original sound wave. Phasing, the alignment of these peaks and troughs, is not an issue when using one mic, but how about if you have two mics on the same instrument? Phase misalignment and cancellation becomes a real headache. When recording a snare, engineers will use a mic facing the drum skin with another underneath to capture the snares. This poses a problem: when the skin is struck, the downward pressure will pull the capsule in the top mic and create a negative voltage, but the mic underneath will have its capsule pushed down and create a positive voltage. Here, the mics are said to be 180° out of phase: combine them in a mixing desk and the positive signal from the top will largely cancel out the negative version of the same signal from the bottom. The snare will sound weedy, weak and ‘wrong’. To counteract this, an engineer must ‘invert the phase’ of one of the mics, reversing its polarity, thus adding to the other mic’s signal where previously it was cancelling it out. A trick that’s sometimes used when tracking vocals in the studio control room is to swap the phase of one of the two monitors and place a mic dead centre between them. The singer can then sing without headphones and with the monitors blasting out the mix. By the time they arrive at the microphone the signals from the monitors largely cancel each other. Being out of phase, there is very little ‘bleed’ into the vocal mic, and the results can be just as good as the singer wearing headphones. Another possibility is with guitar amps. You can create a wide variety of tones by swapping the phase of mics against a single (or multiple) amp. Having the mics in phase tends to create a stronger, full sound. Out of phase, sounds like a static comb filter and is very useful for delicate sounds.

EXPERT HOME STUDIO HANDBOOK | 63

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Classic analogue gear gives a warm complex sound that digital equivalents are still working hard to recreate their effectiveness. If you’re in the market for a new soundcard or AD converter you should be examining the stability of their clocks (see Clocking), the quality of their preamps, quantization error (see Understanding Dither boxout) and the total harmonic distortion introduced in the process. The preamps in a soundcard increase the level of the incoming signal to

something that’s suitable for both the AD converters and the source material, keeping the signal within an acceptable range of amplitudes (see Headroom). Cheap preamps often introduce noise and unwanted colouration to the conversion process and might not be optimised for microphones, or even line level audio sources. Total harmonic distortion is the amount of distortion the

SUPER AUDIO?

few things to bear in mind. You will be making four

Which sample rate and bit depth should you use for

recorded at 192KHz will occupy four times as much

your recordings? In the music world the standard

disk space than at 44.1KHz. You’ll be placing a higher

settings are a sample rate of 44.1 KHz with a 24-bit

demand on your system to deliver this data whenever

word length. This is the same sample rate as for CDs

you play your project. Can your hard drive supply

and the bit depth is high enough to capture a huge

data at this higher rate, especially when running a

dynamic range (approximately 144dB). However,

32-track master mix? If not, then you need to run a

engineers with golden ears maintain that there is an

fast solid state drive or a RAID system to keep up.

advantage to recording at higher sample rates, right

DIGITAL TO analogue (DA) converters reverse this process by converting the numbers back to an electrical signal that can be amplified and replayed through monitors. Once again, the quality of these converters will have

The load on your CPU will be quadrupled too, presenting four times as many samples for the same

to capture frequencies as high as 96KHz, way higher

audio. You’ll need a fast (expensive) computer! It’s

than the 22KHz theoretical highest on CDs.

more likely that you will improve the quality of your recordings by focussing on mic techniques, high

in young children, adults often can’t hear much

quality monitoring, better instruments and better

above 15KHz. Despite an inability to perceive higher

recorded performances than increasing your sample

frequencies directly, the engineers maintain that the

rate above 44.1 KHz. And bear in mind that most

improvement in fidelity is clear. Whether this is a real

people listen to music in compressed formats

improvement on standard settings is debatable, but if

anyway, so there’s a good chance all your supersonic

you decide to super-size your sample rate there are a

info will be discarded before anyone hears it!

64 | EXPERT HOME STUDIO HANDBOOK

AND BACK AGAIN...

times as many samples per second, so audio

up to 192Khz. These ‘super audio’ settings allow us

Human hearing tends to max out at around 18KHz

process adds to the signal, the lower the THD the better.

That the human ear can still hear the difference in recordings made at sample rates technically far in excess of its range, is a testament to its mystery and marvel. Treat it with respect

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DON’T WANT DIGITAL?

Tape deck quality can vary enormously, mixing desks

IT’S A MYTH TO THINK THAT ANALOGUE SYSTEMS ARE INHERENTLY OF HIGHER QUALITY THAN DIGITAL

SIGNAL LEVELS AND GAIN STRUCTURE ARE VERY IMPORTANT IN ANALOGUE SYSTEMS

Analogue systems tend to have a distinctive ‘sound’

are increasing the ‘noise floor’ of a mix. Therefore it’s

that may or may not work for you and your music.

important that your audio is recorded at a relatively

This colouration is not necessarily ‘higher fidelity’

high volume (see Headroom).

are a world of their own. Once again it’s not the analogue nature of the equipment that matters but the end results.

With every channel open on an analogue desk you

but subtle distortions introduced by the circuitry. Let your ears be your guide.

AUDITION EQUIPMENT BEFORE BUYING

MAINTENANCE

cleaner is essential. Compressed air canisters are useful for blowing away dust. Cigarette smoke will

In the glory days of analogue studios, an important

harm you and your fragile equipment too, so smoke

role of the assistant engineer was to keep the

outside if you must.

machines in working order. One chore was to

With digital equipment you get a pretty good

regularly ‘degauss’ the tape heads, removing residual

ARCHIVE YOUR WORK CAREFULLY

impression of what the unit will do without opening

magnetism that the deck acquired over the course

Magnetic tape is fragile, so if mixing onto it make

the box. Its specifications tell you an awful lot,

of the session. Without this routine, the tape deck

sure you store it somewhere dry and free from errant

possibly everything you need. But if you’ve chosen

would quickly become unusable. Consequently, if

magnetic fields, such as those produced by even the

the analogue route it’s bound to be because you

you’re intending to run an analogue style studio it’s

humble fridge. Err on the safe side; make multiple

prefer the sound; consequently you need to be sure

important that you have a maintenance schedule.

copies of your work, possibly even onto a digital

you actually do like the sound of the equipment.

Clean your equipment regularly; a can of switch

format for the day disaster strikes.

a big impact on what we can hear. Cheaper soundcards tend to be noisy with poor stereo imaging and may not be accurate at either extremes of the frequency range. Usually we’re not looking for a converter that imparts its own sound or fingerprint on the work, but accurately converts the presented analogue signal to numbers and vice versa. Opinions vary wildly as to which converters are best, but it’s widely considered that Apogee soundcards are exceptional, as are Prism. Avid Pro Tools HD rigs are highly respected too. At the other end of the price range, PreSonus’ VSL range produce very good results for the money. The sky’s the limit when it comes to buying converters and soundcards, but the bottom line is that everything you record and everything you hear will be passing through one of these. It’s best to try out a few and bear in mind that in digital audio, as in life, you tend to get what you pay for.

exactly the moment dictated by a clocking signal. If this signal is absent or compromised in some way the result is a ‘clocking error’; either no audio, stuttering, clicking or a piercing degradation to the sound quality. In the digital studio, every unit’s internal clock will be calibrated to the same sample rate, typically 44.1Khz. But no matter how carefully set up, there will always be a slight difference between units. Even if every unit were perfectly accurate there’s no guarantee that they would be exactly ‘in phase’; an error of less than a single millisecond could cause the entire system to fall down. Careful digital clocking solves this problem; a master device generates an accurate clock signal (typically in S/PDIF or AES3 format) and the slave units synchronise to it. The clocking device sets the ‘pace’ of the data, how much of it there should be and exactly when it should arrive; the slaves respond obediently. In a studio with multiple A-D converters, the unit with the most accurate clock should be the master; errors emanating from cheap units

The majority of audiences can’t spot the difference between CD and MP3

CLOCKING DATA IS expected to arrive at every component in a digital audio chain at

introduce ‘jitter’ where the clock signal itself varies in frequency. This phenomenon is unlike what’s referred to as ‘wow’, a slow change that you sometimes hear on mispressed vinyl or tape cassettes, but has more in common with ‘flutter’; high frequency fluctuations that occur when tape is distressed. With jitter the period between samples varies slightly over time; this error creates noise when the digital signal is converted back to audio and can cause problems with stereo imaging too. To avoid this, professional studios use expensive and highly accurate dedicated digital clocks to keep their units synchronised. Apogee’s Big Ben is the current market leader, and retailing at more than £1,000 it’s not cheap. In smaller studios, there’s usually no need to splash out on such items; with only one A-D converter in the set-up, it’s best to set this as your

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HEADROOM IN THE days of analogue tape, engineers

were trained to record audio at high input levels. This approach had clear benefits: analogue tape has a relatively loud ‘noise floor’, a background hiss that’s inherent to the medium that can’t be easily removed. The louder the signal onto tape, the lower the hiss becomes relative to the recorded signal. And at high amplitudes an effect called ‘tape saturation’ occurs, a gentle distortion that many engineers and producers enjoy. This is a key component to the perception of ‘warmth’ in analogue recordings. Digital audio is different. The noise floor of a modern domestic digital recording system is very low (around -120dB) so avoiding hiss is easy. But there is an unavoidable maximum level in every system, referred to as 0dB. If you attempt to record a signal that exceeds this maximum, this information can’t be captured by the AD converters and is rounded off as 0dB. This error is known as ‘clipping’ and manifests itself as unpleasant digital distortion; clicks, splats and a general harshness that’s usually impossible to remove, an effect no one wants on their recordings. Consequently we need to include plenty of ‘headroom’, the difference between the loudest level in a signal and the maximum level the system can capture. If your vocalist reaches -3dB on your input level meters, your headroom is said to be 3dB, the difference between -3dB and 0dB. How much headroom should you leave? In the olden days of 16-bit recording, there were some clear benefits to recording ‘hot’ signals; the lower the signal amplitude the smaller the amount of ‘bits’ available to represent the sound, and thus the lower the dynamic range. This is less of an issue in 24-bit recording systems, where the noise floor is theoretically up to 48dB lower than at 16-bit. Consequently, you can run all of your equipment at lower levels, avoiding the distortion inherent to amplifying weaker signals and thus have a cleaner and clearer signal path. It’s possible to

66 | EXPERT HOME STUDIO HANDBOOK

leave headroom of around 18dB and have an extremely high quality recording.

DIGITAL FORMATS THERE ARE two main categories of digital audio file: PCM (Pulse Code Modulation) such as AIFF (Audio Interchange File Format) or WAV (Waveform Audio File), and Data Compressed, such as MP3 or FLAC. With PCM, audio is represented as the raw numbers that the AD converter presents to a recording system, or the numbers the DAW created in its virtual mixer. No further processing is introduced. Both formats have been in use for decades and place very little drain on a computer’s CPU. They are ideal for recording audio as the process of encoding and storing the file makes no modification to the audio data. There is no difference in sound quality between an AIFF and a WAV either, only the way this data is presented within the format. There are a wide range of datacompressed formats, MP3 being the most common. These enable us to store and move audio between devices with much smaller data sizes than PCM files. Each format is defined by its scheme to reduce the amount of data contained in the file. This is achieved by either encoding it in a more efficient manner than PCM but retaining the exact amount of detail (known as ‘lossless’), or by

throwing away the data that the system believes we will miss the least (leading to these formats to be known as ‘lossy’). Lossless formats such as FLAC and Apple Lossless do not degrade data. They decode to the same stream of numbers as the original PCM data, in much the same way that ‘zipping’ and ‘unzipping’ data gives you an identical file. The amount of data reduction in these formats is relatively small, up to about 50 percent – ideal for archiving your audio library. Not so great if you have limited storage space on your phone! MP3 and AAC are lossy formats that uses psychoacoustics to remove data that humans cannot hear. By analysing the incoming audio, the computer follows an algorithm that defines what should be retained and removed based on a mathematical model of how humans perceive sound. The result is a very good representation of the original audio, but is not the same: there is always a reduction in quality, sometimes drastic. There is a trade off between the amount of data in a lossy audio file and the fidelity of the result too. The higher the bit rate, the bigger the MP3 or AAC file, the less audio data has been removed and thus fidelity retained. Lower the bit rate and the resultant audio files become smaller but with an increasingly detrimental effect on sound quality. Some listeners prefer the

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UNDERSTANDING DITHER Dither is used when we reduce the word-length or bit depth of an audio signal, such as when converting a 24-bit master to a 16-bit audio file for a CD. This reduction in data implies we have to lose eight bits’ worth of fidelity on the CD, achieved by simply ignoring the least significant bits and retaining the larger ones (truncation). Unfortunately this greatly increases the difference between the original audio signal and the resulting data (known as quantization error). The resultant audio files can sound harsh, reverb tails become ‘grainy’ and there is an increase in the noise floor. Reduced word lengths sound very apparent in content with a high dynamic range, such as classical music. The issue arises because losing the least significant eight bits in a sample introduces a predictable level of quantization error to the data. This predictability is what generates the unwanted distortions; but by adding very low level dither noise, a tiny ‘random’ signal, you remove the problem. The errors become unpredictable, essentially smoothing over the truncation. The result is a marked reduction of distortion and retention of fidelity. Dither should only be applied once, usually as the last stage in the production of a CD. And dithering for lossy formats is not considered necessary as the act of data compression largely

The dynamics of classical music – loud detailed crescendos and slow passages and silences – make it a real problem for digital recording. So much so that purists still swear by their old analogue vinyl recordings

removes the benefit of the process.

sound of AAC over MP3, although the majority of audiences today find it difficult to spot the difference between even the source CD and a 128-kbit MP3. Best practice is to retain recordings in PCM or lossless format, and to only use compressed formats when sharing. Should you need to produce a higher quality file at a later stage, you can always return to your source material safe in the knowledge that all the detail is still there.

MASTERING FOR MP3S MASTERING FOR digital formats is subtly different than mastering for vinyl or cassette reproduction. Cutting to vinyl, the mastering engineer has the physical considerations of the medium to ponder; how much signal can the medium cope with? Are there special EQing processes

to be mindful of, such as Dolby noise reduction? With digital formats, these issues are minor but with a couple of important exceptions; it’s crucial that you do not exceed 0dB with your audio as this will give digital distortion. And exactly

It’s crucial that you do not exceed 0dB as this gives distortion how loud do you want the resulting file to be? It’s standard to leave headroom of between 0.5-1dB in your mastered audio file as some older CD players distort at consistently high amplitudes. Also, your metering system may not be 100 percent accurate; leave a small safety margin.

But there’s a more subtle issue to deal with when mastering for lossy formats. As most MP3 and AAC files are originally ripped from CDs and sound just fine for most listeners, there shouldn’t be a necessity to adjust your mastering to cope with the compressed format. But what about the reproduction medium? MP3s are often played on computer speakers: computer speakers are usually small and tinny, so should we enhance our bass frequencies to adjust for this? Probably not, many computer systems already have a bottom-end boost to cope with their physical limitations, adding more will leave mixes sounding unpleasantly boomy. The consensus in the mastering world is to master relatively ‘flat’, avoiding big EQ changes for MP3s.

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BACK IT UP! If you lost all of your files tomorrow, would it be a disaster or just a minor inconvenience? It’s time to talk about data back-up ook, we’re your friends, and as your friends, we’ve gathered here to stage an intervention. You see, we’re concerned about your behaviour. Frankly, we’re worried that it may be selfdestructive. We know it’s a difficult subject, but someone has to bring it up. Yes, we’re talking about protecting your data. In all seriousness, what would happen if your computer’s hard drive failed? Where would you stand? Would months – even years – of hard work be flushed down the drain? What about all of your applications? Do you have all of your installation files stored offline? Serial numbers and authorisation codes? Loops, sounds, samples? How hard would it be to replace all of that stuff if you had to start fresh with a new hard drive or even a whole new computer? It’s the nightmare scenario for the desktop artist, but it needn’t be that painful. In an ideal world, you could

L

simply pop in a new drive, fire it up and be ready to begin where you left off. It all depends on the strength of your back-up. Once upon a time, backing up one’s computer involved little more than slipping a floppy into a disk drive. It was quick and easy. However, modern productions on today’s machines push far more high-quality audio data to and from your drive. Copying gigabytes – maybe even terabytes – out to a back-up medium takes a lot of time, and there’s no denying that it can be a complete pain in the posterior. Still, it must be done, and we want you to do it. Now. Well, maybe after you read the next few pages, where we’ll discuss the various methods of backing up data on your platform of choice. We’ll learn about storage mediums, offsite and online storage options, potential pitfalls and solutions. We’ll even take you step-by-step through some of the preferred procedures of producers just like you.

Your work is important to you and to us. It is, quite literally, the future of music. We want to see it protected.

WHAT AND WHEN? SO WHAT exactly should be included in a

back-up? Ideally, everything. You should be keeping at least one clone of your entire system drive for a start – ie: your operating system and any essential data such as drivers that you need alongside it. This type of back-up needs to be done intermittently. It will allow you to restore your entire system or migrate to a new one if your old machine, system drive or the computer on which it resides is damaged or replaced.

FILE ORGANISATION SOME USERS don’t separate their system

files from their projects and other documents, but many do, and doing so can be quite convenient. You might keep the two on separate drives or merely

STEP BY STEP BACKING UP IN WINDOWS

1

If you use Windows, you already have an easy means by which to back up all of your work. Go

2

It’ll take Windows a few minutes to look at your system, after which you’ll see a window with all

3

Windows will ask if you want to let it decide what should be backed up, or choose yourself

to your Start menu, select Control Panel, System

of the possible destination drives on which you can

from your libraries and folders. Either way, your

and Security options, then select Back Up Your

back up your data. Windows will recommend the

selections will henceforth be periodically saved to

Computer. Now you can select from among various

drive it thinks is most suitable. Here, we’ve pointed to

the selected drive. If you’ve never created a back-up

options. If you’ve never created a back-up before,

an attached USB hard drive we’ve purchased for this

before, we’d suggest the former. It’s that easy, so why

you’ll choose Set Up Back-Up.

very purpose. Select your drive and click Next.

haven’t you started already? Get backing up!

68 | EXPERT HOME STUDIO HANDBOOK

free ebooks ==> www.ebook777.com BACK IT UP! | SETTING UP separate partitions. You don’t have to – the practice stems from a time when drives were smaller and slower – but it can still help to keep things organised. Copying an entire drive is sometimes known as ‘ghosting’, and there are applications dedicated to making the task easier. If you’ve ever suffered a catastrophic system drive failure without a back-up, you’ll be aware of the hassle of re-downloading, reinstalling and reauthorising all of your applications. We suggest periodically backing up and updating the contents of your plugins folders. Even the free ones. Do you really want to scour the internet or sift through CDs for them again? Ditto for presets, sample packs and loops. As for your commercial software, keep current back-ups of all of the installers and updates. Keep serial numbers and key files you’ve received from the developer. We keep receipts, account info URLs and passwords for each developer/product, too. You’ll need back-ups of every project you’ve done and every one on which you are currently working.

TIMETABLING SPECIALISED BACK-UP software might allow

you to schedule periodic back-ups, though some apps have their own ideas about when they ought to be snapping at your bits. Apple’s Time Machine, for instance, is automatically configured to keep hourly back-ups for the previous 24 hours, daily back-ups for a month, and weekly back-ups for all previous months. This is not a fool-proof system – it’s really intended as a means by which your whole system can be restored to a previous state, though that does serve essentially the same purpose – up to a point. You see, Time Machine will start deleting the oldest back-ups when your back-up disc gets full. Nevertheless, Apple’s schedule isn’t unrealistic and gives you a pretty good example of a reasonable timetable – though hourly back-ups might be overkill, especially if they’re eating away at your production power.

GET SERIOUS AS A rule, if you’re working in the studio

every day, you should be making a back-up copy of your work every day. You

don’t need to clone your whole system, just keep a back-up of your daily work. If you’re an intermittent studio dabbler, you might be better off making a back-up every week, or even every month. It really depends on your production schedule. We’d recommend making multiple back-ups, on multiple formats, if possible. We also very emphatically suggest that you keep one or two extra copies of your most precious files offsite – way offsite, if possible. Mail ’em to an out-of-town friend or relative for safe keeping. Disasters can and do strike. We hope they never happen to you, but they have to be considered. What if your home burns to the ground while you’re at work? What if Mother Nature hits your area with some natural catastrophe? What if your production laptop gets lost/stolen? Your latest song will likely be the last thing on your mind, but when you do get back on your feet, you’ll still have a copy available.

MAINSTREAM MEDIA We’ve seen plenty of digital storage options come and go over the years. Remember the Jaz drive? No? Neither does anyone else, yet it was a viable medium in its day and was even built into some of the very first standalone hard disk recorders. Introduced in 1995, it was gone by 2002. Why bring it up? To emphasise the transient nature of computer technology; nothing is futureproof. Consider: as of this writing, there is only a single Mac model with a built-in CD/ DVD drive. We’re not going to signal the death knell of the CD/DVD just yet, but it’s clear that the times are, as ever, a-changin’.

BACK-UP TOOLS THERE ARE many ways to go about making a back-up, and we polled a number of musicians to find out what methods they preferred. A distressing number of those polled have never made a system-wide back-up but have instead copied their most important files piecemeal onto an external drive. It’s perfectly reasonable to grab your most essential files en masse, but the number of people regularly taking more fundamental back-ups regularly is surprisingly small, especially since it’s so easy to do. The aforementioned Time Machine is included in OS X and installed on every Apple computer sold, and Windows users have access to Windows Back-up, at the very least. Third-party options include Macrium Reflect (for Windows) and Clonezilla. The free version of Macrium (find it at macrium.com/reflectfree.aspx) is easy to use and will get the job done. The slightly fiddlier Clonezilla (check out clonezilla. org) is a free and open-source solution for Windows, Mac and Linux users. XXClone (good for Windows users) is free for personal and private use and allows you to copy the volume ID to your target drive so that you can boot from it (visit www.xxclone.com/index.htm).

Currently, our hope lies not in the media itself, but in the way it connects to our computers. USB 3.0 is fast and reliable, and there are scads of external storage options available, primarily in the forms of the thumb drive, external hard drives and solid state drives. Prices are plummeting on the latter two, with a couple of terabytes of hard disk storage available for well under a hundred pounds. Apple very much want to provide you with another option in the form of Thunderbolt peripherals. This lightningquick connection protocol hasn’t yet become as ubiquitous as the company would like, but Apple users have the option of Thunderbolt-based drives and drive arrays. Many third-party drives offer compatibility with both USB and Thunderbolt ports. These solutions are ideal for the massive storage needs of desktop music producers and are especially good for backing up your entire system, apps, OS and all. USB thumb or stick drives are likely suitable only for less demanding tasks. You can indeed get one with a full terabyte of storage, but it could set you back nearly a thousand pounds. Still, for intermittent and safety back-ups of your projects and documents, the thumb drive remains an inexpensive, convenient option.

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What do you mean you’re not using Time Machine? It’s right there at the top of your screen! Mac users who prefer not to use OS X’s Disk Utility can make great use of Carbon Copy Cloner. It will make bootable clones, and you can even schedule it to wake or power up your Mac to make a clone at your command (visit www.bombich. com/index.html).

BIT BY BIT SO NOW that we know making occasional

clones of your entire system drive is necessary for the survival of your music and the process is thankfully simple, how about those smaller daily or weekly back-ups? Many of the software options

we’ve listed can run scheduled back-ups, but often you’ll be doing just as our polled musicians do: copying files and projects one at a time to an external storage disk. This is the method you’ll want to use for files that get changed or updated a lot: works-in-progress, sample collections, plugin folders and presets. Be aware that most DAWs’ primary file formats don’t save everything you do. For example, their primary file format will likely merely point to any audio files recorded or imported into the project. These are usually kept in a specific folder, often a sub-folder of the project itself. You

could simply copy the project folder, but that will likely also copy bad takes and unused audio over, too, which will rapidly munch up space. Some DAWs allow you to purge unused audio, so take advantage of that before you back up: Live’s Collect All and Save and Cubase’s Back up Project commands, for example. Furthermore, many DAWs provide a packaged file format that will roll all audio and pertinent data into a single, selfcontained file/package – Cakewalk’s BUN files, for example, or Logic Pro X’s Package files. However you store your projects, you’ll want to back these up every time you make a major change to one. Make copies and archive them safely when you’ve finished the project off.

WHAT ELSE? SPEND SOME time examining your work drive. Go through your documents folder; go through your project and application folders; make a checklist of everything you use frequently. Do you swap out lyrics? Do you maintain a growing collection of band photos? Do you make your own videos or do your own cover art? Back ’em up! Ditto for industry contacts and your ever-growing collection of reviews and references. Ask yourself: “What would I do if this specific data were to vanish today?”

STEP BY STEP ARCHIVING A PROJECT IN CUBASE

1

Some DAWs like Cubase keep most of a project’s files in one folder. Archiving a project is as easy

2

If we know we’re not going to need the unused audio files, we can cull them from the project

3

It’ll take a few seconds to complete the process, after which Cubase will tell us that the Pool is

as copying that folder to a storage device, but you’ll

with Media » Remove Unused Media. You’ll get the

ready for archive. Now, let’s go to File » Back up

need to tidy up first. Let’s go to Media » Open Pool

option of moving the files to the Pool’s trash bin or

Project. Choose a destination and select the options

Window. As you can see, our project has dozens of

removing them from the Pool altogether – we do the

you want. Hit OK. Cubase will create a fresh project

audio files, many of which aren’t actually used –

latter. Next, Media » Prepare Archive. When asked if

folder containing only the used files, trimmed to save

they’re parts we deleted, or takes we didn’t use.

we wish to make our edits permanent, we say OK.

space. You can back up this new folder as usual.

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STEP BY STEP BACKING UP TO THE CLOUD CLOUD, AT LAST Let’s get something straight: cloud-based storage is simply online storage. It’s been around for yonks, but only recently have

1

2

Head to www.symform.com/download – this is the download page for the version of Symform

Now you should be able to open it. You’ll be

advertisers slapped on the buzzy moniker.

prompted to create an account or to log in.

The idea is that you purchase an online

meant for your platform of choice. OS X, Windows

Once done, you’ll be taken immediately to the Device

storage scheme, install the required

and Linux computers are supported. The download

Setup process, where you’ll name your device. Next,

software and schedule when, where and

will likely start immediately. If not, you’ll need to click

you’ll need to select the folders you want the

what you want backed up. Once done, the

the Download button. Install the application.

program to back up.

back-up will be automatic. Some companies offer free storage up to a certain limit. Jottacloud (jottacloud.com) offers a free plan for backing up computers and mobile devices with a limit of 5GB, while Symform (symform.com) provides 10GB. Dropbox (www.dropbox.com) has a free option and is handy for backing up specific files (but you have to copy them into the Dropbox folder, so it’s more a sort of virtual USB drive). Free accounts are useful, but

3

You’ll now be prompted to contribute some of your local drive space in exchange for free extra

4

Your first sync will begin immediately. As you

hi-res audio and massive projects will soon

can see, we’ve now got a little cloud icon in our

leave you gasping for more – you may have

storage space, though it’s not required to use the

taskbar. Clicking it reveals that Symform is

to pay up to get a serious amount of

free 10GB of space on offer. Choose your options

uploading our files to the cloud. It’s as simple as that.

storage. Money well spent, we’d argue.

and click Next to complete the device set up

10GB isn’t a lot of space, but it’d be a good way to

Crashplan (www.crashplan.com) is a

process. You’re now ready to avail yourself of your

create safety back-ups of finished songs. You can

particularly popular paid-for online back-up

free online storage account.

plump for more if you need it.

scheme, offering – yes! – unlimited storage.

STEP BY STEP CLONING A MAC’S DRIVE WITH CARBON COPY CLONER

1

You can create a bootable clone of your Mac’s drive (bootable by holding Alt while your

2

Select your new drive and click the Erase tab. Next, you’ll need to choose a file format for the

3

Now, open Carbon Copy Cloner. If you’re using the trial, you’ll need to extend it – it’ll work for

Mac boots) using Carbon Copy Cloner and OS X’s

new drive. Choose Mac OS Extended (Journaled)

30 days. Next you’ll see options to select the source

own Disk Utility. Get the CCC demo from www.

and then type in a name for your new drive. Click

and destination drives, as well as what you want

bombich.com and install it. You’ll need to format

Erase (and confirm this). You’ll be asked if you want

copied. The default settings are fine for the first time;

your destination drive by going into Disk Utility

to use Time Machine. Not for this disk. Depending on

after, you can schedule back-ups for specific files. Hit

(in Go » Utilities).

your drive sizes and speeds, this could take a while.

Clone and enjoy the feeling of security.

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FIX YOUR STUDIO You’ve invested a lot of time and money in your gear and room, so get the most out of them with our guide to keeping things in order aving your studio kitted out with all the latest gear, possessing killer production chops, and boasting supreme knowledge and experience is all well and good, but it amounts to nothing if your basic studio setup is letting you down. It’s amazing how learning a few simple rules and heeding basic advice that too many producers take for granted can have a profound effect on the quality of

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your sound and your ability to make great music. From the mains power scheme to the walls of your room, there are many aspects to audio production that can directly affect your workflow, but it is often hard to give them the time and effort they require. In this feature we’ll be exploring some major areas of your studio setup with an eye to making improvements that don’t require a degree in acoustics and electrical

engineering to implement, or a particularly big outlay. There are tips on making a more organised and efficient workspace, streamlining your setup and making the best of the acoustics of your room. Approaches to fault-finding and repair work are explored, as well as a guide to the tools you might need. And best of all, making your studio setup fitter, healthier and more productive doesn’t need to cost an arm and a leg.

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GET ORGANISED Keeping your studio time creative

GROUP YOUR CABLING

patch bays, keyboards and the

Make sure that the items you use

This will make fault-finding easier,

like. We also use ours to label

regularly are within arm’s reach

allow gear to be moved about

equipment when a repair is made

of your seat and that the controls

and patched quicker and help

so we know what work has been

and displays do not require you

reduce cable-borne noise

carried out, and when.

to bend and stretch too much.

problems. Keep cables grouped

Try to arrange gear so that

together by type (audio, mains,

START A ‘FAULTY’ BOX

MIDI, etc) as this will make it

Every dodgy cable or faulty

quicker to find a particular line.

stompbox should be stored

If something is loose so that

nothing else needs to be moved

The +4dBu / -10dBV switch is simply a +/-11.79dB differential

Putting some distance

separately for later repair or

pressing buttons, turning dials or

between types will reduce the

recycling of its components,

plugging into it makes it move (ie,

LINE LEVEL ISSUES

potential for EMI (electro-

instead of being put back in the

it requires one hand to hold it

The best way to connect balanced and

magnetic interference) problems,

collection only to disappoint you

in place), get it racked up or

unbalanced inputs/outputs is to use

as mains cables can induce a

again. Don’t put up with a cable

secured. Buying stick-on rubber

high-quality transformers. The second-best

50Hz hum on audio cables. If

that needs a wiggle to use it.

foot pads can prevent slippage

option is to use custom cabling for each

on work surfaces.

situation. Both of these involve time and

you’ve got mains and audio cross paths, ensure that they do

STREAMLINE YOUR GEAR

so at a 90° angle to minimise hum induction.

cables that absolutely have to

before you can work with it.

If you use a lot of stompboxes,

expense, however, so in their absence only

stick some Velcro (hook side) to

use balanced cabling (two conductors

Space is always at a premium in

their undersides and stick the

and one shield) with balanced-balanced

the studio, so identify any items

opposing strips (loop side) to a

connections and unbalanced (one

that you don’t use and consider

wooden board so that they can

conductor and one shield) with all other

selling or swapping them. Are

be kept patched together and

combinations. Balanced outputs connected

Use Velcro cable ties, easy-

there items that you don’t make

placed anywhere.

to unbalanced inputs or via unbalanced

release plastic ties or flexible

use of because they’re not wired

trunking to keep your grouped

up? If a piece of kit is not hooked/

STUDIO BOARDROOM

cables together. This can allow

racked up, you might have to

There’s always an office

ground, which essentially means a 6dB

the bunches to be arranged for

admit that you’ll probably never

somewhere throwing out a

increase in the noise floor. If you want to

maximum floor space and

use it. If you can’t bear to part

perfectly good whiteboard, and

explore making your own converter cables

minimal cable treading.

with it, hook it up to the patchbay

these can prove very useful in the

we recommend first reading the white

or keep it set up and ready for

studio – use them for ‘to do’ lists

papers on the www.jensen-transformers.

lengths of sticky-backed Velcro

use – you never know when it

for your tracks, stompbox setups,

com website by Bill Whitlock and Note

from haberdashers and making

might provide just the right

outboard settings, lyrics, gear

151 in the RaneNotes reference section

your own loops. Don’t bunch

sound or treatment for a project.

repair lists and so on.

at www.rane.com.

reflective so you’ll need to

LINE LEVELS

annoying sticky residue after only

GEAR ACCESS AND ELBOW ROOM

consider their acoustic effect,

Line level is the backbone of audio

a day or so – only use tape as a

Spend some time considering

though it’s not all bad as they can

production, and it comes in two oft-

temporary measure.

the layout of your equipment

serve to partially skew a parallel

misunderstood flavours: +4dBu and

with regard to working practice.

wall in a small room.

-10dBV. These are often described as

TIDY YOUR CABLING

You can save money by getting

cables with electrical or gaffer/ duct tape as these leave an

Having organised and tidied

Whiteboards are highly

cable will, in some cases, lead to a 6dB drop in level as half of the signal is lost to

your installation cabling, try to

‘professional’ and ‘consumer’ respectively,

store it properly rather than

but this has led to some confusion. Though

leaving it in coils and tangles

professional balanced gear uses the +4dBu

on the floor. Make your own cable

operating level and predominantly

hangers by adapting shelving

‘consumer’ equipment uses the -10dBV,

brackets, coat racks and long

there is no necessary link. +4dBu sets a

screws wrapped in foam.

nominal line level of 1.228 volts while -10dBV uses a nominal level of 0.316 volts, a

LABEL EVERYTHING

difference of 11.79dB. So when gear offers a

Investing in an office labeller with

switch between these levels, use the one

a variety of label tape sizes is a

appropriate to the adjoining item, whether

must for keeping track of your

it’s balanced or not – it’s merely adjusting

cable connectors, mains plugs,

the resultant level by +/-11.79dB.

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FAULT-FINDING

GETTING GROUNDED

Gremlins in any audio system can be

Handy hints for reducing ground noise and optimising your power signals

frustrating, awkward beasts, and only robust methodology can overcome their influence. The first step to curing studio ills is to make a note of everything that

THE TERMS ‘ground’ and ‘earth’ are often

is involved – that is, everything that’s

used interchangeably, but there is an important difference. Earth means the connection to the planet, to which all current wants to flow. Earthing connections allow any unwanted current to flow directly to the earth and thus not electrocute us. Ground is a reference point (0 volts) which acts like earth to create current flow and therefore a voltage. A ground does not have to be connected to the earth to act as a reference, but most often it is, thus the confusion. Equipment grounds are subject to the flow of various unwanted or discarded currents, and though they may be small, these soon add up to audible noise (mains hum, interference noise, crackles, etc) as the 0-volt reference ceases to be 0 volts. Though it’s impossible to completely remove ground noise, with some simple but effective adjustments the overall grounding scheme of your setup can help to reduce some of the audible effects. As it’s unlikely that your entire setup will

powered up and connected. Don’t jump to conclusions, but don’t overlook anything either. Consider when the problem occurs: is it a noise that happens when things get loud/ quiet, or when you touch/move something? Is the problem system-wide (eg, on every channel of a mixer) or is it localised to a single signal path? Don’t start pulling cables out to see what happens, as you may well miss the true cause and find it recurring minutes, hours or days later. Patience is key – don’t get angry and start hitting things, as this will only cause new problems!

SIGNAL CHAIN Examine the suspect signal chain systematically from source to monitor. Swap out or bypass each component along the signal path, be it a cable, synth, monitor or EQ, noting changes as they occur, if they occur at all. If the problem continues, you can discount the removed/swapped component; put it back and move on. If the problem disappears then you may well have found the cause, but be aware that it may be a relational malfunction – an incompatibility or fault caused by an interaction. Once you’ve found your suspect item, put it back in the chain and swap out or remove the components before or after it to make sure they aren’t the true cause or part of a combined malfunction.

ANALYSE THIS! Gathering and analysing information acquired methodically will allow you to accurately and efficiently track down any faults along the way and will provide you with valuable information to pass on to repair engineers or use yourself to carry out the necessary work. If the problem is a cable fault, don’t just put the cable to one side – remember to add it to your faulty equipment box for repair.

74 | EXPERT HOME STUDIO HANDBOOK

It’s safe to terminate your whole studio from the same wall socket

exceed 13 amps (3,120 Watts!), it’s safe to terminate everything at the same wall socket. You could plug two multiextensions into a double-socket wall outlet and then run everything to these. If you have the need for more power sockets, for instance in a rack, investing in a rackmount power distribution unit will help keep connections close and simple. The power-grounding scheme of your studio directly affects its sonic performance, so if your mains distribution setup looks like a rat’s nest, it will probably sound like one too – simple and neat is best. Investing in a patchbay will centralise all the signal ground connections between your various pieces of equipment and this will go a long way to reducing the potential differences in reference voltages, which cause the tiny voltages that become noise. Ground loops (an audible 50Hz hum that occurs when two units are connected) are much more easily isolated and overcome using a patchbay.

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Crackly faders and pots are a very common issue with vintage gear

MOVING PARTS Moving parts (switches, potentiometers

The importance of the right tools can’t be overstated, so invest well in them

and faders) are the most likely components to cause noise, but with some attention they can be kept in ‘silent running’ mode

GET TOOLED UP

for years.

Recommended basics for a studio toolkit

so to loosen any pollutants. A quick blast

SCREWDIVERS A SMALL and medium-sized

driver in each of the three main types (flared/ flat-head, Phillips and Pozidrive) will get you in and out of most casings. Powered drivers will save time, but use low speeds and torque settings so as not to strip screw threads and heads.

HEX KEYS MANY EQUIPMENT casings

First, toggle/slide/turn the switch/ fader/pot back and forth for 20 seconds or from an air duster between toggles/turns

to reduce the risk of electrocution.

VERY USEFUL for picking out

those moving parts, but this gets expensive so only get what you’re sure you’ll need. Cotton buds are the perfect partner for all of these products and are essential for cleaning PCBs, sockets and around control surfaces.

tiny components, fluff, etc, and very cheap too.

CABLE TESTER

SIDE CUTTERS FOR TRIMMING component

leads and small cables.

TWEEZERS

SOLDERING IRON A GOOD 18W to 25W iron

wrenches for removing bolts – don’t use pliers as they will damage the bolt head.

with a couple of ends (fine-pointed and medium-tapered), a soldering station (ie, a holder and tip-cleaning sponge) and a roll of solder. Some de-soldering braid and a solder sucker are invaluable for component removal, too.

PLIERS

AEROSOLS

SMALL NEEDLE-NOSE or

AN AIR duster is a must for

circlip pliers are the best choice for electronics and cabling. As with all tools for such tasks, make sure the handles are insulated

cleaning out dust and dirt. A range of switch cleaners, contact cleaners and lubricants will be needed for rejuvenating

now use hex-headed screws and bolts.

SPANNERS A SET of small spanners or

can help shift dirt and fluff. Switches can be accessed by aerosol tubes where the toggle arm enters the case, and fader innards are also reached from the top, but pots need to be accessed from underneath, which requires opening the equipment casing – only do this with the power cable disconnected. The toggling, sliding and turning can be done with the power on (you will be able to hear whether the contaminants are being shifted too), but

DON’T WASTE your valuable

don’t spray any aerosol or air duster into

time hooking up broken cables – testers can be picked up for under £30, so there’s really no excuse not to have one.

the components while the unit is on.

MULTIMETER

If there is no change after wiggling and blowing, it’s time to break out the switch cleaner (for switches only – do not use on pots or faders), contact cleaner and lube. These products can be obtained from electrical suppliers such as Maplin, Farnell

IF YOU want to deal with

and RS, though the best contact cleaner

electricity, there’s no way you’ll get anywhere without one of these. A basic digital model will cost around £25 and will allow you to measure AC/ DC voltages, current and resistance as well as providing basic line continuity testing (ie, whether the wire/PCB track passes current).

and fader lube we’ve found so far is by DeOxit, and it’s not cheap. Make sure whatever you use not only cleans and flushes components but has some lubricating action. If not, invest in a dedicated lubricant to finish off the job, otherwise pots and faders in particular will feel stiff and will wear out prematurely. Always follow the instructions, making sure to allow any liquid time to evaporate – don’t let impatience deal the death blow to your gear.

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HOME STUDIO RECORDING hen it comes to capturing your performance, we’re assuming you know which end of a mic to point at what. That said, we’ll bet you’ve also been listening to a lot of great recorded music and wondering just how those engineers managed to capture those sounds so perfectly. Well, in this part of the Handbook we’ll be digging into the finer points of brilliant studio recording. With the help of studio experts we’ll be presenting tutorials and walkthroughs to guide you on how to get classic drum sounds, capture great stereo with midside miking technique, use distortion to bring character to your recording, as well as how to get the best out of your vocal performances and much more.

W

76 | EXPERT HOME STUDIO HANDBOOK

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CLASSIC DRUM SOUNDS From Bonham to Grohl, try these recording set-up and mix ideas based on the sounds from classic albums rummers often discuss classic beats – those instantly recognisable grooves that changed them as players. They also talk about how hard some of them are to play and to properly capture the ‘feel’ of, but most often it’s the sonics

D

of the drums that hit us first. We’ve researched a whole spectrum of drum sounds from classic tracks that require different recording approaches. The info on these pages has been gleaned from our own experiments with achieving these sounds, but while it’s important to have reference material for the sounds

you are after, remember that very rarely do you actually set out to 100-percent copy an idea – most drum recordings stem from experience, experimenting and generally throwing some mics up and having a go. Check out our suggestions and get started! Who knows what you’ll come up with.

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Replace the cymbals with pads to capture the sound of the drums...

QUEENS OF THE STONE AGE

any additional sound being picked up by the

‘No One Knows’

the drums as possible. Try putting an acoustic tile or

Drummer: Dave Grohl Album: Songs For The Deaf Producer: Eric Valentine and Josh Homme

the resonance bouncing back from the floor to the

mics. To emphasise the feeling of close, dead, ‘claustrophobic’ drums, use plenty of gaffer tape and Moongel to stop as much interaction between a soft snare case under the floor tom head to stop head. Make sure the left, right and centre overheads

LED ZEPPELIN ‘When The Levee Breaks’ Drummer: John Bonham Album: Led Zeppelin IV Engineer: Andy Johns

are the exact same distance from the centre of the snare to keep phase in close check. You’ll then need

This delay and reverb-drenched

to hunt down anything else in your room that might

Led Zeppelin track is a Holy Grail

For this classic track the drums

resonate or rattle. After your drum takes it’s time to

for drummers in so many ways –

and cymbals were recorded

swap to real cymbals and your drums to electronic

separately, meaning you will have

pads (or pillows). We’d suggest close-miking the

on this track – not only was John Bonham’s sound

to remember your parts perfectly

hi-hat to maintain control over it.

so legendary but the sound of the drums mixed with

in order to match them up later. The lack of reverb

For the mix don’t use any compression or EQ on

the feel is as critical as the sound

the fact that they were set up at the bottom of the

and space on the album makes all of the instruments

the overheads. Gate tom mics so they are only live

stairwell at Headley Grange (a recording and

sound in-your-face and, really, in your head. The

for the tom hits and we’d EQ the bass drum and

rehearsal studio in Hampshire) creates a unique and

first job is to record the ‘drums’ part with no cymbals

snare to really fine-tune the sound and get the

uncompromising sound. You will need a large,

at all. We’d suggest using electronic cymbal pads so

definition required. For cymbals, hard-pan the left

live-sounding space in order to capture a real reverb,

it still feels like you’re playing a full kit but without

and right overheads.

the main focus of this sound. You’ll need a full front head on the bass drum with no dampening, tuned medium-high both front and back, and the snare tuned medium-high with a couple of Moongels. Hi-hat accents on this track are actually a product of compression. The balance of the drum kit is key here and the hi-hats and the cymbals are the most important areas to keep under control. The first stage of the mix is to get all the channels balanced. Then you need to use sidechain compression to get the hi-hat ducking under the bass drum and snare drum. Getting that famous delay involves finding a main single-repeat delay for the bass drum and snare drum and then a less prominent ‘chatter’ delay that has more repeats. We’d suggest the single repeat delay being fed by the bass drum and snare channels and the chatter delay by the room mics. Finally, EQ to fit that ’60s sound,

...then record the cymbals separately

and scoop a little mid-range out. Finish off by compressing the overall mix to let the dynamics sit more consistently.

78 | EXPERT HOME STUDIO HANDBOOK

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JAMES BROWN ‘Cold Sweat’ Drummer: Clyde Stubblefield Album: Star Time (box set version) Producer: James Brown A classic sound, a classic beat, and amazingly recorded with just one mic. The key here when recording with a single mic is going to be kit balance and a nice dead room. After tuning the kit as

The room itself can play a big part in achieving the sound you’re after

PHIL COLLINS

close about an eighth note after the drums were hit.

‘In The Air Tonight’

come from these two channels so no extra reverb

Drummer: Phil Collins Album: Face Value Producer: Hugh Padgham

close to the recording as possible (dead medium tuning on the snare, more jazzy mid-tuning on the

There are some drum sounds that

bass drum and a bebop high tuning on the rack

define a song but few enter the

tom), it’s worth noting that a light touch, à la Clyde

non-drummer consciousness

Stubblefield, will pay dividends here, not least on

more than the fill that announces

The majority of the classic gated reverb sound will should be needed in the mix.

RED HOT CHILI PEPPERS ‘Give It Away’ Drummer: Chad Smith Album: BloodSugarSexMagik Producer: Rick Rubin

the cymbals, where you’ll need to lay off to ensure

the back end of Phil Collins’ 1981 hit. As with most

the drums cut through well enough. In terms of mic

things this distinctive, there’s a story behind it. The

placement, try 3ft in front and about 6ft up from the

SSL 4000 desk not only allows the control room to

bass drum pointing between the bass drum and

‘talk back’ to the live room musicians via a switched

The sound of this classic funk rock

snare drum.

mic going to the headphones but also allows the live

album seems to be as much an

room musicians to speak to the control room.

exploration of the acoustics of the

You’ll need to bring in some parallel compression for your mic. Duplicate the single mic then add a fair

However, this requires a serious compressor. Playing

amount of compression to the duplicated signal.

the drums through this mic/compressor combo

was a process of the band members finding their

Mixing that with the uncompressed channel allows

created a unique sound that Padgham and Collins

musical and personal equilibriums. You’ll need a big

for a very balanced kit sound in terms of dynamics

discovered. To record this you’ll need to turn your

room ideally with hard walls and floors to record this

but still allows the differing tones of the drums and

toms into ‘concert toms’, removing the bottom heads

one in. The first thing to do is get the drums to sound

cymbals to come through. It’s worth sending a tiny

to provide a ‘bark’. Tape up the bottom lugs to stop

as close to the original as possible. A biting snare,

amount of these two channels to a reverb auxiliary

them rattling. Placing mics above the toms is fine,

tuned medium-high with a little Moongel and a

channel to give it the sense of size as on the

but try mics underneath, inside the shell of the

thumping, fairly well-dampened kick drum with quite

recording. Some experimentation shows that just

drum, pointing at the head. Set room mics up in a

a lot of attack from a slack batter head. Getting the

one mic can be used to give a great sound. If it’s

triangle: a left and right pair away from the kit to pick

kit balance right from the off is essential as most of

good enough for James, it’s sure okay by us!

up the room sound, and a centre mic as far away as

the sound will be coming from the room mics,

possible. Gate the kick, snare and tom mics so that

meaning adjusting the individual levels after

there’s no bleed of the room coming from them.

recording will be impossible. You’ll need kick and

In the mix duplicate the left, right and centre room mics. With the first set, heavily compress them and send a little of this to an auxiliary channel with a

Single-headed ‘concert’ toms are vital to achieve Phil Collins’ sound

mansion it was recorded in as it

snare mics, a couple of overheads some distance away, and a room mic as far from the kit as possible. If you can get the right space no reverb is needed

phaser effect. For the other left, right and centre

as the room becomes ‘the sound’. You might have

room mics, gate them – but side-chained. This

issues with getting the definition on the drums

means the trigger for the gates to open is a buss

themselves, so you may need to gate the snare and

channel that you send all of the close mics to. This

kick with a short release, EQ’d to give real clarity. Add

means that the gate is only opening and closing in

a small amount of this to the left and right overhead

relation to the close mics picking up a signal and not

mics too. To finish with, add a touch of very heavily

the room mic itself. We’d suggest setting the gate to

compressed room ambience to fill in the spaces.

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DOWNLOAD

Get tutorial files online at vault.computermusic.co.uk Register this book as issue 33

GUIDE TO PERCUSSION Whether you’re crafting laidback jazz numbers or banging out a pop rock smash, our guide will help you to infuse your beats with percussive groove. Shake it, baby! n many styles of music, a basic ‘kick, snare and hats’ drum beat is the backbone of the rhythm, but that on its own is often not enough to make your track groove. To really get things shuffling along nicely, you’ll need to layer up some percussion parts to add excitement, flavour and groove to your beat. Whether your tracks featured a real drummer or programmed beats, in this modern world it’s possible to add additional percussion parts on top without having to hire in and record a raft of additional musicians. But percussion is one of those areas of music production

I

80 | EXPERT HOME STUDIO HANDBOOK

that many computer musicians think they’re approaching ‘correctly’ but probably aren’t. Just like any other acoustic instrument, playing percussion involves a specific range of techniques and styles that require training and practice to master. If you’re programming MIDI, you don’t actually need to be au fait with the physical specifics of perfect conga technique or the tambourine thumb roll, but if you’re looking to program authentic tracks, it helps to know what these things sound like. Here we’ll tackle percussion from a number of different angles. First, we’ll introduce you to the types available and

recommend some sample packages that can really boost your songs. Then we’ll look at programming realistic live percussion grooves, some ideas for spot percussion parts, as well as how to make your own sounds using your smartphone. Good percussion parts can have a hugely beneficial effect on almost any track, elevating it both rhythmically and texturally. Even just a simple conga or shaker part can transform a dull rhythm track into a more complete sounding, syncopated, ‘human’ groove, particularly if the main drums are overtly electronic sounding. Let’s get started then – those bongos aren’t going to play themselves…

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A QUICK GUIDE TO PERCUSSION ROUGHLY SPEAKING, there are two broad

families of percussion that you’re likely to deal with. The first is orchestral percussion – timpani, snare drum, xylophone, etc – and the other is ‘ethnic’ percussion, which really covers everything else. There is quite a bit of crossover between these two worlds in terms of instrumentation, but in this feature we’re dealing exclusively with Latin, African and Afro-Caribbean percussion in the context of beat-driven music. Here, then, are some of the most ubiquitous instruments in our chosen category…

CONGAS THE CORNERSTONE of the Cuban percussion

family and a fixture in many forms of dance music – particularly house – congas generally come in sets of two or three (tumba, conga and quinto) and are played with the bare hands. An established repertoire of standard conga rhythms exists, based on the various styles of Latin dance music and serving as a great foundation for your own parts. When you’re ready to get into them, check out this page from the website of top session percussionist Pete Lockett: http://bit.ly/GItJRM.

BONGOS ANOTHER AFRO-CUBAN essential, bongos

comprise a pair of small wooden drums serving a similar role to the congas, although much higher pitched and less ‘weighty’ in their delivery. Bongos are generally played on their own or alongside a set of congas, the latter option giving the conguero an expansive range of pitches and tones to work with.

TIMBALES A PAIR of single-headed metal drums on a

stand, timbales are played with a pair of thin sticks and are used for backing riffs (including ‘cascara’, which involves striking the sides of the shells) and bright, loud, energetic soloing. In dance music, they tend to be called on as a highimpact spot effect. Timbales and

cowbells/agogo bells go together particularly well, and most players will have one or two of the latter mounted on the timbale stand, combining the lot to create intricate, clattering rhythms.

DJEMBE YOU’LL SEE this West African drum in the

hands of buskers the world over, the reason being that it can produce both bass and treble notes, making it a sort of self-contained ‘one-drum percussion section’. The djembe can also fulfil a similar role to the congas, although it’s a lot louder and not as mellow-sounding as its Cuban counterpart.

COWBELL

PERCS OF THE JOB While percussion sounds are fairly easy to come by, there are some very impressive ROMplers out there that warrant investigation if you’re at all serious about convincing percussion sequencing.

YELLOW TOOLS

CULTURE €99 9GB of beautifully multisampled world, orchestral and industrial percussion. The conga, djembe and tabla patches are particularly stunning, featuring separate left and right hand samples for deep realism, while Yellow Tools’ Independence playback engine gives a wealth of processing and sound design options. www.yellowtools.com

A CLAPPERLESS, square-horn-shaped metal

bell struck with sticks, the cowbell (and/or a pair of agogo bells) is often found mounted above the timbales, but can also be played hand-held. Although generally used in rock and pop to nail the four main beats of the bar, in a Latin context, the cowbell plays the clave (the rhythmic ‘key’ to the music that acts as the base of all musical arrangements in Afro-Cuban music) or a pattern based around it.

TAMBOURINE

VIR2 INSTRUMENTS

WORLD IMPACT: GLOBAL PERCUSSION £270 Vir2’s Kontakt/Kontakt Player 3 sound library clocks in at 13GB and is as comprehensive a percussion soundset as you could hope to find. The full range of Latin instruments is onboard, but that’s really only the beginning, as the journey continues across Asia, Africa, the Middle East, Europe and North America, taking in

A WOODEN or plastic ring with pairs of tiny

such rarities as dobachi bowls, kpanlogo

cymbals (zils) mounted within it, the tambourine can be skinned or unskinned, hand-held or mounted on a drum kit or percussion rack. It boasts a variety of uses: it can be used to play a constant rhythm (similar in usage to the hi-hats), for accents (eg: doubling up the snare on the backbeat), or as an effect (shaken, for that characteristic shivery sound).

and naqqara on the way

TRIANGLE

www.timespace.com

BEST SERVICE

WORLD PERCUSSION £499 You want percussion? How about 220GB of the stuff, shipped on its own hard drive? Four years in the making, this vast library is cinematic, lavish and beautifully produced, sounding a million

THE BUTT of many a percussion-based gag,

dollars and keeping playability high on the

the triangle is actually one of the most useful ‘supplementary’ sounds available to the music producer. Whether used for one-shot accents or effects, or to fill out the high end with the kind of rhythm that only a triangle can deliver, it’s easy to program and is just the thing to bring a funky sheen to any track.

agenda. Running within Best Service’s Engine ROMpler engine (essentially Yellow Tools’ Independence engine, rebadged), it boasts multiple mic channels and effects aplenty. The cut-down World Percussion Compact is also available, with 7GB of sounds from its big brother for just £175. www.bestservice.com

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HANDS AROUND THE WORLD Percussion benefits greatly from being played live rather than programmed with the mouse, which means getting busy with the MIDI. While there’s nothing wrong with recording your conga parts on a keyboard, a set of pads is a much better option, being more like real drums in that they have no travel and a single pad can be played rapidly with alternate fingers. Here are some of the best USB models on the market…

NATIVE INSTRUMENTS

MASCHINE MIKRO £299

SHEKERE ANOTHER LATIN staple of West African origin,

the shekere is a gourd with an open flared tube at one end, wrapped in a cord net with a large number of beads threaded into it. It can be struck, thrown, shaken and ‘flicked’ (quickly pushing the beads around the gourd) to produce a wide range of tones. Striking the gourd with the heel of the hand gives a bassy thump; hitting it with the fingertips gives a highpitched slap; rapidly pushing the beads backwards and forwards generates a slithery ‘shhk’ sound. It’s one of the more technically involved and visually exciting percussion instruments – see a virtuoso in action here: http://bit.ly/3rvuLo.

9GB of beautifully multisampled world,

CABASA

orchestral and industrial percussion. The

THE CABASA provides a more compact form

conga, djembe and tabla patches are

of friction-based rhythm. The modern cabasa is a wide, short metal cylinder mounted on a wooden handle, with strings of metal beads wrapped around it. It can be shaken to make a rattling sound, or twisted with one hand while the beads are held in place with the other for a similar ‘shhk’ sound to that of the shekere, but brighter and higher in pitch. Like the shekere, a skilled player can do pretty amazing things with a cabasa.

particularly stunning, featuring separate left and right hand samples for deep realism, while Yellow Tools’ Independence playback engine gives a wealth of processing and sound design options. www.native-instruments.com

AKAI

MPD18 £80 A simple 16-pad surface from the company who know more than any other about finger

SHAKERS

percussion triggering. The MPD16 feels

THE LOOSELY defined shaker family includes

great to play and features an assignable

any sealed enclosure filled with beads, as descended from the seed-filled gourd. Maracas, caxixi, egg shakers, rainsticks – anything that you shake to mobilise its rattly contents with the intention of providing a hi-hat-like percussion line qualifies as a shaker.

fader for real-time control of virtual instrument parameters. www.akai.com

KORG

PADKONTROL £156 Sixteen fully assignable

CLAVES

pads, an X-Y controller and two assignable

A PAIR of thick, short rosewood sticks, one

knobs come together in this dynamic

of which is held with the fingertips of one hand over the ‘chamber’ made by the palm and fingers (which acts as a resonant space) and struck with the other. The result is a loud, cutting attack, and claves are so-named because they’re traditionally used to tap out the clave (guide pattern) in Latin dance music.

performance controller from the Japanese music technology giant. www.korg.com

ALESIS

PERFORMANCE PAD £159 Played with sticks rather than fingers, this eight-pad playing surface/drum machine

WOODBLOCKS

can be expanded with pedals and extra pads.

THESE DAYS, a woodblock is as likely to be

www.alesis.com

made of plastic as it is wood, but either

82 | EXPERT HOME STUDIO HANDBOOK

way, it’s simply a hollowed-out block with a narrow, slit-shaped opening that can be used as either a solitary instrument or in a set of two or more. Fulfilling a similar background role to the cowbell and agogo bells, the woodblock has quite a loud, cutting sound when struck with sticks, so soft beaters are sometimes used instead, in order to keep the volume down.

GUIRO ANOTHER GOURD! This time open at one

end with a series of horizontal notches cut into one side. A stick is scraped rhythmically over these notches to create the characteristic and instantly recognisable sequences of short and long sounds that are essential to several Latin styles.

AGOGOS A PAIR of connected metal bells held in

one hand (unless mounted on a stand) and struck with a stick held in the other, agogos have a brighter, less weighty sound than the heavier cowbell, and are a mainstay of the go-go sub-genre of funk (which may or may not have been named after them).

TALKING DRUM AN HOURGLASS-SHAPED drum with heads at both ends connected by a series of cords that tighten when the centre of the drum, held under the arm, is squeezed, thus changing the tension of the heads and the pitch of the sound. Originally used to send messages from village to village in West Africa, the talking drum is played with a curved stick (held in the free-arm hand) and the fingers of the holding-arm hand, and is loud, attacking and incredibly expressive, capable of blasting out precision melodies and bends over a wide pitch range.

OTHER IT’S IMPOSSIBLE to detail the full range of

percussion instruments available in just two pages, so we’d urge you to get online and investigate for yourself the likes of the berimbau, cuica, jawbone, castanets, cajon, vibraslap, mark tree, singing bowls and a huge array of weird and wonderful drums from all corners of the globe.

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STEP BY STEP PROGRAMMING REALISTIC LIVE PERCUSSION

1

Let’s start our percussive adventure with a bit of funky ‘live’ action. We throw together a quick

2

We record our conga part using a pad controller. We use a total of seven different samples: four

3

We overdub a fill at the end of each eight-bar section. For conga fills, think triplets,

16-bar backing using the Apple Loops that come

open tones, one slap, one bend and one palm strike.

syncopation and playing slightly behind the beat

with Logic Pro: drums, bass and electric piano. It’s

The slap is used to provide the accent off the beat,

before bursting into the next section. Audio files of

groovy but rhythmically sparse, lending itself

and a conga player will fill the gaps between hits with

each percussion line, solo and with the ‘band’ are in

perfectly to the addition of multilayered percussion.

ghost notes (very soft notes, much quieter than the

both quantised (to 16th-notes) and unquantised

We load up a conga patch in the EXS24 sampler.

others), so we do the same. We also send a bit of the

versions, as are the unquantised MIDI files. (Audio

(Audio example: 1. Drums, bass, keys.wav.)

signal to a reverb for a touch of ambience.

example: 2. With congas.wav.)

POWER TIP

FEAR OF CROWDS With such a diversity of instruments in the percussion category, it’s no surprise that there’s plenty of sonic overlap between them. When choosing the instruments making up your virtual percussion ensemble, be mindful

4

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Next, an EXS24 timbales patch, with the ‘left hand’ playing alternating quarter notes on the

Although torn between the shekere and the

of the frequency range covered by each one,

cabasa for our shaker part, we decide on the

and if any of them clash in any particular area,

two drums and the right beating out a cascara

latter, since there’s already quite a lot of bottom end

get rid of all but one. We toyed with the idea of

rhythm (which, as we mentioned earlier, is played on

to our percussion and the cabasa is the higher

adding a djembe part to our track, for example,

the shell of the drum). Our sampler patch features

pitched of the two. A simple shaker part pushes the

but it had too much in common, frequency-

fairly heavy panning between the two drums, which

groove along nicely and has the added benefit of

wise, with the congas, so we decided against it

we rather like. Fills are also recorded at the end of

providing a splashy accent on every other snare hit.

in order to not crowd the mix.

each eight-bar section. (Audio: 3. With timbales.wav.)

(Audio: 4. With cabasa.wav.)

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7

Our percussion mix is getting rather dense now, so finding space for the actual notes of

For a bit of ’70s cop show vibe, the triangle is easy to program and adds extra top-end

8

In nine tracks out of 10, the tambourine part will be a simple 16th-note shake pattern with

our agogo pattern proves a bit tricky! Eventually

interest. We program a part in which the first two

accents on specific regular beats – usually ‘2’ and ‘4’.

we settle on a loping off-beat riff moving from

notes in each repeat are muted (the fingers are

Use different samples for each ‘side’ of the shake to

one bell to the other. We drop the bells out entirely

wrapped around the triangle to achieve this), and the

avoid the machine-gun effect – any decent

for the fills at the end of each eight-bar section,

third one is open (fingers removed to allow the

tambourine sampler patch should cater for this. Our

since there’s already enough action there.

triangle to ring freely). Simple but perfectly effective.

tambourine adds a layer of ‘crunch’, finishing our

(Audio: 5. With agogos.wav.)

(Audio: 6. With triangle.wav.)

groove off nicely. (Audio: 7. With tambourine.wav.)

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PERC’ING UP

STEP BY STEP SPOT PERCUSSION

Feast your senses on some percussion greats on YouTube… www.bit.ly/xV7a0W One of the greatest congueros of all time, Mongo Santamaria, leads his own band in a supercool rendition of his own jazz standard, Afro Blue, from ’84. www.bit.ly/zcTHsb Feel the push and pull of the clave and watch how well percussion legends Giovanni Hidalgo, Johnny Rodriguez and Orestes Vilato weave their separate lines

1

together without getting in each other’s way.

rhythmic) percussion is also extremely useful for

Scooby Doo and other such vintage cartoons, where

So far we’ve had our percussion parts playing full-on grooves, but some (weirder and less

2

Even odder than the vibraslap, you might recognise the sound of the flexatone from

spot effects, to smooth over transitions between

it was often used to imply spooky goings on. It can

www.bit.ly/17iGPt Ray Barretto’s style of

song sections, or just for adding colour. The vibraslap

be employed for sustained vibrato effects, or as a

conga playing was uniquely characterful.

has an instantly recognisable sound – we throw one

one-shot, as we’ve done in our track at the start of

This, from 1975, ably demonstrates his

in at the start of our track, half way and at the end.

bars 5 and 13.

3

4

incredible chops. http://bit.ly/1BLPn4F Conguera Chano Pozo was the first of many Latin percussionists to work with Dizzy Gillespie, who was largely responsible for Latin jazz taking off in the US. www.bit.ly/f4Zwpc The eccentric Airto Moreira does weird things with his voice, and throws some incredible shapes with a whole armoury of Brazilian percussion.

A set of thin tubular bells of progressively decreasing length hanging from a horizontal

The rainstick is a wooden tube full of beads, with inward-pointing protrusions (cactus

crossbar, the mark tree is played by swiping a hand

needles, traditionally) that, when turned over, makes

www.bit.ly/w9Qigo It’s no surprise Sheila E is

through it to make that scintillating, ethereal sound

a sound like rain falling, through the action of the

a superb percussionist – her dad, brothers

much loved by producers of ’80s ballads. In our

beads rattling over the spikes. Used in a similar way

and other members of the Escovedo family

track, it makes a great accompaniment to the

to the mark tree, ours is deployed right at the end of

are big-hitters on the US Latin music scene.

Doors-style electric piano section.

our track. (Audio example: Spot percussion.wav.)

STEP BY STEP MAKE YOUR OWN PERCUSSION

1

If you want to be really original with your percussion sounds, why not record your own

2

Importing our recorded audio file from the iPhone into Logic, we cut it up into single

3

Playing along with our bass, drums and keys from the previous tutorial, we quickly come up

samples? After a quick scout around the office,

hits, ditching anything unusable, and create an

with a tasty (if rather shrill) ensemble performance

we’ve recorded a range of things, including bannister

EXS24 sampler instrument out of the resulting

that we simply wouldn’t get any other way. The low

spindles, a pint glass and a radiator, directly into our

slices. Thus far the whole process has taken us

quality iPhone mic keeps the bandwidth narrow,

iPhone, using Audiofile Engineering’s utterly

about 10 minutes. Now we’re ready to jam the

which actually benefits our sounds here. (Audio

essential FiRe app.

heck out of our sounds…

example: DIY perc.wav, DIY perc with band.wav.)

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PERCUSSION RECORDING TIPS QUANTIZE THEORY

KEEP IT REAL

SHOULD YOU quantize your percussion?

WHILE PERCUSSION parts in dance and

The answer to that question depends on the sort of feel you’re trying to achieve and the groove of the rest of your track. Good percussion parts will usually have a high level of human feel, but a lot of that comes from dynamics and articulation, so don’t feel that quantizing them will necessarily rob them of their soul. If it sounds cool, go with it. If it doesn’t, make whatever timing adjustments need to be made manually. Be careful when quantizing slow-attack sounds like shakers or guiro that they don’t actually sound late when snapped to the beat. If they do, move them back a bit. Our Live percussion walkthrough track in our examples download sounds pretty loose au naturel (we were going for a live band feel), maybe too loose for some tastes. Quantized, it sounds rhythmically ‘perfect’ – but does that mean it’s ‘better’? We’ll leave you to decide…

electronic music will tend to be looped (whether audio clips or MIDI parts), in ‘live’ tracks, they should be properly performed all the way through. So, rather than recording eight bars of MIDItriggered bongos and looping it, put in the effort to play the whole thing live from start to finish, punching in on any unacceptable mistakes afterwards. Even with rhythmically straightforward parts – a shaker, for example – approaching your percussion tracking like a proper recording session will make a real difference to the feel of the track.

KNOW THE LIMITS WHEN PROGRAMMING drum kit parts, you hopefully already know not to trigger more things at once than a drummer could physically play with their four limbs, and it shouldn’t surprise you to learn that the same rule applies with percussion. Obviously, a conguero can’t hit more than two congas at the same time, and you can’t strike and scrape a guiro simultaneously. Adhering to such limitations will make your parts more realistic and stop them becoming too dense.

GUNNED DOWN FOR MAXIMUM realism, make sure your sampler patches feature both left- and right-hand strokes (where appropriate), and use them. The difference between them might be barely perceptible, but you’ll certainly hear it if you compare a run of alternating notes with a run of the same one repeated.

CHOKING UP IF YOU’VE ever programmed a sampled

drum kit, you’re probably aware of mute/ choke groups, whereby certain sounds are set up to immediately kill other sounds when triggered – closed hi-hats curtailing open ones, for example. Mute/choke groups are also used for percussion: muted triangle interrupting open triangle, short cabasa rub defeating long cabasa rub, etc. As a rule, if it’s not physically possible for two specific sounds to happen simultaneously, one always needs to mute/choke the other.

EXERCISE RESTRAINT KEEP YOUR individual percussion layers simple. With such a broad range of sonic flavours and colours in the percussion family, once just a few members of it are brought together, the result is usually a surprisingly dense wall of sound. Always consider the interplay between your different drums, shakers and whatnot – rhythmically, they should lock together and move around each other (as if your

Many ROMplers feature separate left- and right-hand strokes, programmable on different MIDI notes, as shown virtual players have been rehearsing for weeks) rather than clash, with everything hitting at the same time.

BEATS WORKING AVOID THE temptation to place emphasis on the backbeat with your percussion – that’s the job of the snare. While certain percussion instruments (tambourine or cabasa, for example) make a good accompaniment to the snare, generally you want your perc working around the main beat rather than sitting on top of it.

IN THE PLACE ALL MEMBERS of your percussion ensemble

should exist in the same virtual space, so when applying reverb, send all your grooving percussion parts to the same plugin – using different reverbs on each instrument will mess up the sense of cohesion (although that can at times be an effective technique). All of the parts in our ‘live’ project are sending to the same reverb at varying levels. For percussion spot effects, however, tailor the reverb to each individual sound according to its own specific needs.

PANNING FOR GOLD WHEN IT comes to panning the percussion

section, go for a noticeable spread, but nothing too extreme. With the exception of the timbales, our parts cover a fairly narrow panorama – just enough to give a sense of width without distracting attention from the drums, bass and keys.

The snare in your drum kit should have the backbeat ably nailed, so don’t step on its toes with your percussion parts

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THREE-MIC AMP SETUP This simple approach to recording with multiple mics will give you plenty of options at the mixing stage sk anyone how to record a guitar amp and they’ll typically suggest sticking a single mic right in front of it. Normally they’ll suggest a dynamic, and nine times out of 10 it’ll be a Shure SM57. It’s simple, solid advice, and difficult to go wrong with. But – and this is the important bit – it won’t necessarily sound that great.

A

The results can often sound nasal or harsh, the microphone’s proximity to the speaker cone will make it very sensitive to small changes in position, and it certainly won’t capture any of the room ambience. As an alternative we’re going to suggest a more flexible method that builds on the one-mic approach, adding an extra dynamic mic and a room mic to the equation. But before we go any

further, let’s look at some other important stuff.

FOUNDATIONS FIRST UP, when it comes to electric guitar

you really have to get the sound right in the room and right for the track. It’s obvious stuff, but if you’re intending to capture the sound you want at source, you need to be certain you have it nailed. So, take time out to listen to reference

STEP BY STEP FLEXIBLE MIKING METHOD

1

Stage one with any instrument is positioning it in the room. You can raise guitar amps from the

2

It’s vitally important that you know where the speaker cone is, so the next stage is to get down

3

You will need two close mics. They don’t have to be the same, but you want to get the capsules

floor to help with projection or isolate them from the

and look for it. If you really can’t tell, shine a torch

coincident, and large designs may make this harder.

floor to reduce rumble, but the most common trick

through the grill. You’re looking for the domed centre

For close miking, dynamic cardioids are the most

with open-backed designs is to position them against

of the cone. For multiple speaker models it’s worth

robust, but condensers with a level pad are an option.

a wall or screen to help contain sound from the back.

checking each cone to see which one sounds best.

Ribbons can be a bit delicate to stick right up close.

4

Position the first mic as if it were the only mic – so, for a tight sound, start a few inches from

5

The second mic is positioned relative to the first, with the capsules as close as possible. As a

6

Because you’ll be blending the two mic signals, it’s very helpful to try and match the two levels

the cloth with the capsule parallel to the cabinet.

starting point, angle the second mic at 45° to the

at the recording stage. On your mic pre-amp and in

Point the mic straight at the cone centre for the

first. Which direction you point in will depend where

your DAW, use the peak meters for comparison. If

brightest sound and at the edge for a darker tone.

your first mic is aimed. If the first is aimed at the

you have access to a low-cut filter, this can be useful

Back away to 6" or more if the sound is too harsh.

cone centre, aim the second towards the cone edge.

for removing low-frequency rumble prior to tracking.

86 | EXPERT HOME STUDIO HANDBOOK

free ebooks ==> www.ebook777.com THREE-MIC AMP SETUP | RECORDING material and analyse the overall nature of the guitar sound you want, from general EQ (brightness, body and so on) to the drive of the amp and overall ambience of the sound. Of these, one thing that’s easy to get wrong is the drive or distortion – too much can easily reduce the punch and impact of the sound. Next up, volume. The ‘single dynamic mic’ option isn’t hugely affected by the overall volume of your amp, but factor in the room, and volume has a bigger impact. Basically, if the amp sounds good in a room at a moderate level, that’s the sound you should be recording. What’s more, you’ll be able to judge things much better if you’re not covering your ears. Older amps may have no master volume, and you might need to turn them up pretty loud to get the amp to drive. Try using a power soak between

amp and cabinet so you can exploit the drive of the power amp circuit without excess volume. Finally, it’s worth reminding ourselves that all players sound different, so if you’re going for a particular sound, accept that the guitar’s original tone will be influenced by the player’s technique and competence.

7

8

If you have a desk with bussing capabilities, you can blend your mics prior to recording, although

FINDING THE SWEET SPOT To capture the best sound, finding the sweet spot is key. Although our three-mic technique is flexible, we still recommend you follow this procedure to get your mics in a good place. If you’re working alone, position your mic, listen on the monitors,

GETTING STARTED

move it slightly and listen again. If

THE THREE-MIC method requires you to

necessary record a little in each position.

have a couple of dynamic mics. The plan here is to cross the mics as a coincident pair, so if they’re quite compact this will be easier. As it happens, the SM57 is quite well suited to this. You’ll also need a room mic – we’d suggest either a large-capsule cardioid condenser, or, if you want a more ambient effect, a figure-eight ribbon.

The third element is an ambient or room mic, designed to capture a combined amp and room

Alternatively set up a headphone feed containing the mic signal, positioning the mic and listening as the guitar plays. If you have a helper, give them the headphones and get them to move the mic while you listen to the monitors and bark orders at them on talkback. Note that all these techniques require you to base your decision on listening to the results.

9

Positioning this mic will depend on how ‘live’ the room is. Smaller rooms often have dominant

then you’ll be committing to the sound. For most DAW

sound. Best for this is either a condenser or ribbon

reflections that colour the sound even if the mic is

users recording straight into an audio interface, it’s

mic, and there are no rules as to which pickup pattern

only a few feet back. For the best results, stick on a

easier to record mic signals separately and combine

you should use. We’ve chosen a multi-pattern mic so

pair of headphones with a cue mix of the mic and

them later, so next get a couple of tracks ready.

we can try different patterns.

walk around until you get the sound you want.

10

11

12

Any multi-mic set-up has the potential for phase cancellation so be mindful of this.

We’re nearing the home straight with this set-up, so create a recording track for the

The final stage is to balance the mics. Purely for monitoring purposes, you should be able

A useful technique here is the 3-to-1 rule. With our

room mic. The plan is to make use of all three mics,

to do this as you record, creating a balance that’s to

close mics a few inches away and our room mic a

so it’s important to keep the tracks grouped

your liking. The real benefit of this technique,

few feet back, we’re already following this rule. When

together. If your DAW has a grouping option, use it.

however, is that it gives you enormous flexibility

monitoring all three mics, try phase-reversing the

If not, try colour-coding your takes so that you can

when mixing. In addition to blending the mics in

room mic.

see which ones go together.

mono, try various combinations of panning.

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RECORD HUGE GUITARS Have you ever thought about recording your guitar one string at a time? Try this unusual idea for a truly amazing effect

W

hen recording Def Leppard’s Hysteria, legendary producer Mutt Lange asked guitarist Phil Collen to record some chords one string at a time.

This off-the-wall idea may seem strange, but its simple yet brilliant effect can be used in any genre of music, and the resulting sound is an extremely resonant – almost piano-like – sustain, and it works on electric or acoustic parts! Not only do you get an unusual resonance,

but it gives you individual control over every note in your chord. Here, we’ll show you how it’s done, and take the concept even further to create superwide chords. Why not give it a shot, hen read our mixing tips for some further ideas.

STEP BY STEP WIDE-SOUNDING CHORDS… ONE STRING AT A TIME

1

A strummed guitar part is actually quite complex, so for this to work, the notes need to be played

2

Duplicate your track so you have a fresh track with the same settings and record the next note

3

Now you have all of your notes on record, you can stop here. Or, if you’re feeling adventurous,

tightly. Open a track in your recording software and

in your chord. Repeat until you’re finished (don’t

this is the point where you can start getting creative!

set up your sound. Record your guitar, but only play

forget any open strings that are needed), and try to

First, we’re going to pan our notes to add some width

one string of the chord. Let it ring out and try not to

be accurate with your picking – ideally, the notes

to the sound. Set alternating strings to the left and

introduce too much fret-hand noise with movement.

need to start as closely as possible to each other.

right channels respectively.

88 | EXPERT HOME STUDIO HANDBOOK

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A WORD ON MIXING LOSE SOME LOWS A common trait when recording and mixing guitars is to ramp up your low end. This makes sense if you’re after a particular effect, but moderation is key. When trying to blend your guitar tracks with a bass guitar, there are certain low frequencies that will overlap and clash, making your overall sound more muddy. If you’re in standard tuning, try rolling off your guitar’s low end from around 120Hz.

An EQ set to analyse shows the natural frequency response of your guitar

Here, we’ve set the EQ to roll off frequencies outside of our guitar’s spectrum

dB

0 -5 BITE 6KHZ - 10KHZ -10 -15 -20 -25 10k 20k -30 -35 -40 -45 -50 -55 -60 dB

but you need that controlled tone in

+30 +25 +20 +15 +10 +5 0 -5 -10 -15 -20 -25 -30

your hands.

Plugins allow us to change guitar tones during a song, but watch those frequencies and avoid clashing with the bass…

USE AUTOMATION Plugins not only allow us to easily record our guitars, but also let us change our tones during a song. These changes can be recorded by your DAW and recalled as you play through the song. If you need more midrange or extra delay level in a particular section, let the computer do the work and automate your settings.

KEEP THE MIDS Don’t be fooled by trying to suck the mids out and thinking that the scooped sound’s gonna give you the best sound. It’s fun to play with,

4

You can add interest by applying varying amounts of gain to individual notes. There are

BITE 2KHZ - 2.5KHZ

PUNCH 100HZ - 150HZ

20

50

100

200

500

NOTE CLARITY 200HZ - 250HZ

5

1k

2k

TIGHTNESS 400HZ - 600HZ

Next up, choose the remaining tracks and apply a dotted eighth-note delay with similar

6

5k

You don’t have to stop here. Try applying different delay times, filtering, tremolo,

no rules – add as much or as little as you like! Pick

feedback and level settings. Notice how the notes

reverb or any other effect. Once you’re happy with

a couple of your tracks and add a delay plug-in.

bounce around each other? The opposing rhythms

the texture, bounce all of your notes to one stereo

Set your rate control to produce eighth notes,

work together to create a cascading delay sound

track. This way you can take some of the strain off

feedback for two or three repeats, and the level

between the left and right channels for an interesting

of your computer, then layer them together with

to around 50 percent.

textural effect.

your other parts.

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DISCOVER STEREO WITH MID/SIDE RECORDING Once a well-guarded secret, mid/side mic techniques are reappearing, widening the stereo image, improving phase coherence and even meddling with multichannel work. We break out the mics and stands and uncover the world of M/S recording… ost music isn’t recorded in stereo – in fact, music recorded as far back as the 1930s is often more stereo than any modern recording. But what do we actually mean by stereo sound? Stereo is short for ‘stereophonic’, a composite word from the Greek stereos, meaning ‘solid’, and phone – ‘voice’ or ‘sound’. A ‘solid sound’ is created when its reproduction is realistic and lifelike, regardless of the number of speakers involved – curiously enough, there was a (now obsolete) cinema sound system named Dolby Stereo which had four discrete channels. Modern recording sessions often rely on mono multitrack techniques, a practice too often followed to avoid committing to a specific sound and speed up the costly recording process. In these days of shrinking recording budgets and mix-it-in-the-bedroom productions, hardly anyone dares to make choices at the recording stage, so long as everything’s captured and ready for further processing. Alan Blumlein is the UK engineer regarded as the inventor of a technique that he named binaural sound and that we commonly call stereo. It is said that, during the projection of a ‘talkie’ movie in 1931, he was rather disturbed that the monophonic sound would come from the centre of the screen when the actor had moved to one side, so he came up

M

90 | EXPERT HOME STUDIO HANDBOOK

with an idea to have the sound follow the actors around as they moved across the large screen. Not only did he conceive and patent a two-channel stereophonic system at a time when other researchers all believed that a multichannel system was the only way to go, but he also went on developing stereo mic techniques that

Music recorded in the 1930s is often more stereo than any contemporary recording would capture the essence of a room’s sound and reproduce it through just two loudspeakers.

STEREO TECHNIQUES ALL STEREO recording techniques rely on

one simple principle: when a sound or noise hits your eardrums, your brain works out the time delay and the loudness difference between the left and right ears and uses these parameters to place the source at the correct angle and distance from your head. An accurate stereo recording system must be able to capture these details perfectly in order to embed sufficient spatial information into the final recording. Blumlein patented a microphone technique, later named after him, which employs a pair of identical bidirectional

mics, arranged in a coincident position with their axes at right angles to each other. The two mics are panned hard left and right. A Blumlein pair generates a very convincing stereo image and is also mono-friendly, but relies on the accuracy of the microphone placement to give the best results, particularly when it’s folded down to mono. A clever variation on this microphone arrangement, which was also patented by Blumlein, is the so-called middle and side (mid/side or M/S) technique. This is also done with two microphones, but one of them is dedicated to capturing the direct sound and can have any polar pattern, so long as it’s pointed directly at the source. Blumlein specified an omni microphone in his patent, but M/S is traditionally pictured with a cardioid or hypercardioid mic. The second microphone’s polar pattern must be figure-of-eight (bidirectional). The capsules of the two mics must be vertically aligned with their axes perpendicular to each other.

DECODING THE MIDDLE and side technique, despite its

simplicity, requires a specific decoding matrix. This is because the side (figureof-eight) microphone contains information relevant to both the left and right channels. To extract this information, it is necessary to duplicate the signal coming from the side mic into two (usually adjacent) channels on your audio mixer, pan them hard left and right

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ALAN BLUMLEIN, ENGINEER EXTRAORDINAIRE Born in 1903 in Hampstead, Alan Blumlein studied at City and Guilds College, where he graduated with a first-class honours BSc in 1923. The following year he got a job at International Western Electric, which later became Standard Telephones

A pair of AKG 414 microphones, both with figure-of-eight polar patterns, in a typical Blumlein set-up. Notice that they’re at an ‘X’ shape to the front of the amp

and Cables (STC, known in the professional audio industry for their microphones, which were adopted and made famous by the BBC). During his five years with the company, his constant research led to seven patents being awarded to his inventions. Blumlein left STC in 1929 to join Columbia Gramophone Company, which only two years later merged with the Gramophone Company to form EMI. The EMI years were the most productive in terms of the development of stereo sound. Similar research was being carried out at the same time by Harvey Fletcher at Bell Laboratories in the US (though he and Blumlein were unaware of each other’s work), but while Fletcher was contemplating multichannel systems, Blumlein always insisted on a system with just two channels.

The same pair of AKG 414s, arranged in an M/S setup. The mic pointing at the instrument (middle) can have any polar pattern; the other one (side) must have a figure-of-eight pattern

Blumlein’s British patent no. 394325, accepted in 1933, is titled ‘Improvements in and Relating to Sound-Transmission, Sound-Recording and Sound-Reproducing Systems’. Over 70 claims cover ideas like

and reverse the phase of the one panned right. This process is known as an M/S decoding matrix, and it can be summed up in the formula Left = M+S, Right = M–S, where +/– refer to the polarity of the side. It is imperative that the level of the two split side channels is exactly the same. If you gang the levels of the three audio channels together, you will have a true M+S decoded balance. The nice thing about the M/S technique is that microphone placement isn’t overly critical. Of course, to avoid phasing problems and notches in the frequency response of a classic M/S system, one should take care that the two microphones are well aligned and as close as possible. Because the side information is captured by a single microphone, however, the stereo effect

will be accomplished successfully even if your set-up isn’t particularly good. Another fundamental advantage of the M/S technique is that it is 100 percent mono-compatible. Folding an M/S matrix down to mono will overlap the out-of-phase channels of the side microphone, making it disappear completely and leaving the middle microphone on its own.

WORKING WITH M/S ONE OF the obvious daily uses for mid/side

miking is with any location recording where mono compatibility is crucial. For example, boom mics used during film shoots are often equipped with an M/S set-up. This is because mono sound always takes priority, but a snapshot of the stereo ambience can come in very

recording two channels in a single groove of a record, a stereo disc cutting head, the ‘Blumlein pair’ (as it’s known today), and matrix systems to convert signals from M/S to stereo and vice versa. Blumlein was also deeply involved in the development of the TV, and during wartime he helped develop a new radar system. It was during the course of a test flight that he lost his life in a tragic crash, aged just 38 and at the peak of his engineering career.

handy during post-production for some added realism. The fact that mid/side miking simultaneously delivers a mono and a stereo picture with the same recording is invaluable. When using a decoding matrix, it’s important that the levels for the two out-of-phase side channels match

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free ebooks ==> www.ebook777.com RECORDING | MID/SIDE RECORDING perfectly. An easy way to calibrate them is to pan them to the centre, push the faders up to the required level and then adjust one against the level of the other until they cancel each other out completely. Once they’re calibrated, they must be panned wide left and right and ganged with a VCA group or sent to a stereo channel, so that their level can be changed without losing the calibration. This is, of course, unnecessary with digital mixers or DAWs as fader ganging is perfectly accurate. The first thing to try is to experiment with the level of the side against the middle microphone. You will notice that the image progressively expands sideways, adding room information to

the mono microphone but without removing its presence and focus. Since the side microphone cannot be used on its own, it’s usually best to avoid having it too loud in the balance, or the stereo image will collapse.

CHOOSING MICROPHONES THERE ARE endless microphone combinations that will work for M/S, and for those who need a package deal, there are some dedicated stereo microphones that will do M/S without any need for a set-up. There are also M/S combinations – microphones developed to work together for optimum M/S performance and supplied with specific accessories to facilitate the set-up. These

are often an ideal solution as the two mics can also be used independently for purposes other than M/S recording. Lastly, there’s a whole world of DIY combinations and rigging to explore. We personally tend to prefer the DIY approach, because we enjoy the freedom to experiment with mics we wouldn’t ordinarily use for stereo work. Let’s take a look at some of the better mics out there for M/S recording…

SHURE VP88 (1) THE SHURE VP88 is arguably one of the

easiest to use single-bodied M/S mics you can buy. Built around two condenser capsules arranged in the traditional middle and side configuration, it has a

HOW DOES M/S WORK? Bidirectional microphones capture sound from both sides of the capsule, but the

information so captured becomes unintelligible. The M/S technique provides a

two sides will be out of phase with each other. This isn’t a problem in regular

simple solution to this problem by using a second microphone, perpendicular to

mono recordings, because the rear side of the microphone faces away from the

and in axis with the first one. Not only will this middle microphone cover the blind

sound source and at best it can only capture the reflections from the room. The

spot of the bidirectional microphone, but its signal combined with that of the side

results will be out of phase, but we’ve yet to encounter a situation where reversing

mic will pinpoint the sound source. Below we’ve provided three examples of mid/side set-ups, with a brief description

the phase of the reverb would cause a problem. However, when a bidirectional mic

of how each one works.

is used sideways to the source there is no dominant side and the spatial

60°

60° M+S=L

+

+

+

M

M

+S

-S

-

+

+S

M+S=L

M+S=L

+ M

-S

-

+

+S

No signal

-S

No signal

No signal

M-S=R

No signal

M-S=R

M-S=R

L>R

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MID/SIDE DRUMS Recording percussion with mid/side techniques Drums and percussion are fertile

the kick and snare first. To begin

from a central spot, a couple of

ground for M/S recording due to

with, locate the place where the

metres from the ground.

the instruments’ width and depth.

balance between the two is more

Drums can obviously also be very

or less correct, check it’s not too

crucial – it’s more important their

loud, however, so care must be

far away and not too close to the

placement avoids boomy or boxy

taken in choosing the right

kit, and check that you’re also

corners of the room and instead

microphone for the task. Any

getting enough of the toms and a

has enough width and separation

drum kit usually has a ‘sweet

sprinkle of cymbals.

to capture a nice wide ambience.

spot’ where you can place a single

That spot is where the M/S pair

Position for ambience mics isn’t

Another useful placement can be

microphone and get a nice blend

should be placed if it’s going to be

behind the drummer, as a second

of all the elements of the kit.

the only mic on the kit. If the kit is

overhead pair, pointing towards

instead miked up with lots of close

the snare. The power of the snare,

somewhere in front of the drum

mics and the M/S arrangement is

combined with the width of the kit,

kit, snare side, about a metre from

only a complement to the

might only need reinforcement

the floor. To find the right place, it’s

traditional setup, it’s probably

from a kick mic, and from the

important to listen to the blend of

worth capturing the ambience

toms, when miked in this position.

Typically a good place to start is

1

2

built-in M/S decoder matrix, with three presets that will vary the blend of mid and side for narrower or wider stereo. The microphone has a five-pin XLR stereo output, although the matrix can be disabled and the mic will then output a pure M/S signal. It can also operate on battery power, for portable use.

AKG C426 STEREO (2)

COLES 4038 (3)

one-stop solution for any coincident stereo miking need. Two rotating large-diaphragm capsules (complete with a gradient scale for accurate positioning) are coaxially mounted on the same body. Each capsule can be adjusted separately, and a remote control box allows you to select the polar pattern for each from a choice of nine positions. Any combination of X/Y, Blumlein and M/S, and in fact anything in between, can be easily achieved with a simple twist.

4

THE STC/COLES 4038 is a bidirectional

ribbon microphone. Originally used by the BBC, it’s been recently rediscovered and cloned for its tonality. The Coles has tons of character and quite a strong colouration, but it can be an ideal side microphone when accuracy isn’t the name of the game.

NEUMANN U87 (4)

THE LONG-DISCONTINUED AKG C426 is a

3

5

THE NEUMANN U87 needs no introduction. A

very flexible microphone with a subtle presence and colouration, it can give great results in M/S. While a little duller than the AKG 414, it has a really nice midrange, which translates as warmth, and can be ideal when used with bright instruments that need a tamed environment in which to sit.

SHURE SM57 (5) THE UNMISTAKABLE, omnipresent 57 might seem an odd choice for an M/S pair.

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SENNHEISER MKH 418-S THE SENNHEISER MKH 418-S is a lightweight M/S shotgun mic. Suitable for boom operation and dialogue recording, it offers the extra option over the betterknown hypercardioid MKH 416 of an electret side microphone. Although not as quiet as combos using separate mics, the MKH 418-S offers a direct replacement for shotgun mic users.

SENNHEISER MKH30 AND MKH40 THE SENNHEISER MKH40 cardioid and the MKH30 figure-of-eight mic are a classic M/S combo, and are often used on classical recordings, on location and in the studio. A simple but sturdy dual clip allows you to stack them for mid/side set-ups. Not only are these microphones built like tanks, but they can also take serious volume without distorting and have a very flat frequency response. Additionally, they are less prone to failure or to generate noise in harsh environments, a real bonus for the location recordist.

PAIR OF AKG 414S THE AKG 414 is perhaps one of the most used condenser mics in the studio, and is often used on acoustic instruments. The multipolar pattern gives it great flexibility,

A pair of SM57s set at right angles make a perfect pair for capturing a cab

94 | EXPERT HOME STUDIO HANDBOOK

FROM STEREO TO M/S: SUM AND DIFFERENCE

increase or decrease its stereo width, add EQ or dynamics or even trigger an effect from its mono component. Once the processing

While it’s common knowledge that

will constitute the side channel, in

is done, the M/S components can

M/S can be translated into stereo

this case called difference. Sum

be matrixed to stereo again. This

L+R, not many people know that

and difference is a technique that

technique is widely used for

the opposite is also true. A regular

allows you to extract the M/S

mastering; eg: overcompressed

stereo sound, or even a whole

content of any stereo audio and

mixes tend to lose their width,

song, can be separated into its

manipulate a stereo track to

which can be restored using M/S.

mono and side components. The process is simple and exactly the reverse of what is done for M/S, only it takes four channels

L

R

L

on your audio mixer instead of three. First, duplicate the L+R

R

(M)

(S)

Ø PAN

PAN

PAN

PAN

channels so that you have L, R, L,

MASTER L

R

R. The first stereo pair should be panned to the centre, and ganged. This is your middle channel, also called the sum. Now also pan the other two L and R channels to the middle, reverse the polarity of the R channel and gang them – they

L+R=M, L-R=S. This is because L+(-R)=S. (-R) is ØR

and a pair can do great stereo work. Like most large-diaphragm condenser mics, the AKG 414 can add a small amount of colouration to the sound, particularly when used too close to the source. If used at a suitable distance it can be on the bright side, but it’s never harsh.

COMBINING MICROPHONES ALTHOUGH THERE are a lot of M/S packages

available on the market, sometimes it

pays to experiment a little rather than getting an off-the-shelf solution. Choosing the middle microphone first is always a good start. Depending on the material that you’re setting out to record, there are two considerations to bear in mind. Firstly, remember that M/S usually sounds best from some distance, so that the side microphone can pick up the ambience and not the direct signal. You can, of course, try close-miking as a special effect. Secondly, once you’ve chosen the position that you’re going to place the mid/side pair in, make sure you choose a middle microphone as if you were recording in mono from that location. The side microphone could be placed in a more conventional way – vertically and on-axis above or below the middle one – but you could try placing it at least a metre away from the middle one, on wide ambience duties. With enough distance between the two mics, it’s possible to minimise phasing. Another handy trick for tailoring the stereo image to the specific requirements of your project is to narrow the panning

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AMBIENCE AND MULTICHANNEL RECORDING Ambience recording is typically the primary application of M/S. The wider the space and the further away from the source, the less prominent in the balance the middle mic should be. It’s not advisable to go over a 1:1 ratio between middle and side (assuming the two have comparable loudness) but to avoid any phasing creeping into the stereo balance, it’s a good idea to push the level of the side quite close to the mark. There’s a handy variation of M/S that’s sometimes used for multichannel work, and can be implemented for large orchestral sessions or recording in a large venue. An M/S pair is set up in front of the performance area, capturing the near ambience. A second pair, facing away from the first, can be set up at the rear of the room, a few metres away. These pairs can be used in a conventional way, with the results then matrixed to stereo and blended to create a rich ambience balance. It’s not uncommon, with orchestral work in particular, to record a couple of stereo pairs for a more 3D rendition of the room. Multichannel 5.1 work can particularly benefit from this, since the presence of a discrete middle channel can naturally feed the centre channel of the 5.1 surround matrix, while the decoded wide stereo of the same pair can do the L+R front channels. This will create a more consistent image across the front, as some mid information will still be contained in the L+R front channels, but something unusual can be done for the L+R surround channels, eg: matrix the other M/S to stereo and feed the surround channels directly with it. Obviously, L and R are inverted, since the pair is facing away from the performance area. If the room isn’t too big and the distance between the front and rear M/S pairs is only 1 or 2m, it’s also possible to use one single bidirectional microphone and matrix it with the front-middle mic. This way, by means of exaggerating the matrix balance towards the rear-side mic and perhaps using a figure-of-eight mic for the shared middle, it’s possible to retain a wholesome, realistic surround image building the balance on a shared microphone.

CARDIOID M1 -S1

A

CONVENTIONAL WISDOM says that in order

+S2

+S1

-S1

2m or more

+S1

M1

CONCLUSION to record a stereo image, you need to place microphones to the far left and right of the subject being recorded, but mid/side set-ups offer a simple and more effective way to get a wide sound. This technique takes advantage of the narrow ‘focus’ of mics, effectively recording a direct and an indirect signal simultaneously from the same point. Setting up the mics with precise placement is therefore essential, so it’s well worth having a few trial runs, minutely adjusting the position of the mics to get the best results. The mid/side technique has long since celebrated its 70th birthday, and it still sounds very contemporary. Simple techniques always capture the best sound, but M/S recording is the only one that offers such an extensive range of possibilities – a testimony to Alan Blumlein’s acute mind and ear.

OMNI

2m or more

of the side microphone a little, or to change its equalisation in order to improve the depth of the stereo image. This technique is based on research that Lexicon did when they were developing their reverb units. It was found that low frequencies enhance the listener’s envelopment in the sound, especially when they are different between left and right. This theory can be applied to M/S: a gentle boost to frequencies below 400Hz on the side channel, associated with a matching cut on the mid channel, can improve the smoothness of the stereo image. Ensure that the equalisation takes place before the side channel is fed into the decoding matrix, otherwise the M/S technique won’t work correctly. Another important tip – while it may be tempting to clamp your mid/side mics together, the last thing you want is any extraneous noise caused by the mic casings rubbing together. The best option is to clamp them together so they are touching and then carefully check their placement and the angle between them. Once you’re happy, simply move them apart a few millimetres so there’s a bit of vibration leeway for when the sound actually hits them.

B

-S2

+S2

-S2

M2 M1

S1

S1

M2

S2

Ø PAN

PAN

PAN

S2

Master

M1

S1

S1

PAN

PAN

M2

S2

Ø

Ø PAN

PAN

PAN

PAN

S2

Master

Ø PAN

PAN

PAN LR

LR

A shared middle channel for wider ambience

Two M/S pairs for extra depth

SITUATION (A) IN SURROUND

SITUATION (B) IN SURROUND SPLIT

SURROUND MIXER

M1

S1

S1

Ø

M2

S2

S2

Master

Ø

• LFE On. • LFE = 100Hz LPF 24dB/Oct

M1

S1

S1

Ø

M1*

S2

S2

Master

Ø

• LFE On. • LFE = 100Hz LPF 24dB/Oct * M1 has a delay of 3/4ms HPF EXPERT HOME STUDIO HANDBOOK 95

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DISCOVERING DISTORTION Distortion has a reputation as a dirty, noisy beast, a world away from the subtle frequency balancing we apply to our mixes. But what if throwing in a little filth could actually clean up your mix? istortion is a complex issue in the world of audio, so to get a better handle on this beast, let’s kick things off with three dictionary definitions. In the realm of electronics, Collins English Dictionary defines distortion as “an undesired change in the shape of an electromagnetic wave or signal” or “the result of such a change in waveform, esp. a loss of clarity in radio reception or sound reproduction”. In terms of psychology, meanwhile, it’s described as “a change in perception so that it does not correspond to reality”. If the first two definitions told the whole story, this article would be entirely about how to avoid distortion and the seemingly negative effect it has on recorded music, but it’s a little more complex than that actually. While the electronic definitions of distortion are true in as much as we all want our listeners to hear our music as

D

96 | EXPERT HOME STUDIO HANDBOOK

accurately as possible, it’s perhaps the psychological definition that bears more relevance to how we actually approach distortion. That “change in perception” is, in fact, the basis of our recorded music – close-miked drums, vocals and guitars don’t correspond to how we hear them in a room, so distorting reality is actually what we do every time we record.

How should we use distortion to get the best possible results? The word ‘distortion’ may summon up images of darkly clad men with copious amounts of facial hair shaking their long locks before endless towers of groaning amplification, but in production terms it’s often the secret weapon that brings life and clarity to an otherwise problematic sound. The distortions that we will be

talking about here cover the whole spectrum of music, from the purely electronic to the purely acoustic. So, if distortion is bad in some musical scenarios but good in others, how should we use distortion to get the best possible results both sonically and creatively?

KEEPING IT CLEAN LET’S START with where it’s bad. In terms of signal path, we don’t want distortion in our A/D and D/A converters, we don’t want it in our DAW systems (unless we are in control of it), and we certainly don’t want it in our monitoring. For over a century, designers have been coming up with innovative solutions that allow incredible levels of clarity in the amplification of audio signals. It’s no real surprise that the pages of music-making magazines are often full of praise for the sonic purity of many items under review. Having the highestquality system that you can afford is

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FATTEN IT UP Sometimes a recorded sound just doesn’t cut the

will tend to enhance the slightly dull nature of the

mustard, and an instrument that should sound full

original. The Distortion adds just enough harmonic

AUDIO FILES

and rounded ends up sounding thin. Download and

colour to make it sound fat; you can then EQ to your

> Oudu No Dist: a thin-sounding Oudu.

listen to the two versions of the Oudu track (see

own tastes in the mix.

> Oudu With Dist: the same Oudu fattened with

The drum kit is a different beast. It’s programmed

audio files, opposite) and you’ll see what we mean.

subtle distortion.

The original sounds thin: the rich, warm tones that

using Ocean Way drums that run in Kontakt player.

should be present are masked by an unpleasant high

The trick here is in fattening up some dynamic kit

end. As soon as you try to put it into a track, what

elements without letting the distortion get out of

> Talking Drum Logic Dist: the same talking drum,

lows there are will be swamped by the rest of the

control. The kick is pretty much constant, so the

this time given a bit more body and cut via some

music. You could try EQ and compression, but that

distortion alone is enough to make it fat, but the

would involve a lot of fiddling. Instead, you can see

snare has a wide dynamic range because of the rolls.

from the screenshots below that we’ve used two

Instead of attacking directly with the saturation plug,

distortions, a bit of EQ and a Transient Designer.

it’s been limited first. This reduces the dynamic range enough so the saturation never gets out of

Logic’s Distortion plugin is great when subtly

> Talking Drum Clean: a slightly dull talking drum that won’t cut through the mix.

simple distortion. > Ocean Way No Distortion: a good, clean, open-sounding kit. > Ocean Way With Distortion: the same kit, but fattened up using Kontakt’s FX.

used to enhance percussive sounds, as is the

hand. The other trick here is to use saturation

> Spacey Rhodes No Dist: an effected Rhodes loop.

Bitcrusher, which is second in the chain. The Drive is

followed by a Bitcrusher, and then more saturation.

> Spacey Rhodes Dist: the same Rhodes loop, with

set low on both of them and the Tone control on the

Finally, the ambience has saturation on it, with EQ

more body courtesy of Logic’s Distortion plugin.

Distortion is at just over 2kHz, meaning that most of

and compression, making the space around the kit

the action is going on in the mid to low frequencies.

sound bigger and more aggressive.

The Bitcrusher is set clean and in this position it helps to add a little ‘air’. The EQ knocks out a bit of the upper-mid peak of the original sound and the Transient Designer adds a dash more sustain to the low end. The result is a sound that’s much more capable of holding its own. The next two audio examples are a talking drum

DOUBLE DISTORTION

and a drum kit. The originals of both sound great on their own but in the context of the tracks they come

SATURATION

from, they don’t have enough poke to cut through.

The trick is to keep the dynamics from creating an uneven saturation response

The talking drum has been put through the Logic Distortion and EQ’d to bring out the highs. The extra depth and attack that the treated version has can’t

Sculpt your distorted sound by using multiple plugs and EQ

be brought out by using compression alone, as this

always the best starting point, from your microphones and preamps right through to your speakers. Good distortion comes into play when you can control it, and having a clean signal path is the fundamental requirement that enables you to do it.

WHERE IT’S GOOD MUSICAL SOUNDS are made up of

fundamentals (the pitch that you hear) and a series of overtones and harmonics, which give the sound its timbre. Some instruments, like pianos and the string family, are full of them. This is especially true of the more expensive examples of those instruments – the difference between a cheap acoustic guitar and a

Martin is often in the amount of these overtones and harmonics that the instrument produces. If an instrument sounds rather dull, it’s often because these overtones are quiet. Distorting a sound serves to bring out the harmonic structure, making it much thicker and more complex. It pulls up the underlying overtones while leaving the fundamental pretty much where it is. Extreme distortion can completely destroy the quality of the original sound – which, of course, may be exactly what you are looking for. If it’s applied subtly, however, it’s entirely possible not to perceive the distortion at all while still benefiting from the enhanced harmonic colour that it imparts to the sound.

WHERE IT STARTED THAT DICTIONARY description of distortion

causing a loss of clarity can be pretty much stood on its head if you consider just how important the guitar amplifier has been through the history of rock and pop – imagine Led Zeppelin and AC/DC without their Voxes and Marshalls. The punch and presence that a good valve amp gives an electric guitar or bass allows it to cut through even the loudest and most aggressive of drummers. The wonders of the valve aren’t just restricted to instrument amplifiers. Back in the early days of rock and pop, every bit of audio circuitry was dependent on them, from mics to mixers to tape machines. Analogue tape wasn’t the

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RUNNING HOT Natural distortion occurs when overloading a hardware signal path If you’re looking to get a bit more edge to your music

the whole sonic spectrum, although you may find

with a bit of automation or use a software limiter

and you have an analogue mixer or outboard EQ and

it most noticeable in the transients and the bottom

before the analogue chain.

compression, this is something to try. It doesn’t

end. The reason why you don’t thrash the desk

matter what desk you use, as this works on anything

output is so that you can mix and match this

1990s owes more than a little to these techniques.

from a Behringer to an SSL. Besides, the idea here is

technique. Some sounds will benefit from it hugely

Flashing red lights are only warnings that something

to get you thinking differently about gain structure.

and some sounds won’t. If the desk output is kept

is happening – you’re the one who gets to decide if it

clean, you will be keeping your options open; you

sounds good or not. Look at how many compressors

the faders lower and cranking the line gains. You’ll

can always try hitting it harder once you are set up.

and mic pre’s out there are designed to overload: the

reach a point where the channel starts to distort.

There are no rules to be adhered to here, except, of

Thermionic Culture Vulture, the Chandler Abbey

Unless you decide that you like that sound, back off

course, that you need to like it.

Road and the Fearn pre’s are just a few examples for

When mixing, ignore the meters and try keeping

the gain a tiny bit until the distortion goes. Backing

You can do the same thing even if you only have

All of the great rock of the late 1980s and early

you to try out (budget allowing). Take the time to

off until it’s just about clean means that the channel

outboard pre’s, EQ or compression. So long as you

learn how to push your gear so that you can get as

is ‘running hot’. Set up your balance like this going

have input and output gains you can try sending

many sounds out of it as possible.

through each channel individually and then set your

sounds out of your DAW into the analogue chain,

mix with the faders lower so you don’t overload the

applying the techniques mentioned above and

AUDIO FILES

desk output, just the individual channels. Chances

recording it back in. We do this all the time when

> Heist Digital Bounce: an excerpt from a file track

are, even with the same balance as running at ‘safe’

mixing and it makes a big difference.

levels your mix will sound different, and often better. Simply pushing the electronics to the edge of distortion changes the way they sound. It affects

98 | EXPERT HOME STUDIO HANDBOOK

If you have a sound that works wonderfully when

bounced digitally. > Heist Neve Running Hot: the same track mixed

hot but it has a few peaks which just put it into

through a Neve summing mixer running hot, with

excessive distortion, try pulling them back a touch

the same peak level as the digital version.

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ADDING CLARITY Now we’ve gone through a few methods of creating distortion, let’s talk about how we can apply some of these methods to add clarity. This is really about how to add mid-range, as that’s where the ‘bite’ is. You will have noticed that a lot of engineers use the parallel method either with an analogue or a plugin chain, or by using cheap and nasty-sounding mics and speakers. All these devices can add a real spike to the mids. If you have a problem sound in a mix and your usual tricks aren’t helping it cut through, try adding some hard-edged mid distortion. Guitar amp emulations like AmpliTube and Guitar Rig are especially good at this. Use a bright setting with very little bass, or even put a high-pass filter after the distortion so that only the mids and highs are left. Even if the effect doesn’t really have any of the note left in, it doesn’t matter – it’s only the presence that you’re after. Using guitar amp emulations in parallel gives you ultimate control over what they are doing and makes any noise they add easier to automate out. They’re particularly good on bass but can save any sound that refuses to respond to other treatments.

AUDIO FILES > Worse Than Bef Dull Bass: the original track with a solid but

PARALLEL PROCESSING

uninspiring bass sound. > Worse Than Bef Dist Bass: the same track with parallel distortion added to the bass to make it cut through more.

refined medium that it ended up being – it sounded good but was noisy. Maximising level to tape meant less hiss, so engineers were always pushing as hard as they could at the edges of the tolerances of their equipment to ensure that things were recorded as hot as possible. They soon realised that when you hit a mic pre or a tape machine hard, it sounded totally different. A little distortion would creep in and things would start to sound fatter and more exciting. Valve circuits and analogue tape distort with second order harmonics, which sound more natural to the human ear than the third order ones generated by transistor circuits. That’s why guitar amps and loads of outboard gear are still made with valves.

BLUES POWER IN CERTAIN genres, distortion started to become a large part of the music, not just on the guitars but for everything. AM radio had a restricted bandwidth and people started to notice how much

Use distortion on an aux channel to beef up your mids

louder those records sounded than the more restrained tones of the likes of Les Paul and Mary Ford. In the 1960s, pop didn’t just draw on the music of the blues, it drew on the recorded sound too. As such, engineers started to push everything to the limits and beyond, and the studio became another instrument in the band. Subtle (and, in some cases, not so subtle) use of distortion has always been a part of the cutting edge of modern music, and today is no exception.

The 1980s brought us the joys of digital and FM synthesis in various guises, the most notable being the DX7. While many people relished the clean, bell-like tones of these machines, for some they were just too clinical. Digital clarity and analogue filth were to prove a great combination – further experimentation revealed that distortion sounded great on any synth, as did sending the synth sound through guitar amps and all the other range of pedals at the engineer’s disposal in the studio.

PEDAL POWER

SERIES OR PARALLEL?

ALONGSIDE DEVELOPMENTS in recording

WHEN USING a pedal on a guitar or synth, the signal passes through it, meaning that it’s being used in series. When you run the sound through a mixer you can use a nifty send and return configuration that means it’s in parallel. What does that mean? Parallel distortion adds a new dimension to your sonic manipulations as you are blending the original clean signal with its distorted self.

technology have come many great and varied stompboxes, mostly aimed at electric guitarists. Of course, these devices aren’t used exclusively by those thrashers of the six strings – a pedal can be used on anything you like. Engineers also took a keen interest in them, so it wasn’t long before they were marked out for use on all kinds of sounds.

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THE FUTURE OF DISTORTION In the marvellous age of the DAW, automation gives

As the sophistication of

Automating distortion can add new grooves and fill any mix holes

us a whole new set of ways to control our FX, and

plugins continues to grow, we

distortion is one of them. Automating distortion

are starting to see more and

plugs adds yet another level to how we can adapt

more complex distortions on the

musical parts to fit exactly what we need in a track.

market. Multiband distortions

Listen to the two versions of the track called

available. Trash from iZotope is a

was thrown together in a few minutes from some

great example, as is Audio Damage’s Kombinat, but

Apple Loops, as we’re sure you’ll be able to tell from

more often than not our weapon of choice is the

the undistorted version. We then spent about 20

Ohm Force Ohmicide. We love how you can set the

minutes messing around with some automated

crossover points between the bands and the

distortions to give you a basic idea of what they can

distortion type (and there’s a huge number to

do. The chordal part and the bassline both have a

choose from), and then finely adjust lots of

bitcrusher with automated downsampling. The

parameters in each band. Used subtly, Ohmicide can

difference that automation makes is huge as it

add some real analogue feel to even the coldest of

changes the emphasis of the groove, setting up

parts, but when cranked, it turns into a raging beast.

The bebop drums have some multiband

Ohmicide features multiband distortion processing functions

are now becoming more

Twister and then look at the screenshot. This track

a very different feel.

MULTIBAND DIRT

Being able to add warmth or savage distortion to specific bands of a sound means that you

> Twister With Dist 2: the same track again, but this time transformed using some automated distortions. > Ac Gtr Clean: a good-sounding acoustic that lacks a little energy. > Ac Gtr Ohmicide: the same guitar pumped up using Ohmicide. The distortion adds bite and depth, but it doesn’t sound distorted. > Disco Bass No Dist: a straight octave synth bassline that sounds fairly flat at the minute. > Disco Bass Overdrive: the same bassline fattened

distortion to fatten them up. The drum loop has

can really emphasise nuances or pull up hidden

a subtle distortion on the channel, and then a

parts, particularly in loops. It’s an exciting area

> Panderio Straight: the original loop.

second, more aggressive distortion is faded-in on

of development – one that will only grow as

> Panderio Filter: this time through a Logic

an auxiliary in parallel. The lead line has a bitcrusher

producers, engineers and musicians find new

followed by two distortions, each set to different

ways to utilise distortion.

levels of gain and EQ, and lastly there’s a high-pass filter to get rid of some of the low harmonics

AUDIO FILES

generated by all that gain, allowing the part to sit

> Twister No Dist: the straight track with the loops

in the right area of the mix.

As with parallel compression, you will enjoy the benefits of both signals: the transients and sonic purity of the original, coupled with the energy, aggression and power of the distortion. There are many tricks associated with this, most notably around drums where the distortion not only adds extra bite and aggression but also serves to bring up the sound of the recording room. Even in subtle and subdued amounts, distortions can have their rightful place. For example, we often put the DI output of an acoustic guitar into an amp. With the acoustic miked up in one room and the amp cranked up in another, we get a superb clean sound from the guitar itself and use the ambience of the distorted amp to put some backspace into the sound. It’s surprising how little of the ambient sound you need to make a big difference to the overall character. If you don’t own an analogue delay, you can always emulate the sound by putting

100 | EXPERT HOME STUDIO HANDBOOK

clean. No FX.

a crunchy pedal in front of a digital one – the results can be remarkably similar, and it can help to keep gear costs down on recording sessions where the budget is already a tad stretched.

CHEAP TRICKS ANOTHER SET of tricks used by some

engineers involves the physical distortions resulting from cheap, very small and even broken loudspeakers. Lots of guitar players in the early ’60s couldn’t get distortion from their amps (Selmer used to advertise their amps as being impossible to distort), so they would ‘razor’ their speakers. This entailed slitting the speaker with a razor blade, causing something sounding remarkably like amp distortion. A lot of engineers will send a dull snare out into a room through a cheap loudspeaker. They close-mic it to get some presence and often take the ambience, too. If you don’t happen to

up with Ohmicide.

Distortion and high-pass filter to give it a bit more cut and lose the bass. > Panderio Ohmicide: the multiband approach with Ohmicide makes it easier to remove the low end without a trace, circumventing the need for low-pass filtering.

have a beautiful live room at your disposal, a tiled bathroom is ideal. Why bother using digital ambience when you can have the real thing? It’s great for livening up a sampled kit but, again, you can try it on anything. The other cheap items beloved of many engineers are microphones, and there are thousands of dreadful-quality mics available to the serial distorter. Cable-tie one to the front of a studio condenser and record both mics; the bad one might sound shocking on its own, but mix a bit of it in with the expensive one and you can get some radical effects. So, whether you’re looking to add some warmth to an acoustic number or turn your metal track into a savage beast, you should have a good few methods to check out. As with all aspects of making music, the only limit to how you use these tricks now is your imagination. Everything can go up to 11, you just have to decide when and how to use it.

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PARALLEL DISTORTION It can take a bit of effort, but sending your signal out of the box and bringing it back on an auxiliary is a great technique for adding some extra air, grit and depth to your sound With parallel distortion, we can apply identical methods to both analogue and digital. We’ve used this method for years and it can work on any sound. Because distortion can flatten out dynamics, it can alter not only the sonic character of an instrument but also its groove. You may need to spend some time automating out some of the inevitable noise that all of that unbridled gain will bring out, as with extreme settings the hiss between the notes can become as loud as the

1

sound itself, but hopefully you’ll find it

DAW into your pedal at the right impedance. Feeding the

Take a jack out of the passive DI’s input and connect it to your

well worth the effort. Extreme EQ

input of your pedal with a much lower impedance signal

pedals’ input. Plug your pedals’ output to another DI, bring it

settings can also make a huge

than it needs won’t damage it, but it may sound vastly

back into your DAW via your usual chain. If using an analogue

difference, adding thundering lows

different. If it sounds thin, you’ll need to impedance match.

mixer, create the same DI chain but send from an aux out.

3

4

You’ll need a pair of DI boxes. At least one of them has to be passive, as this is what will get the output from your

2

Using a send from your DAW, route that sound to an output and connect that to the passive DI’s XLR output.

and savage mids that you will never achieve by EQ and compression alone. Next, take a look at some of the best ways of sending to and returning from a pedal with your DAW or mixer in the boxes to the right.

AUDIO FILES > Drums Dist Par 1: the Ocean Way drums from earlier, with parallel distortion from a Marshall Guv’nor. > Drums Dist Par 2: this time with an Ibanez Tube Screamer. > Drums Fuzz Par 1: with an Electro Harmonix Big Muff. > Drums Fuzz Par 2: finally, the drums with a Coloursound Tone

Now you can send either a single instrument or a mix into the distortion and blend in the resulting effected

Play around to see what you have. Swap the phase of the returning signal, as that can cause some very

sound with the original source. If you’re doing this only with

unexpected changes; try different levels of distortion, EQ

a DAW, the returning input signal will be subject to latency.

and compression; try delays, chorus and anything else you

Get around this by sending the original sound out of

have. If you power your pedals from a power supply with

another DAW output and bringing it in on another input.

switchable voltages, try sending only 6V or 3V instead of 9V.

Bender added.

Because distortion can flatten out dynamics, it can alter not only the sonic character of 5 an instrument but its groove too

If you have set this up through a mixer, you could record the mixed signal back in. Recording back into the DAW

6

Without using pedals at all, you can do the exact same thing by using a distortion plug on an auxiliary in your

will mean the signal is delayed so you’ll need to line up the

DAW. Latency won’t be an issue here and you can still go

recorded files with the original. We record the original signal

through EQ, compression and more FX just as you can in

back because if the distorted track’s been truly smashed, it

the analogue chain. It’s a neat option worth exploring if you

might be hard to match the waveform of that to the source.

find yourself with extra time to experiment.

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PRO VOCAL EXERCISES Prepare your vocals before you start recording with our essential exercises for singers, plus tips to help you through your session on the day, with vocals coach and trained singer Elena Kay

P

erhaps you’ve been singing for a while and you’re getting ready to record, but you’re concerned about your vocal sound. Or maybe you’d like to increase your vocal range before going into the studio?

102 | EXPERT HOME STUDIO HANDBOOK

Working on your vocal sound can take time and hard work, but it is rewarding. Vocal coach Elena Kay, who taught vocals at BIMM (some of her former students have performed with legends including Robert Plant), and who is your tutor here, recommends starting a few

months in advance. However, that doesn’t mean all is lost if you’re recording next week. Good posture, breath control and warm-ups will benefit your sound, and the following exercises will help you target those areas. Now it’s over to Elena...

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PART 1 THINK ‘TALL’ FOR GREAT POSTURE BAD POSTURE can cause tension in your

larynx and, even worse, result in you losing your voice. Standing tall enables your neck muscles to relax and your breath to reach your abdomen, which produces a stronger tone. Practise the following exercises for ten minutes a day and before you do your voice warm-ups. And remember, it’s easy for your body to go back to its old habits, so check your posture regularly in the middle of a song.

PRACTISE IN FRONT OF A MIRROR TRYING THESE two examples of good and

bad posture can help you identify any bad

habits. First, stand up, balancing on one leg with your shoulders low, a slight curve in your back and your chin up. Sing a long, loud ‘aahhh’. Now push your shoulders back, stand up tall, balance well on both legs and relax your neck. Take a deep breath and sing the same. Can you see, feel and hear the difference?

USE MASSAGE TO RELEASE TENSION BEFORE YOU sing, massage the back of your neck and shoulders, as these are areas where we usually carry tension. Ensure that your jaw is also relaxed. Massaging your cheeks with the palm of your hands

while opening/closing your jaw can help release any tension if it’s tight.

MAKE FRIENDS WITH ALEXANDER A LOT of performers have benefited from

the Alexander technique – invented by Australian actor Frederick Matthias Alexander to help heal his chronic voice problems. The idea is to stand straight, imagining your body growing taller. Balance on both legs and imagine a line starting at the top of your head, coming down through your back and keeping your body aligned. For more info, check www. alexandertechnique.com/musicians.htm.

WHAT ABOUT THE LYRICS?

TIPS FOR ROCK VOCALISTS

Singing a song is as much about the storytelling as it is about vocal technique. Reading your lyrics

Focus on strengthening your upper range – sing some warm-up

aloud (as if reciting a poem) can help you focus on them without worrying about the singing.

exercises loudly, trying to sing as high as you can without straining.

Notice where you breathe, as a breath before or after a certain word can change the emphasis on

Some singers push in their abdominal muscles and/or bend their

it. Work on your annunciation, too – tongue twisters are good for relaxing your tongue and jaw.

knees when they sing (or scream) loud, high-pitched sounds. This

Exaggerate the way you pronounce the sounds in your warm-up exercises. When you practise the

takes some of the strain away from the vocal cords. Always relax your

song, pay attention to long vowels by opening your mouth wide and don’t forget to pronounce

jaw (as if you’re yawning). Also, use your natural tone and be wary of

consonants clearly. Experiment with vocal effects and dynamics to express different emotions.

pushing your voice to produce a desired tone that feels unnatural. For

Singers often use grit, vocal creaks, a husky tone or yodeling to sing certain words. Choose wisely

example, if you decide to use a husky or gritty tone, don’t do this

where to use a vocal effect, as too much repetition could tire both your voice and your audience.

throughout the entire song as it could wear out your vocal cords.

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PART 2 PRACTISE DIAPHRAGMATIC BREATHING SINGERS HAVE to take short, fast breaths

but still be able to sustain long phrases and belt high notes. Diaphragmatic breathing takes some time to get used to, but it can increase your stamina and tone projection, not to mention protect your voice from getting strained. We all do it when we lie down to sleep and we can apply it in singing too. Below are a variety of exercises for you to try. Ideally they should be done for five to ten minutes a day, right after your posture exercises.

LYING/SITTING DOWN FIRST, LIE down or sit on a chair. Put one hand on your stomach and take a deep breath, filling it right up with air. That’s it! Now try it standing up, making sure that your shoulders don’t move at all – if they

rise up then your neck muscles will automatically tighten.

THE CLOCK TAKE A deep breath and exhale, vocalising a sound such as ‘sss’, ‘vvv’ or ‘zzz’. Repeat the exercise, using a different sound at a time. Once you have used all of the consonant sounds, start working your way through the vowels. Time yourself while you exhale and monitor your progress. Beginners might start with a ten-second exhalation, for example, before advancing to exhaling for 20 seconds or more.

COUNTING TAKE A deep diaphragmatic breath and count out loudly and slowly from ten all

the way down to one, all in one breath. Make sure that you pronounce all of the consonants well. You will find that as your stamina increases, you’ll increase the amount of numbers you count.

THE PUMP TAKE THREE short breaths, hold for three seconds, then exhale with three sharp ‘s’s. Increase the number of breaths, seconds and exhalations as your body becomes used to the exercise.

YOUR SONG SING YOUR song slowly, phrase-by-phrase, focusing on your breath. This might take a while, but remember that you’re trying to change a long habit so prepare to persevere. The results are worth it.

TIPS FOR METAL SINGERS

TIPS FOR INDIE/FOLK SINGERS

Matt Boyd, lead singer for Heavenasunder (head to heavenasunder.bandcamp.com)

“Singing indie and folk music is all about your delivery of the story”, says Siddy

has some useful tips for metal singers: “Warm up and stretch your entire body before

Bennett, lead singer for Bristol based folk four-piece Wildflowers (check them

you sing, paying particular attention to your tongue and jaw. Experimenting with

out at wildflowersband.co.uk). “Try your best to focus on the emotion of the

resonance is key; as the vocals are less melodic, you have to be aware of changing the

song, and really get yourself worked up into the appropriate mood so that you

sound to keep things interesting.” Apparently a tickly throat is almost guaranteed for

feel every word as you are singing into the microphone.” Siddy performs her

metal singers, so Matt drinks plenty of water whenever he practises and records. As for a

Wildflowers songs live as much as possible before entering the recording

good mic, Matt recommends the Shure SM7B: “They are particularly good at picking up

studio with them. “The more you do this, the more you will play around with

the grittier stuff without needing a pop filter.” The Zen Of Screaming, an instructional

melodies and inflections,” she says, “and therefore the song will have developed

DVD by Melissa Cross, is another good resource for metal vocalists.

to its full potential.”

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PART 3 DON’T FORGET YOUR WARM-UPS YOU’D NEVER think about going for a run or

lifting weights without warming up your body first, so why sing without a proper warm-up? Your vocal cords (two delicate bands surrounded by muscles) can easily get strained, affecting both your tone and your ability to project. A thorough vocals warm-up lasts about 20 minutes and covers the entire vocal range. Don’t be afraid to hit those high notes – you won’t increase your range if you only use your middle register. Practise these exercises three to four times a week to get used to the techniques before your recording session.

SIRENS AND LIP TRILLS THESE TECHNIQUES are absolutely brilliant

for relaxing the larynx, tongue and jaw. Using the sound ‘woo’, smoothly move up and down your vocal range while sustaining the sound without forcing at all. Gently push your tummy muscles in to enable more projection and better stamina. Lip trills are the same exercise

using the sound ‘b-b-b’ (similar to blowing raspberries).

HUMMING FROM A comfortable pitch, sing the first three notes of the major scale, ascending and descending (do-re-mi-re-do). Move up a semitone at a time, reaching a pitch you feel is comfortably high. Don’t force your voice; relax into your sound. After a while you should feel a tickling around your lips and nose. Descend to warm up your lower range.

SCALES AND ARPEGGIOS REPEAT THESE a semitone up at a time. Use sounds such as ‘may’, ‘mee’ or ‘ma’ to begin with, then have fun creating your own consonant and vowel combinations (‘va’, ‘lo’, ‘koo’). Don’t forget to check your jaw. Does it drop down low enough? There’s a massive difference in tone projection when your mouth’s open wide. You can hear for yourself if you sing the same pitch with a small opening of the mouth and then with a low, relaxed jaw.

OVERCOMING NERVES No one wants a shaky voice in a recording. Nerves can also waste time for everyone involved, as you might end up having to re-record your lines. Make sure that you are confident about any tricky parts of the song. If you’re worried about high notes or you don’t have enough stamina for a long phrase, you’ll be more likely to get nervous. Do something to relax instead – some singers meditate, while others unwind with a cup of herbal tea and honey to hydrate their throat. You can also practise your breathing, as diaphragmatic breaths help to slow your heart rate down, helping you to focus.

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DOWNLOAD

Get tutorial files online at vault.computermusic.co.uk Register this book as issue 33

CLASSIC VOCAL SOUNDS It’s time to enter the emotive world of vocals, and here we explore some subtle techniques that will balance your vocals with your instruments to give them a classic, pro feel our sessions are done, your vocalist has laid down some truly killer takes and you’re confident that your tune will be a hit. But all of this will amount to nothing unless you treat the vocals right in the mix. In this collection of tutorials, we’ll be focusing on mix techniques that are reliant on balancing vocals against traditional instrument arrangements. Whereas vocals in dance-pop productions often rely on flashy effects, the onus here is on making sure that the recorded vocal is treated with respect (which puts an even greater emphasis on recording a great-sounding vocal in the

Y

106 | EXPERT HOME STUDIO HANDBOOK

first place). Treatments are kept subtle, letting the vocal part do most of the work, and effects are used simply, ensuring that the crucial balance with the other instruments in the arrangement is maintained throughout. We’ll look at some other important techniques, too, including how to balance a recorded backing vocal with a lead line, which is particularly critical if both vocal parts are sung by the same performer. Additionally, we’ll look at how to achieve the classic sound of one of the most famous mixing consoles in the world, even if your plugin suite isn’t blessed with a direct software emulation. We’ll also look at more stand-out plugin tricks, such

as careful use of telephone-style treatments across an entire lead vocal, and various tonal flavours of auxiliary delay, including dark, atmospheric delays and thinner, brighter ones, both of which can work beautifully within the context of different types of records. If you’re a singer-songwriter looking for ways to enhance your vocal performances with expert use of plugins, the following walkthroughs are for you. Remember, if you want to be considered a serious artist in this musical field, subtle treatments will often be received better by the listening public than more extreme ones, so start with a great-sounding channel strip and build slowly from there.

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STEP BY STEP BALANCING LEAD AND BACKING VOCALS

1

We’ve created an Ed Sheeran-esque track for example purposes. The backing features an acoustic guitar part played by RealGuitar 2L, a grungy beat loop

2

We use UAD’s Neve 88RS plug to provide EQ and compression treatment. Ed Sheeran’s vocals are pure sounding, so we add some air using a 2dB

from Stylus RMX and two EXS24 piano parts – the first is a bass octave part, while

boost at 8kHz and a supporting 1dB boost at 3kHz. We leave the midrange alone

the second plays a filled-out version of the vocal melody. All parts, except the

and scoop out 2dB at 200Hz. The compressor’s Threshold is set at 5, while the

drums, are sent to a Sonnox Reverb on Auxiliary 1 (1 Ed Sheeran start.mp3).

Ratio is set at 3.7:1 (2 EQ and compression.mp3).

3

4

We’ve already set a basic level of Reverb, which feeds the signal into the same space as the instruments, but now we automate the send level to

We introduce the backing vocal part, which has been recorded twice. We pan the first recording 30 to the left and the second 30 to the right.

Auxiliary 2, which is providing delay. We set a basic overall level and automate

While these parts have been sung with plenty of air, they’re obviously very

the higher levels on the phrase ends to provide more obvious echoes on these

dry at the moment and their ‘rich’ sound is fighting the lead vocal’s fullness

words (3 Delay spins.mp3).

(4 Dry BVs.mp3).

5

6

We want the backing vocals to float on top of the lead vocal, so we need to re-route both backing parts to Auxiliary 3 so that they can be treated with

We insert Logic’s compressor and treat the backing vocals to a 6:1 Ratio with a -20dB Threshold setting, then we send this auxiliary to the Reverb and

the same processor. We insert Logic’s Channel EQ and boost 4.5kHz by 4dB and

Delay on Auxiliaries 1 and 2. We re-open the Sonnox Reverb and EQ it to reduce its

10kHz by 7.5dB, then we scoop 80Hz, 200Hz and 500Hz by -10dB, -5dB and

brightness, using a high-shelf roll-off above 6.3kHz and a 2.75dB dip at 2.2kHz

-5dB respectively (5 BV EQ.mp3).

(6 BV Compression and Reverb.mp3).

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STEP BY STEP ATMOSPHERIC VOCAL TREATMENTS

1

Our example track for this walkthrough has been composed loosely in the style of Bruno Mars’ It Will Rain. The backing features a Logic EXS24 piano, a

2

The vocal part can be heard in this clip without any effects processing (2 Dry Vocal.mp3). There is obviously a spatial mismatch between the

low-pass filtered electronic beat loop from Stylus RMX and an electronic rimshot

vocal and the rest of the track at present, but you can hear the combination

from a Konkrete Drum sample collection. The piano and click are sent to Logic’s

of weight and air in the recording, all of which adds up to a performance that

GoldVerb on Auxiliary 1 (1 Bruno Mars start.mp3).

is loaded with emotion.

3

4

We use three insert processors on the lead vocal. EQ boosts upper frequencies at 10kHz and 4.4kHz by 3 and 2.5dB respectively, while dropping

We send the vocal part to Auxiliary 1’s Reverb. We modify the Reverb, increasing the time to 3.25s and also darkening the sound slightly by

1.2kHz by 2.5dB; Logic’s Compressor is set to a Ratio of 6:1 with quick attack and

dropping the High Cut frequency to 4.4kHz. This action stops the reverb from

release times; and Sonnox’s SuprEsser carries out de-essing duties on

becoming too bright, allowing us to set a longer time without creating sibilance

frequencies between 1.7kHz and 4.5kHz (3 Inserts.mp3).

problems (4 Reverb.mp3).

5

6

We route the vocal to Auxiliary 2, where a quarter-note Delay is set up. We then set the High Cut at 1.3kHz – this restricts the frequency response

We send the vocal to Auxiliary 4 and set up SoundToys’ EchoBoy plugin. We select the ‘ping-pong’ algorithm, set to a quarter-note on both sides.

so that the echoes are deliberately dark and muted. To further soften them, we

We use a little high cut to ensure the side-to-side bouncing delay doesn’t become

send Auxiliary 2 to Auxiliary 1 so that the delays are also enhanced with some

too bright, then automate the send level so the treatment only affects the phrase

Reverb (5 Delay 1.mp3).

ends (6 Delay 2.mp3).

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VOLUME AUTOMATION NO DRY recorded vocal will ever sit comfortably in a mix without some balancing, and the following walkthrough will focus on some of the tricks used to create the illusion of volume consistency. Any emotional vocal performance will vary a great deal in dynamic range, with artists regularly singing almost whispered notes at one end of the volume spectrum and full-on, belted vocals at the other – sometimes within the same bar!

Engineers and producers often prepare for this by using subtle compression as vocals are being tracked, so that the loudest notes have their volumes slightly reduced to ensure recording levels don’t overload. However, it’s not great practice to compress hard at the recording stage because compression is a difficult effect to remove later. So, while you can always add more compression at the mixing

stage, discovering that you’ve recorded too much can often be a disaster. In fact, as you will find, the most convincing way to balance levels within a track is to use volume automation, a capability all DAWs now provide. We’re using Beyoncé as the example for this tutorial as she has a powerful voice that’s treated fairly consistently through the majority of her tracks, with only subtle effects usually employed.

STEP BY STEP TAMING THE DYNAMICS

1

We prepare a backing track loosely in the style of Beyoncé in ballad mode, with a piano part, gated pad, kick and snares, and an emotionally rich vocal

2

Next we add EQ and Compression. We boost at 4.1kHz and 10kHz by 2.5 and 6dB respectively, and cut at 80Hz, 200Hz, 500Hz and 1.2kHz by 3, 2.5, 2 and

part. You can hear the latter in dry, unprocessed form in this first clip (1 Beyoncé

1.5dB respectively. Compression evens the dynamics somewhat with a Ratio of

start.mp3). Note the fairly wide dynamic range, which is causing some notes

7:1, a threshold of -22.5dB and make-up gain of 4dB. We also add Reverb and

to get lost.

Delay via Auxiliary 1 and Auxiliary 3 (2 EQ Compression and FX.mp3).

3

4

The compressor alone can’t provide the level balancing this vocal requires. We open Logic’s automation and select volume as the parameter, then add

We set up Auxiliary 4 and insert a tape delay effect. We set the beat division to quarter-note (crotchet) and the feedback level to 8% to ensure a single

boosts and cuts where required to even the vocal’s dynamics until the result is

echo. We automate the send level from the vocal, raising it for the last word in each

smooth throughout. It’s rare to record a vocal that doesn’t need this level of

phrase. After the tape delay we insert EQ and select a ‘telephone treatment’ preset,

volume automation at the mix stage (3 Volume Automation.mp3).

which colours the delay tone nicely (4 Telephone Delays.mp3).

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STEP BY STEP TELEPHONE VOCALS

1

In this walkthrough we’ll create the warm, telephoney vocal sound made famous by Owl City. We start with a backing track with loosely the same feel

2

We insert Auto-Tune EFX into the vocal’s first effects slot. This is set to Soft EFX tuning, which produces a characteristic auto-tune sound without being

as the single Fireflies. This consists of kick, snare and hi-hat parts from Stylus

too extreme. The key is D major (the song’s key), but we switch off C# as this isn’t

RMX, bass from Trilian and a synth sequence from Logic’s EXS24 sampler

being used within our melody and we want to ensure each ‘D’ doesn’t wobble

(1 Owl City start.mp3).

between D and C# (2 Tuning.mp3).

3

4

In the second insert slot we place Sonnox’s EQ. This uses quite extreme settings to create the Owl City telephone vocal sound. We scoop out

We set up Logic’s compressor below the EQ to balance the dynamics. We’re still trying to improve our telephone sound, so we use a Ratio of

frequencies at 94Hz by 3dB and at 297Hz by 2.5dB, while boosting frequencies

5.8:1, fairly quick attack and release times and a reduced threshold to compress

centred at 1.67kHz by 1.5dB. We drop frequencies around 3.8kHz by 1dB and use

the entire signal. We use 2dB of make-up gain to balance the output level

a high shelf to reduce frequencies above 8.6kHz by 2.5dB (3 EQ.mp3).

(4 Compression.mp3).

5

6

Next we use SoundToys’ Decapitator to add a subtle layer of warm saturation to the vocal part. We set the drive dial to just above 3 and

We add auxiliary effects with stereo delay via Auxiliary 1 and Reverb via Auxiliary 2. The delay is set to a quarter-note on the left-hand side and an

audition saturation types before selecting Style A. We set the tone a little

eighth-note on the right, both with feedback levels of 35%. We set a reverb time

more towards Bright than Dark and set the High Cut to around 14kHz

of 2.15s, a density of 65% and an early reflections/reverb balance of 18%/82%

(5 Distortion.mp3).

to provide a warm sound (6 Reverb and Delay.mp3).

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STEP BY STEP SUPER CLEAN VOCALS

1

In this walkthrough we’re looking to create the expensive and warm ‘SSL sound’ [Solid State Logic] so familiar to a host of pop records, using a track

2

We add the recorded vocal part, which can be heard in this clip without effects processing (2 Dry Vocal.mp3). You can hear how much the quality

a little like Christina Perri’s A Thousand Years as a template. We program a

of the performance counts if you’re trying to achieve a warm, breathy sound.

backing track featuring virtual drums, bass, piano and guitars in a 6/8

Our vocalist has sung with plenty of air, which will make highlighting these

time-signature (1 Christina Perri start.mp3).

qualities much easier.

3

4

For EQ and compression, we’re using UAD’s SSL E Series Channel Strip plugin to provide warmth and air. We boost 10kHz by 5dB (using a shelf)

Delay is added via Auxiliary 2 and provides quarter-note taps – the upper frequency range is cut at 2.2kHz. The reverb comes from Logic’s Space

and 5kHz by 3dB, while cutting 1.2kHz by 4dB and 400Hz by 3dB. The

Designer using a preset called Nice Vocal Hall, which offers warmth without

compressor is set at -10dB Threshold with a 5:1 Ratio to provide consistency

enhancing sibilance. This Reverb is added to the instruments, too (4 Reverb

(3 EQ and Compression.mp3).

and Delay.mp3).

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MIXING & MASTERING his is where the real magic of recording happens; where you can polish your performances using pro studio techniques that have been honed by masters of the art over the past decades. Thanks to our DAWs and the wealth of software now available to us, these techniques are readily accessible to home recordists. Over the following pages you will learn how to get the best from your computer, as well as snagging genius tips for adding reverb and compression, EQing your mixes to perfection, and polishing your tracks at the mastering stage. We’ve enlisted the help of studio pros to help you give your work that extra sheen, and our tutorials and walkthroughs will transform you further into a home studio wizard.

T

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GET ORGANISED Setting up your computer might not seem like the most exciting mixing project you’ll undertake, but do it properly from the start and you’ll be free to focus on the most important thing: your sound ixing can be either simple or complex, but it can also be quite confusing. And that’s the last thing you want when you need to be focusing on your sound. Avoid getting into a pickle by taking some time to arrange things in a clear manner from the start. So what’s the best way to set up your computer for mixing? Take a quick look at an analogue mixing console. A well set-up mixing desk will be configured differently for recording and mixing, and with good reason. At the mixing stage, tracks and inputs are routed via the line inputs (not the monitor inputs), allowing you to make full use of the channel processing. All signals, including any auxiliary effects returns, are then bussed via a master fader into a stereo output. But on many desks you’ll also find that the group busses you used to send signals to your recorder during the recording stage can

M

MIXING SIGNAL FLOW

now be re-patched, enabling you to create stereo submixes as well. So how does that translate to mixing in your computer? As long as your software has good bussing options (full versions of Cubase, Live, Logic, Sonar and Pro Tools all do), setting up your computer in this way can be a real bonus. Not only does it keep things tidy and easy to understand, it should also make better use of your CPU. Fundamentally, though, both of these aspects will help you achieve better mixes – and that’s the important bit.

GAIN STRUCTURE PRIMER ALTHOUGH BIG, pro mixing desks may look

incredibly complex, in reality they’re actually quite simple. Take a look at the top right of this page, where you’ll see our block diagram of the signal flow for one channel of a mixing desk as it operates at the mixing stage of a project. As you’ll see, it’s all pretty straightforward. What’s interesting, though, are the various points

LINE INPUT LINE GAIN FILTERS/EQ DYNAMICS CHANNEL FADER CHANNEL PAN POT

GROUP OUTPUTS

BUSS MATRIX

GROUP TRIM

STEREO BUSS STEREO FADER

of gain control. These may be amplifiers (plus and minus) or simply trims (just minus), but the point is, every channel has them and they’re very handy. Thinking back to how most software is set up, it’s likely that most tracks will simply be routed straight to the main output via a level fader. What’s more, that fader will most likely be accompanied by a peak meter (more on metering later).

STEP BY STEP LIMITING

1

It’s easy to get into the habit of overloading channels, and often the clipped sound can act

2

It may seem obvious, but if you do want to clip or limit signals there are often better ways to do

3

You will find that certain plugins include clip protection. With Logic’s standard compressor,

just like limiting the signal. The problem is that it

it. Here we have selected a simple limiter plug-in,

for example, hidden away in the extra parameters are

completely messes up your gain structure. Here,

slammed the signal up to zero to achieve the desired

some overload options (Soft, Hard and Clip). As it

overloading one channel has caused the master

clipped sound, then turned the whole thing down so

happens, none of these will actually let you overload

output to clip as well.

that our output doesn’t overload at all.

the channel, which is handy.

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free ebooks ==> www.ebook777.com MIXING & MASTERING | GET ORGANISED But imagine you’re blending 30 or more tracks to that single stereo output. The chances are that it will be flatlining before you know it, and not only will you have run out of bits, you’ll also be distorting your signal. As it happens, most software will overload to a degree without sounding too bad (and will sometimes indicate the overload amount). The problem is, this can lull you into a false sense of security. Anyone used to mixing on analogue boards will be fully au fait with trimming back the faders to stop the output buss overloading. But if you really want to stay in control, one simple solution is to build various additional gain layers into your mixing setup. These could be a couple of sub-groups (eg, backing track, vocals), or a more complex set-up with extra gain trims all over the place. Whichever route you take, you’ll then have a safety net if things get out of control, and you won’t be mixing with all the faders pulled down to where the scaling gets less accurate. There will be some people who say they like to clip the levels, because this acts as a form of hard limiting and that increases the energy of sounds. Sure, fair enough. But if that’s your bag, there are other ways you can achieve it (eg, using a genuine limiter plug-in) that won’t result in the levels overloading further down the signal path. Plugins such as Steinberg’s Loudness Maximizer or Logic’s Adaptive Limiter give a choice of ways to squash the signal up to zero, and you can then

turn the overall level down without losing the effect you want.

METERING YOU’LL ENCOUNTER two main types of audio

level meters: PPM (peak program meter) and VU (volume unit). Typically, the needle meters you see on a desk are VU meters, while the metering within your software will tend to be of the peak variety. This is because in digital audio your main concern is with making sure you don’t go over zero, while still trying to use as much of the dynamic range as possible. However, when it comes to mixing, if you’re going to buss those signals together without overloading the outputs you’ll need headroom. That means turning some things down. In practice, there are a few things to bear in mind. Firstly, it’s your output meter that you want to be tickling the zero point, and this means that most of your individual tracks won’t be metering anywhere near zero. Secondly, peak meters are best at indicating transients, but with sudden sounds even the fastest can struggle to keep up. Ultimately, the meters are there to help, but don’t rely on them solely. Thirdly, track down a VU-style meter and use it on your mix output. It’ll give you a much better indicator of the perceived loudness of your mix. Finally, many software packages include spectrum analysis plugins. Not only do these look great, but if your monitoring is

limited they could also be your salvation. Take the time to run some commercial mixes you like the sound of through one of these so you can see what’s going on.

LAYOUT CHANCES ARE, all your visual data – from faders to waveforms – is going to be crammed onto the same screen. Each software package has its unique way of dealing with this, though some are more flexible than others. Whether you’re using Logic Pro’s complex screensets, the simpler two-screen set-up of Ableton Live, or something in between, your mixing experience will improve considerably if you arrange the tracks in logical fashion. Putting down tracks quickly during the production process can leave you with an arrangement that’s less than clear. You should at least shift the tracks around so that similar elements are close together. If your song is complex, take the time to sort things properly. Perhaps colour code individual tracks, or elements within them. Equally, keep your auxiliary returns together and select your auxiliaries so that they follow an obvious pattern – with, for example, delays on the first four auxiliaries in order of length, followed by reverbs using the same order. It will save you a lot of time, and you’ll look like a pro. The other thing to always keep a look-out for is opportunities to share plugins. Using auxiliary send/return busses for delays and reverbs is the

STEP BY STEP BUSSING & GROUPING

1

SIMPLE GROUPS The terminology tends to vary between software

2

SIMPLE BUSS We’ve set up a number of extra busses so that

3

EFFECTS BUSS To keep things tidy, we’ve also decided to group

packages, but on the whole grouping refers to the

we can submix certain elements of the track. Our

our effects returns to a single buss. This can serve a

linking of different tracks. Here we’ve taken two

first submix will handle beats. You’ll also notice that

number of uses during the mixing process, including

kick drums, set their levels and linked them. We’ve

we’ve taken the precaution of trimming the level

general increasing, decreasing and muting of overall

then done the same with the bass parts.

down on the buss, using a gain plugin.

effects levels.

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free ebooks ==> www.ebook777.com GET ORGANISED | MIXING & MASTERING traditional example, and this is far more CPU-efficient than using these sorts of effects as inserts. But you can apply the same theory to sub-mixed elements, which can then share compressors, EQs and your more CPU-hungry limiters.

BUSS AND GROUP BUSSING SIGNALS into submixes will help

the organisation and sound of your mix, but how does that differ from grouping? Typically, grouping involves linking together a bunch of existing tracks so they act as one cohesive unit. In Logic and Pro Tools, you can create specific groups that link tracks together for editing, automation or both. This way you could set up a group for all drum kit or ‘beat’ elements in your track. Then whenever you change the level of one element, all the others will follow. Bussing refers to blending certain elements together to form a submix. The big difference is that the submixed signal can then be processed as one; grouping merely allows you to control a bunch of tracks together. Why is this so significant, you ask? Well, one of the main considerations is your auxiliaries. If each of your grouped tracks is sending a level to an auxiliary (typically the level is affected by the fader level), then changing all of your fader levels together (using a group) will change the send levels, but in a consistent manner (for all your grouped

tracks). However, with a collection of tracks that are bussed into a submix, changing the overall level of the submix won’t actually affect the send levels of the individual tracks routed to it, so the send levels remain constant. It may sound pedantic, but it’s significant – especially if you need to modify your group levels and maintain the relative level of the auxiliary returns. One alternative is to buss your effects returns to their own buss, too.

PITFALLS

PPM VS VU

THERE ARE a few other things to consider.

Firstly, delay compensation. If you submix tracks and use plugins across them, you will inevitably introduce processing delay. If your software has full automatic delay compensation, this shouldn’t be an issue as everything will be delayed to match the slowest plugin. However, not all software uses this, so you may have to use manual delay adjusters. This will be apparent if you use powered plugin systems like the Universal Audio UAD range. The second trap is that you can end up with so many submixes and groups that it defeats the point of setting them up in the first place. Should that become the case, go back to basics: submix your backing track, vocals and effects.

AUTOMATION AND FINALLY, before you start thinking that it could all be a bit of a pain, we

Rather than rely solely on peak meters, it can be good to see things on VU meters too, as they emphasise different things. Here we’ve got a meter that shows peak levels on the left and VU on the right. The first is from a passage without too much low frequency content. The second is at the peak of a crescendo. The peak meter differs between the two, but the difference for the VU is more marked, indicating a big difference in the loudness of the track.

have one word for you: automation. If you like to get busy with automation, you’ll be only too aware that once you have done lots of level adjustment, rebalancing elements while retaining your automation can be a fiddly process. With a few submixes, however, it can be much simpler.

FX ALLOCATION

COLOUR CODE

MULTIPLE SUB-MIXES

AUXILIARY EFFECTS

If you want to keep things simple from

When programming or recording your

Here we’ve stuck to a simple bass,

Some plugins will gobble up all of your

the off, start by laying things out in a

track, it’s often useful to colour code

drums and guitars split, with the

CPU, so if you think you’re going to be

logical fashion. In this basic Live

sections by content (intro, verse, etc).

auxiliary returns grouped together.

using them on a number of tracks, put

session we’ve set up four auxiliaries in

While mixing, when the track structure

Each submix is being processed, and

them on auxiliaries. Here we’ve got a

order – eighth-note delay, quarter-

is established, switch the colour

all have maximising limiters across

bunch of powerful plugins on auxiliary

note delay, short reverb, long reverb

coding to emphasise broader track

them, although the attenuation is

sends, which saves us enough CPU

– and labelled them accordingly. Now,

elements. We’ve used colours to divide

subtle. With the limiters keeping the

power to stick those equally powerful

applying the auxiliary effect we want

our track into beats, bass and chords.

submixes in check, the master output

maximising limiters over our

shouldn’t be confusing.

Visually, things are much clearer.

can be treated to subtle compression.

submixes. Job done!

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DOWNLOAD

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THE ART OF AMBIENCE Reverb plugins can sound spookily realistic or purposely synthetic, but whichever you prefer, you’ll get more from them with our guide everb is one of the few audio effects that occurs in the natural world, and in fact, it’s around us at all times, though we tend to take it for granted. Sound waves propagate from a sound source in a spherical fashion, continually bouncing off any surrounding surfaces and gradually losing energy until they die away to nothing – this is what we know as reverb. Just about the only place you won’t hear any reverb would be inside an acoustically-dead anechoic chamber. Many recordings are made using close-miking techniques, where the natural reverb of the recording room is

R

118 | EXPERT HOME STUDIO HANDBOOK

kept to a minimum – most of us don’t have access to great-sounding recording rooms anyway, so this makes sense. Indeed, computer musicians commonly record guitar parts directly into their DAWs, and many of the instruments that we use don’t even exist in physical form. Reverb is therefore often added artificially after the sessions are complete, at the mixing stage. When working with real instruments, it’s generally desirable to impart a realistic reverberation space, although with the widespread use of digital reverb units in the ’80s, many began to apply the effect in a more creative fashion. And when it comes to electronic music, which mostly

doesn’t involve real instruments at all, this ethos applies even more strongly. Wherever you’re coming from, though, our tutorial is for you. Over the next few pages, we’ll be explaining just how typical digital reverb processors work, before going on to demonstrate some standard reverb mixing techniques and getting stuck into a few more creative applications. We’re using Ableton Live 7 in our walkthroughs, but the techniques are entirely applicable to other DAWs, not to mention other musical genres. If you don’t have Live, you can always download the trial version at www.ableton.com – then you’ll be able to load up all of our tutorial files.

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UNDER THE HOOD THERE ARE many types of reverb processor, including mechanical hardware such as spring and plate reverbs, but the kind that most computer musicians will be familiar with is the digital (or algorithmic) variety, which attempts to mimic the real-world process of reverb in a room. We already touched upon the fact that soundwaves propagate outward from a sound source in a spherical fashion, much as light radiates in all directions from a bulb. Consider what happens when you stand in a large hall and someone at the other end of it claps their hands: the first thing you’ll hear is the direct soundwave coming from the clap, which can be considered the dry signal. Next, you’ll hear the first echoes of that clap as it bounces off the walls – these are the ‘early reflections’, and already the sound will be coloured a little, as the walls absorb certain frequencies. The phase/ timing of the soundwaves will also have been smeared a little due to this, softening the sound Shortly after comes the ‘tail’, caused by the many complex echoes that soon take place. Discrete echoes are no longer heard, as the sound diffuses into a smooth decay, and gradually fades away as energy is lost to the walls. As you can imagine, the shape of the room (and its contents) play a huge role. The material of the walls is also a prime factor, as flat, hard surfaces will reflect the frequency range more evenly, whereas soft surfaces will quickly absorb frequencies. Irregular surfaces will mean that the sound is broken up and diffused more readily too. Many digital reverbs take the approach of modelling the early reflections and diffuse tail independently, which, while not being exactly how real rooms work, gives a good approximation. The early reflections may be based on a series of short delays, whereas the tail might be created using a complicated network of delay lines fed into each other. Filters would provide for damping of high or low frequencies over time, and all-pass filters may be employed to smear and diffuse

the sound further. There are other digital reverb algorithms, of course, but what we’ve described is the classic one.

DIGITAL REVERB PARAMETERS PREDELAY IS simply a delay

applied to the input signal before any reverb processing Magix VariVerb Pro is an excellent reverb plugin, featuring many is applied. If you were in an different algorithms, including the type described here enormous room, and clapped STEREO WIDTH your hands, there would be a A HIGHER value generally sounds more discernible delay before you heard any ‘real’, but reducing this can give the reverberations bouncing back from the reverb more definition. walls, so increasing this can make the room sound bigger. This also prevents MODULATION the reverb from blurring into the initial MANY DIGITAL reverbs also employ subtle part of the dry signal, which can be good pitch modulation of the tail, to further for preserving drum transients, etc. diffuse the sound. This isn’t especially EQ realistic, but it can certainly sound nice, ENABLES YOU to tailor which frequencies and many of Lexicon’s famous reverb are passed through to the reverb, eg: units use this to good effect. cutting the bass will reduce boom.

DECAY DETERMINES THE RT60 of the reverb in

seconds, that is, how long it takes for the reverb’s level to fall by 60dB.

SIZE ALTERS THE perceived size of the room. In a

classic digital algorithm, this may influence the length of the delays in the feedback network, which are essentially simulating the distances between walls.

HIGH/LOW DAMPING NOT JUST a simple EQ, this controls how certain frequencies are attenuated over time. For instance, with no high damping, the reverb will have a constant treble level; increase the damping, though, and the sound will become duller over time. This mimics how wall materials absorb sonic energy at different frequencies. In Live’s Reverb, this is the Diffusion Network section.

ER/TAIL

SOME REVERBS let you specify the level

of the early reflections and the tail independently.

DRY/WET ALWAYS SET this to 100 percent wet when

using your reverb on a return bus. THERE’S A great degree of variance in the parameters offered by different reverbs, so you should check out the manual of yours for the full lowdown. There are also convolution reverb processors to consider. These work very differently from those described thus far, and typically use samples taken from real rooms to recreate them digitally. A loud, sharp sound (for example, a clap or starter gun) is made in a room, and the reverb tail recorded – the resultant sample is called an impulse response and can be loaded into a convolution processor. Another way to create impulse responses involves sine sweeps.

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STEP BY STEP BASIC REVERB CONFIGURATION

1

To get started, import the files in the Rock Mix/ Samples folder in our examples onto audio

2

The sound is very dry because the guitars were recorded direct and the bass and drums are

3

We should now be able to dial in a bright reverb and roll off any bass boom. The default low-cut

tracks in your DAW, then arrange and name the

programmed – reverb will create an artificial sense

EQ (the leftmost graph) is fine, but we’ll pull the

tracks as shown: kick, snare, toms, etc. Set the

of space. On the Return A channel, load up Live’s

low-end damping in the Diffusion Network down a

tempo to 137BPM. It’s a simple ZZ Top-style

Reverb effect and set it to 100% Dry/Wet. Turn off

touch more to keep the bottom-end tight and in

stomper… Don’t worry, though, as the techniques

Spin and Chorus options as well as the Hi Cut, and

check. The treble damping is also tweaked very

we’ll demonstrate are applicable to many styles of

activate the Lo Cut (far left) and Low (in the Diffusion

slightly, just to prevent the reverb from sounding

music, not just early-’80s beard-waving rock!

Network panel) options. Set the Quality to High, too.

too washy on the cymbals.

4

5

6

In the Session View mixer, dial in the desired reverb Send levels – there’s plenty on the

We’re rockin’, ’80s-style! An EQ Eight dropped after the reverb enables us to shape the sound

Transform this bright reverb into a more subtle, modern one. Pull down the Predelay to 20ms,

mid-range elements, like the snare and guitars, but

as we please – another low-cut ensures there’ll be no

banishing the blatant ‘arena echo’. Drop the treble cut

none on the bass, as it may get muddy. Dial in a

headroom-gobbling rumble, and a treble cut at 8kHz

to 4kHz and decrease its Q to 0.5 for a more gradual

reverb Predelay setting that fits the beat – we settle

further keeps any extraneous sizzle in check. If you’re

roll-off. This gives a ‘stealth’ reverb that just fills out

on a generous 80ms, giving a vintage ‘slapback’. In

hearing any annoying resonances in your reverb that

the sound. We’ve erred on the side of caution with the

dance music, a noticeable, tempo-synced predelay is

can’t be cured by changing its settings, knock ’em out

levels; feel free to crank up the ’verb to get a better

sometimes used to give a special effect on synths.

with judicious EQ. (Rock Mix – 80s Reverb.)

idea of its sound. (Rock Mix – Modern Reverb.)

SHAPING THE REVERB ENVELOPE Treating reverbs with compression is an advanced

compressing the instruments themselves – it’s

technique, and not for the novice, but if you’re looking

similar to processing ambient mic recordings on

to get more from your reverb plugins, it’s worth a try.

a drum kit. By placing the compressor before the

Sometimes, turning up the reverb to a level that gives

reverb, you can control the dynamics of the incoming

a pleasing ambience clouds the initial attacks of

signal, thus avoiding pumping.

instruments too much, but by using compression,

Be aware that if you have sections with

you can suppress the onset of the reverb enough to

contrasting dynamics in your song, the reverb

retain a punchy sound.

may become louder or softer compared to the dry

Simply place a compressor after the reverb and

signal. Automation of the compression threshold

dial in a compression setting that knocks it down by a

may help. Alternatively, you might try a transient-

few dB with every hit. By being more aggressive with

shaping tool instead of a compressor to sculpt

the compression, you can also lend a desirable kind

the reverb envelope, as these aren’t dependent

of squashed, pumping sound to the mix without

on the input level.

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An exaggerated example showing a dry snare hit, a reverbed snare hit (100% wet), and a heavily limited reverb

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STEP BY STEP USING MORE THAN ONE REVERB

1

2

It can help to have one reverb to ‘glue’ mix elements together, and a more obvious one for

Now it’s time for a big, fat gated reverb on the snare! Drag a Kjaerhus Classic Reverb, Live’s

3

Adjust the Gate’s Threshold until it abruptly chops off the reverb; -26dB does it. Use the

snares, etc. Carrying on from the last walkthrough,

Gate and an EQ Eight onto the B Return channel, in

Attack, Hold and Release to control the gate’s timing

turn off EQ Eight; deactivate the Reverb’s High

that specific order. Set the reverb’s Mix to 100%

and envelope. Some tasty EQ is placed last in the

damping; set Predelay to 6ms, Size to 18 and

wet and reduce Hi Damp to 25. Increase the

chain (so it won’t affect the gating). Once the gate is

Decay to 400ms. Crank the reverb channel up

Sends to B Return on the snare and toms

triggering nicely, set the B Return channel’s level.

to about 3dB.

channels to 75%.

(Rock Mix – Room + Gated Reverb.)

STEP BY STEP GETTING CREATIVE WITH REVERSE REVERBS

1

2

Great at imitating real spaces, convolution processors can also be used to create totally

Make sure the tempo is set to 157BPM and drag the loop so it starts on the fifth bar – we

3

Load up a nice long reverb impulse, eg: supplied Church one in SIR2, set the sound to 100% wet,

off-the-wall effects, such as reverse reverbs. To get

need to leave some space in order for the reverse

then click Forward > to reverse the IR. Play the project

started, create a new project, load the DnB Reverse

reverb to build up. Now load up a convolution reverb

from the start, you should hear the sound fading in. If

Reverb Project/Samples/DnB Loop 157BPM.wav file

effect as an insert on the second audio track (ie: not

your processor doesn’t have a reverse function, you

onto an audio track, and Start Hit.wav onto another.

on a return track).

can always reverse a reverb IR offline in a wave editor.

4

5

6

We want the reverse reverb to end just as the main loop begins playing, and in the case of this

It’s sounding cool already, if a little clichéd. To make the effect more unusual, you can

Using a convolution reverb for this (rather than doing it offline with audio files) means you can

particular IR, it already fits very well. If you need to

personalise it by piling on some choice effects after

use it as much as you like in the song – check out

make adjustments, first try using the reverb’s

the convolution processor – try modulation effects,

DnB Reverse Reverb to hear this in action. You could

Stretch option (or equivalent) to achieve a timing

to get it swimming around. Compression might be

even use it live, although you may need to alter the

that just about fits with your song – eg: a certain

handy to keep the level in check as it reaches its

timing to compensate for the latency of your

number of bars. Next, turn off quantisation in your

peak, and harsher effects like distortion could be

convolution processor if it doesn’t have a

DAW and move the clip until the timing is just right.

used to intensify the sound. Go wild!

zero-latency option (like SIR2).

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THE PRO PRODUCER’S GUIDE TO EQ If music is all about evoking emotion through sound, we need powerful tools to sculpt that sound. Welcome to the world of EQ, where the mix magic really happens qualisation (EQ) is a powerful tool that lets you shape the sound of your music, balancing and enhancing the tone of each individual instrument recorded for maximum impact. Here you will learn how to clarify a muddy mix by removing unwanted frequencies, and we’ll also give you suggestions as to which frequencies you can use to add ‘air’, ‘warmth’, ‘thump’, and so on, where needed. We’ll look at specific techniques that enable you to sculpt an instrument’s frequency response to sit well within a mix, and show you how to find exactly the right frequency to cut or boost any instrument. We’ll look at different types of EQ, both analogue and digital, and consider the advantages and disadvantages of each. First, though, it will be helpful for you to

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understand a little about what EQ is, and how it works.

LIKE COLOUR FOR SOUND WE CONSTANTLY talk about sound using words borrowed from things we can see, such as ‘bright’ or ‘dull’, ‘muddy’ or ‘clear’, and ‘sharp’ or ‘smooth’. People with a condition called synesthesia actually see specific colours when they hear certain sounds, and most of us associate colours with sound to some extent. In fact, there’s a fundamental link between the colours we see and the ‘colours’ we hear. The colours we see are determined by the frequency content of the light waves that reach our eyes, whereas the colours we hear are determined by the frequency content of the sound waves that reach our ears. So, low-frequency light waves are brown, red or orange in colour, and

these ‘sepia’ tones are colours we often associate with lower-pitched notes and ‘warm’, ‘analogue’ sounds, whereas higher-frequency, ‘brighter’ and more ‘metallic’ notes and sounds are often connected in our minds with colours like blue or cyan. Coincidence? Probably not. All of this is the work of our brains trying to make sense of the world around us, and the association of blue with cold water or red and orange with the dying embers of a fire goes back a long way. Luckily, this instinctive connection means that controlling the frequency content of your music using EQ – its colour, if you like – gives us a powerful way to control the affect it has on anyone listening, which is exactly what music is about. Over the following pages, we will show you how to maximise this effect to really let your music sing.

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EMI’s TG EQs have helped craft thousands of classic recordings

THE FACTS: WHAT IS EQ? EQ is equalisation – but equalisation of what? WE CAN control the frequency content of

our music using equalisation, but what does the term mean? It comes from the earliest use of equalisers: correcting the uneven frequency response of telephone lines. When you’re using a phone, you want each person’s voice to sound as close as possible to the real thing, so it needs flat, or linear, frequency response. The very first telephone electronics were far from ideal, so the frequency response of the signals needed to be ‘equalised’ so that what you got out was roughly the same as what went in. Nowadays, digital audio systems are designed from the ground up to have a linear frequency response, and more often that not we use EQ to stop things having an even frequency response by adding colour (more on this later).

NATURAL EQ THINKING ABOUT the original meaning of

equalisation, it’s interesting that the natural frequency response of much acoustic music is often already quite flat.

If you look at the frequencies produced by a piano, a symphony orchestra or a rock band recorded without much processing, you will see that most frequencies are represented fairly equally, sloping gently down in the high frequencies. This makes sense. If all instruments made sounds at the same frequency, it

If a guitar is fighting with the vocals, try using a different chord inversion would be much harder to tell them apart. This natural EQ is determined by the fact that low-frequency sounds have a lower pitch, and high-frequency sounds have a higher pitch. For some rules of thumb about different frequency ranges and how they work with instruments, see Using EQ on p.132. Songwriters naturally choose instruments with different frequency characteristics to balance and contrast against each other, and when

you put them all together, the sound covers the whole frequency range.

EQ WITHOUT AN EQUALISER USING THESE ideas can give us a powerful way to control the ‘EQ’ of a mix without ever touching an EQ unit. If a guitar line is fighting with the vocals in the mix, try using a different chord inversion or moving one of them up or down an octave to make space for the other. Even if changing the arrangement isn’t an option for you, it’s entirely possible to get a markedly different sound for each part. Moving a microphone can capture a different sound – for example, closemiking an acoustic guitar will often produce a warmer, richer feel. When it comes to synths, editing a patch is often a much better way to achieve clarity and separation than trying to EQ the sounds afterwards. You can also use EQ to achieve the exact same effect, of course – this particular technique is known as ‘frequency carving’ and is covered in more detail on the next page.

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IN PRACTICE: USING EQ Practical and creative equalisation techniques AS WITH any audio processing, the key to

great results with EQ lies first in knowing what you want to achieve. Reasons why you might want to use EQ include: > To balance a sound within the mix – for example, adding more edge on the vocals to help them cut through. > To fix a recording problem, such as too much boom on a bass sound or mic pops on a vocal. > To balance the overall sound of a mix – for example, to add more bass. > To create an entirely new or unique sound – this may include transforming something into a bassline by cutting all the high frequencies. Whatever your goal, having a clear idea of what you want to achieve is a must, but first you need to know how frequencies are measured and labelled.

MEASURING FREQUENCY THE FREQUENCY of a sound is measured by

how many times its wave oscillates per

second. Frequency is measured in cycles per second, or Hertz (Hz). The lowest note on a piano has a fundamental frequency of 27Hz and a maximum frequency of 4186Hz, or roughly 4kHz (kilohertz). Our ears can hear much higher, though – right up to 20kHz for some young children – and there is plenty of important sonic information in these upper frequencies.

EQ BANDS LEARNING WHAT different frequencies

sound like and the effect they have on the sound of different instruments is an invaluable skill. Below are the names we use to classify each of the different bands. The frequencies are approximate, so use your ears! > 20-60Hz – Sub-bass: Gives boom, depth and richness, but too much will sound flabby and out of control. Small speakers don’t reproduce this. > 60-150Hz – Bass: ‘Thump’ and punch

in drums, especially kick and snare, and richness in bass and guitars, but too much will sound woolly. > 150Hz-1kHz – Lower mid: Important for warmth, but too much will sound thick and congested. The 500Hz-1kHz region is especially crucial for a more natural vocal tone, but too much sounds boxy and nasal. > 1-3kHz – Upper mid: The most sensitive area of the ear, important for edge, bite and clarity, but too much will sound harsh and tinny. > 3-8kHz – Low top: Provides sizzle and fizz, as well as edge and aggression in guitars, but too much will sound thin and brittle. > 8-12kHz – Top: Gives openness, air and clarity, but too much will sound glassy and over-bright. > 12-18kHz – Very high top: These frequencies can add sheen and sparkle and sweeten things up, but too much will sound unnatural, gritty and forced.

IT’S ALL ABOUT BALANCE… OR IS IT? AS YOU may have gathered from the rules of thumb above, every frequency has an important role to play, but too much of any one area will sound unnatural. This means having the right balance of each is essential for a natural sound. But actually, that’s not quite true. The sound of the overall EQ needs to be balanced, but individual sounds on their own don’t need to be, provided they work within the mix. In fact, if all the instruments in a mix sound perfectly balanced by themselves, this can often lead to a muddled, cluttered mix. A great example of this is acoustic guitar – when close-miked, there’s a lot of warm, boomy bass information in the sound of the guitar. This may sound great on its own, but it will often just clutter things up and make them sound muddy within a mix. The solution can often be to reduce the low mid and bass boom to help the guitar cut through the mix and sit right.

124 | EXPERT HOME STUDIO HANDBOOK

free ebooks ==> www.ebook777.com EQ | MIXING & MASTERING This particular technique of restricting the frequency range of instruments to create a dedicated space for them to sit in the mix is an extension of the idea of choosing sounds that complement each other sonically, and is known as ‘frequency carving’. If there are two parts fighting in the mix because they are occupying the same frequency range, then it can sometimes help to boost the EQ on one of them and cut the other at the same frequency. You should then reverse the strategy and boost the second sound in a different place while cutting the first. Doing this will emphasise the contrast between the two parts, with gentler boosts, and will help to stop things sounding unnatural.

EQ PARAMETERS Choosing the right variety of EQ for the effect you need is essential All EQ boosts or cuts certain frequencies, but

frequency. The Q control decides how broad or

exactly how it does this will vary. The simplest

narrow the band is – lower values give a broad

type is the high or low cut – these do exactly

boost, while a high Q creates a narrow ‘notch’ EQ.

what they say on the tin, removing everything above or below a particular frequency. Shelving EQs allows for broad boosts or

AUDIO EXAMPLES > In the download, you will find examples of each

cuts above or below the chosen frequency,

EQ type in use – first the flat audio, then high

and parametric EQ centres around the chosen

and low cut, shelving and parametric EQ.

FINDING THE FREQUENCY THIS IS probably the most useful EQ

technique you can ever learn, so pay attention! Let’s say there’s a honky mid-range resonance in the vocal for the song you’re working on. You know it’s somewhere in the lower mid, but you’re not sure exactly where it is. To pinpoint the problem frequency exactly, all you need to do is follow these steps and you’ll have it nailed in no time: > Solo the channel that you want to EQ. > Listen carefully and remember what the frequency you’re trying to find sounds like. > Using a parametric EQ, add a large boost with a fairly narrow Q. > Slowly sweep the frequency of the boost up and down. > Listen for an extreme version of the frequency region that you want to find. > When the boost hits it, you’ll hear it ‘sing out’ or ‘ring’. > Now use the EQ to make a big cut, and double-check by rocking the frequency up and down again. > Reduce the cut until you hear the problem frequency again. > Tweak the Q – too broad will cut out too much around the problematic frequency, but too narrow will sound ‘pinched’ and unnatural. > Finally, unsolo the track and listen carefully again in context. With that done, you can now experiment with more or less cut on the selected frequency to find the perfect amount.

1

HIGH AND LOW CUT Cutting out-of-control low frequencies can help clean up a muddy mix – take care not to make

everything too thin, though. More advanced EQ types allow you to control the steepness of the cutoff.

2

SHELVING Great for making smooth, gentle alterations to a whole mix. A high-shelf boost can be a nice way

to add ‘air’ to sweeten a vocal or dull mix without making anything in particular stand out.

3

PARAMETRIC This allows for ‘surgical’ changes at any frequency. Very narrow boosts create a resonant effect

that can sound great swept up and down through a broadband sound like a synth pad.

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PRO PRODUCTION: ADVANCED EQ TECHNIQUES How to take your use of EQ to the next level THE ENGINEERS and producers who worked

on many of music’s biggest albums from decades past could only have dreamed of the power and flexibility of modern digital EQ, where three or four fully parametric equalisers on every channel is standard. Yet some of the most expensive and highly regarded digital EQ plugins are emulations of the classic analogue hardware that was used on those same albums. Why? Were they better able to do something that digital EQ can’t? Not on paper. The first thing you’ll notice when using emulated Pultec or Neve EQs is how limited they are. They restrict the choices of frequency and the number and types of different filters, and sometimes change the sound of the signal even when all of the dials are set to zero. But the reason they sound great is the choices that led to those restrictions. You’ll often hear people say how much easier it is to get a great sound using a classic EQ. That’s because the decisions the designers made – which frequencies to make available, what shape the curves should be, and so on – guide our hand to

DO’S & DON’TS DO use high-pass filters to remove ‘wild’, out-ofcontrol or unnecessary bass. For example, a hi-hat seldom needs anything below 1kHz DON’T high-pass everything. Using a high-pass can be a great way to clean up a muddy mix, but if you take it too far, it can sound thin. DO experiment with ‘unnatural’ EQ – this can be a great way to add interest and character without overusing effects. DON’T add the same EQ to everything. Build-up of EQ in this way is a sure route to a cluttered and confused mix. DO use extreme EQ if you need it! We once added 24dB at 40Hz to get the warmth that we needed – it could have been a recipe for disaster, but it worked. Don’t forget, if it sounds right, it is right! DON’T boost what’s not there. Adding loads of top to get clarity when there isn’t any in the signal will only add noise and distortion.

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make the best decisions. Your choice of frequency may be limited, but it’s limited to creative, musical-sounding options, and while the technical specs can’t match digital EQ in simple numeric terms, the ways they don’t match up more often than not make things sound better. Another factor is the way the analogue hardware works. With a ‘vanilla’ digital EQ you get a numerical, mathematical performance. Classic analogue EQs were often designed ‘by ear’, and the results you get can vary depending on how extreme the settings are. Once you’re used to it, this can prove to be creatively inspiring. Modern emulations by the likes of Universal Audio and Waves work hard to get close to the ergonomics and original sound of those classic analogue originals in a digital world, so we have (almost) the best of both worlds!

MINIMUM PHASE VS PHASE-LINEAR EQ MOST STANDARD digital parametric EQs sound very similar, despite interface differences. You pay extra to get the ‘imperfections’ built back in. But digital technology allows one trick that really is worth looking at: phase-linear EQ. Traditional EQ not only changes the frequency response of the input signal, it also changes the phase, near your chosen frequency. Roughly speaking, this means some parts of the original wave get delayed compared to others. This can have a subtle but noticeable effect on the sound. Often that’s exactly what we want,

especially when emulating an oldermodel EQ, but if you want to make very deep cuts or boosts in the audio signal, or use very narrow notches, these phase shifts can start to sound quite unpleasant. Linear-phase filters don’t do this, so you can make more dramatic changes without the side-effects of a ‘normal’ EQ. For this reason, linear-phase EQs are often used in mastering. The downside is, phase-linear EQ eats a lot of CPU power and involves a delay, so it’s less suited to tracking.

USING EQ ON EFFECTS ASIDE FROM using EQ on different parts in a

mix (instruments, vocals, etc), you can also use EQ on effects, separate from the source. For example, adding lots of nice top-end to a vocal to get an airy, breathy quality could end up causing a problem with the reverb. Digital reverb is notorious for catching and emphasising ‘s’ and ‘t’ sounds – and the extra high frequencies from the EQ will make this worse. EQing the reverb return can fix this: use a high shelf to reduce the effect, or even a high-cut filter to remove it completely. Even better, EQ the reverb send so you can tailor the sound for individual sources separately before it gets to the EQ. This enables you to bring in a range of different effects using the same EQ. Or you could radically EQ an effects return – eg, a rich resonant filter sweeping up and down over a chorus or delay return in a dance track. This can be as subtle or as dramatic as you need it to be.

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BOOST OR CUT?

often the quickest way to fix it is with a cut, but sometimes you will

Cutting or boosting can have a dramatic effect, but which one to use isn’t always so obvious

just want more edge, more thump,

EQ IDEAS TO TRY

and more sparkle. In that case,

ADDING PUNCH TO DRUMS

boosting will seem the obvious

On the kick drum, boost at 50-60Hz using a parametric EQ and a narrow Q. Watch out

You’ll often hear that it’s better to

sounds great, but then realise it’s

thing to do. You will then need to

cut EQ than boost. This is because

no longer balanced in the context

tweak the level afterwards to

for the kick sounding too boomy, though –

boosting the level of an EQ band

of the whole mix. You also run the

compensate, but that’s OK! We

you may need to throw in a high-pass filter

has a much bigger impact on the

risk of pushing things too hard –

recommend you boost or cut at

at 45Hz to clean it up. On the snare, try

apparent level than cutting

in general it’s better to leave some

will – whatever gets you to the

another narrow boost, this time at around

somewhere else. Since louder

headroom, and maxing out all the

sound you want quickest – but

100Hz – this is often where the weight of

often sounds better to begin with,

EQ isn’t a great way to achieve it.

bear in mind that if you do nothing

the snare is. Tune the frequency for

but boost, you may end up going

maximum impact but be careful not to

round in circles.

make the toms boomy if there’s spill.

novice producers will often keep boosting EQ on a part, thinking it

If you hear a problem area in a sound that you don’t like, quite

DEEP, RICH BASS For a deep, rich bass sound, try boosting at

IN PRACTICE: TIPS & TRICKS Check out these tried and tested tips for EQ

60Hz with a fairly narrow Q. Again, you’ll find that a high-pass filter at 45Hz can clean things up if it starts to sound flabby. 100Hz is also important for bass, adding warmth and weight. To help bass cut through the mix, boost the upper midrange

ALTHOUGH THERE are plenty of rules (that

decisions, and if you’re not sure of the answer, experiment!

are made to be broken), there are some things you can only learn through practice. Here are some less textbook methods for carving and crafting your mix, and some choice tips for everyday production issues.

USING HARMONICS

EQ BEFORE OR AFTER COMPRESSION? DECIDING WHERE to use EQ in the chain

can have a huge impact on the results you get. Generally speaking, you need far less EQ once a sound has been compressed. EQ applied before a compressor will need bigger changes made to hear a result, because the compressor will reduce those changes. For example, if you have a mix with a compressor over the stereo buss and a bass-heavy kick drum is causing excess pumping, removing the bass after the compression will even out the frequency balance but won’t stop the pumping effect. EQing the kick drum before it hits the compressor, on the other hand, will both balance the sound and reduce the pumping. We usually use EQ before compression, unless we’re going for a particular effect. The best practice is simply to ask yourself the question: ‘Do I want to EQ my compressed signal, or compress my EQ’d signal?’ This applies to all chained effect

– 2.5kHz, say – but watch out for guitars and vocals in this frequency area. If you use both these suggestions, keep an ear out for a ‘scooped mids’ feeling if you overdo it. The

MUSICAL SOUNDS are made up of much

‘tight’, ‘muscular’ part of a bass sound is

more than just a single frequency, even though we only hear one pitch – many different harmonics combine to give each instrument its unique timbre. Bear this in mind when EQing, and use it to your advantage. A narrow notch to modify just a single harmonic can have a powerful effect on the tone of an instrument. Understanding harmonics can be useful when trying to remove mains hum or amp noise, too – if you use a narrow notch to take out some hum at 50Hz and find you’re still hearing buzz, try taking some out at 100Hz, 150Hz, 200Hz etc.

around 200-500Hz. Too much of this will

DYNAMIC EQ

CONTROLLING BIG SYNTHS

DYNAMIC EQ only works when you tell it to

The broad frequency content of synth

– a de-esser is a very specific example of this, but you could also use a notch to smooth out a clicky bass sound. Some dynamic EQs can be sidechained, allowing different bands to control each other, eg: a top-end frequency lift that only comes into play when the bass signal is very loud. As with multiband compression, dynamic EQ offers the potential to make a huge mess of, as well as improve, your mix. Use in moderation!

presets can often overwhelm a mix.

start to sound thin, though.

WARM, AIRY VOCALS ‘Air’ in vocals is almost always at 10kHz. If your vocal sound feels a little ‘closed-in’ or dull, a broad parametric EQ boost in this area will often open the sound out nicely, without adding sibilance or making it too harsh. Avoid adding too much, as it can make things sound brittle. To keep the vocal sound warm, you can lift between 200 and 500Hz, but this requires caution on your part as too much will sound muddy.

Anywhere the synth is fighting or masking something else in the mix, you should use EQ to reduce it.

AUDIO EXAMPLES > In your file download for this Handbook, you will find an example for each of the four scenarios mentioned above. Each example will play three times as follows: EQ on, EQ off, then EQ on again.

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THE PRO PRODUCER’S GUIDE TO COMPRESSION If you want your music to sound right, you’ll need to use compression, and you’ll need to use it well. Read on to find out how… ry to imagine riding the first ever bicycle, the legendary ‘boneshaker’. Without suspension, every lump, bump, ripple and pot-hole in the road was connected directly to one of the most sensitive parts of your body. Audio is the same – without compression, every click, thump and subtle nuance of the music is connected directly to another

T

128 | EXPERT HOME STUDIO HANDBOOK

of the most sensitive parts of your body – your ears. Sometimes that’s exactly what you want, of course, but in most modern genres compression is an integral part of the sound. Just as good suspension smooths out the ride on your bike and car, compressors even out audio signals. They can make the signals gentler on the ear or easier to balance in a mix, or they can add a unique ‘warming’ character to

the sound. Or, like the suspension on a racing car, they can be used for control and power rather than comfort. Compressors can add punch and impact, allowing you to push music to its limits. This feature will tell you how to achieve all of these goals – or at least, it’ll get you started on the road to using compression effectively in your mixes. We’ll talk about the creative uses of compression later – first though, let’s go back to basics.

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Riding the fader is still one of the most natural forms of dynamic control

THE BASICS: MANUAL COMPRESSION Sometimes the simplest approach is the best ELECTRONIC COMPRESSORS as we know them only became widely used in the ’60s, but that doesn’t mean people weren’t using compression before then – it’s just that they did it ‘by hand’. In the broadest sense, compression is about managing dynamic range. Dynamic range is the difference between the loudest and softest sounds in a song. Voice, bass guitar and percussion have a naturally wide dynamic range, while a solo flute or sustained string chords tend to be much less ‘peaky’ and more consistent. In any mix there will be an ideal dynamic range for each instrument – enough variety to keep interest and emotion, but controlled enough to remain audible, without getting lost or overpowering other elements.

MIC TECHNIQUE THE SIMPLEST and most direct way to manage dynamic range is at the source. A great example of this for singers is to use what is broadly described as microphone technique. You’ll often notice

a great live singer pulling the mic away for the loudest notes and bringing it close in for quiet, intimate moments. You can achieve the same thing by asking a singer to move toward and away from the mic in the studio. This strategy has pros and cons. On the plus side, it’s immediate, effective and cheap! On the other hand, it takes skill and practice to get right. Many singers overdo it, and removing the effect can end up being more timeconsuming than using our second manual compression option, which is…

RIDING THE FADER IN A nutshell, turn anything that’s too loud down, and anything that’s too quiet up! Just like microphone technique, there are advantages and disadvantages to this approach. Again, it’s free, and it sounds very natural. The mixer chooses the ideal level for every phrase, and so long as the level doesn’t change, the part sounds entirely natural. On the downside, this is a very time-consuming method. Even with

modern computer-based automation technology it can take many runs through a track to get everything just right, and like mic technique, riding the fader doesn’t produce that distinctive ‘compressed sound’ that a lot of genres require – but more on that later. This method is worth experimenting with – we’ve done a few mixes in our time that used only minimal compression, with everything else being done by hand, and the results can be superb. In particular, riding a fader into a compressor can get great results – you can get even more control, and the compressor doesn’t have to work as hard. Often there are times when manual compression isn’t enough, though, or is simply too time-consuming. For example, if a vocal can be balanced line by line, that’s great, but the human voice is one of the most dynamic sound sources you can record, and often it requires much finer control. In these cases it’s time to break out a compressor…

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THE KNOWLEDGE: COMPRESSION SETTINGS Compression controls explained… LIKE THE manual methods discussed

on the previous page, a compressor manages dynamics by reducing level, but it does so automatically, depending on the settings you choose. To help understand how this works, let’s keep the car suspension analogy in mind. The suspension in the car is a compressor of sorts, controlling the ‘dynamics’ of the road’s surface – the bumps, peaks and troughs.

RATIO, THRESHOLD, ATTACK & RELEASE The overall smoothness of the ride is determined by the stiffness of the springs in the suspension. If you lean on the car,

how easily does it sink down to absorb the weight? In a compressor, this overall ‘softness’ is determined by the ratio. A lower ratio means a smoother ‘ride’ – most family cars have their suspension set up this way – but more movement in the car, and less control for aggressive driving. Higher ratios are analogous to sports suspension in a car, where the smoothness of the ride is less important than control. Next up is the speed with which the suspension reacts to lumps and bumps in the road. In a compressor, the attack and release times determine how quickly a compressor reacts to the input signal

Subtly adjusting settings can dramatically alter a compressor’s effect

(attack) and how quickly it relaxes afterwards (release). The attack time needs to suit the material being used. Imagine a car hitting a speed bump too fast – the suspension isn’t able to react fast enough to smooth out the bump. The same thing happens with audio if the attack time of a compressor is too slow. The final crucial setting is threshold. This determines when a compressor starts working, depending on the input signal.

MAKE-UP GAIN ONE SETTING on a compressor that doesn’t fit this analogy is make-up gain. As we’ve seen, compressors control the dynamics of the input signal, and usually reduce its dynamic range. Roughly speaking, they turn the louder stuff down. This means that when you first patch an analogue compressor in, it will probably make the overall signal sound quieter. To avoid having to keep pushing the fader up to compensate, most compressors allow you to add make-up gain – this is just a way of lifting the signal back up to balance the reduction in the dynamic range caused by the compressor. You may not have seen this control if you use a compressor plugin,

FOUR CLASSIC COMPRESSION TECHNIQUES The ‘perfect’ compression settings will change with each project, but here are some suggestions…

1

NATURAL COMPRESSION For a natural sound, use slower

2

PUNCHY RESPONSE For a harder, punchier sound, use

3

THICK AND DENSE For a thicker, denser sound use

4

PUMPING EFFECT For a ‘pumping’ effect, use fast

attacks (longer than 75ms) and

higher ratios and thresholds – but

faster attacks, medium ratios and

attacks, high ratios and a longer

gentler ratios (less than 2:1) and

keep an ear out for any distortion.

lower thresholds – you’ll see much

release time. Use the compression on

more gain reduction though.

a stereo buss to affect only part of the

always allow the compressor to ‘relax’ back to zero several times a bar.

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mix, such as bass and drums.

free ebooks ==> www.ebook777.com COMPRESSION | MIXING & MASTERING GAIN REDUCTION ONE WAY to avoid this honey-trap is to keep

an eye on the compressor’s metering – the overall gain reduction. Exactly how much gain reduction is needed is highly dependent on what you’re recording – vocals and bass may need heavy compression, whereas keyboard sounds and strings will hardly need any. As a rule of thumb, pay very close attention if you start to see more than 8-10dB gain reduction. If you wind the threshold control down further and don’t hear any real changes, you should probably ease it off and try some different settings.

Anything more than 8-10dB reduction should be avoided

KNEE

though (many digital compressors now include automatic make-up gain as standard) so the effect you hear as you dial in more compression is simply the quieter signals getting louder, with the peaks staying roughly the same. This can make using compressors quicker and easier, but it can also lead to them being overused. Our ears tend to assume that anything louder sounds better. With automatic make-up gain, we keep piling more and more compression on, thinking it sounds better and being distracted from the negative aspects – reduced dynamic range, pumping, and perhaps even introduced distortion.

To avoid having to push the fader up, most compressors allow make-up gain

DO’S & DON’TS DO avoid using extreme settings to begin with, if you are just trying to control the dynamics. DON’T just add compression to every channel by default. Start off

THE KNEE refers to when and how the ratio

with minimal compression, and carefully

starts to change when the compressor starts to take effect. A ‘hard knee’ means the compression becomes immediately active as soon as the input signal hits the threshold, whereas a ‘soft knee’ means the compression becomes audible more gradually. A soft knee also means gentle compression starts happening further below the threshold. If your car’s suspension bushes start to wear out, you’ll feel the equivalent of a ‘hard knee’ effect when you drive it. Normally the bushes smooth out the smaller thumps and bumps that aren’t big enough to involve the main springs. As they become worn, they don’t do this as effectively.

choose where to add compressors. DO experiment with different types of compressors – hardware and software. There can be some quite big differences between them all. DON’T forget to bypass the compression occasionally to check that you’re getting a good result. DO remember to balance the output gain so the level doesn’t change when you hit bypass – that way you’ll get a fair comparison. DON’T be afraid to experiment. Some of the greatest sounds in the history of recorded music came from misused and abused compressors!

PUSHING THE LIMITS: COMPRESSION IS COMPLEX Every setting affects the way the others sound IF YOU follow our now-familiar ‘car suspension’ analogy through, you’ll realise this is a very complicated system, because all the different controls interact with each other and give different results depending on what the source signal is. Compressor controls need to be carefully balanced to get the ‘ride’ to feel right – this is why learning compression can sometimes be tricky. Let’s look at some examples, using the suspension analogy. A family car, for instance, probably needs a soft suspension. The ratio has to be high

enough to absorb plenty of energy and smooth out the ride, but if it’s too high the suspension will feel too stiff, and you’ll feel jolted around inside because there isn’t enough ‘play’ in it. In music, the ratio needs to be high enough to control the signal level in the way you want – but not so heavy that the life and energy of the music is squashed out. Car suspension needs to react fast to new lumps and bumps – if it has a slow ‘attack time’, you’ll feel the bump before the springs have had time to squash and

absorb the shock and impact. It needs a fast ‘release time’ too, to allow the wheels to follow the surface of the road closely; otherwise you’ll get a noticeable ‘bounce’ afterwards. In the same way, in music the attack time of a compressor needs to be fast enough to catch the changes in level, and if the release time is too long, you’ll hear it ‘bounce’ afterwards too – especially on drums, for example. The ‘threshold’ needs to be set right so that the car suspension works when it’s needed. If the car is heavily

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free ebooks ==> www.ebook777.com MIXING & MASTERING | COMPRESSION loaded, it may be sitting low on the suspension already, so the springs are always working – and if you hit a really big bump, there may not be enough play left to absorb the impact. This would be equivalent to setting the threshold level too low on a compressor. Conversely, if the threshold is too high, the compressor hardly does anything – this would be like a car that wasn’t heavy enough for the springs to ever do any good.

EXPLORING THE SUBTLETIES THIS IS where things get interesting,

because so far we’ve only talked about conservative compression settings – but there’ll be plenty of times when you’ll want to use compression settings which, in the suspension analogy, would give your passengers an incredibly uncomfortable ride! ‘Correctly’ used compression – that is, compression that’s used purely for dynamic control – keeps things nice and level. A great example of this is compressing bass – you would often use a high ratio with a fast attack and release time to catch the initial ‘pluck’ of the plectrum but then allow the tone of the rest of the note to come through. This is like a smooth ride in a standard family car. But now imagine that you want that classic ‘pump and suck’ sound that the Beatles often used on Ringo Starr’s drums. That’s achieved using a compressor with a high ratio, fast attack and a long release. It would make no sense at all in a car – it would be the equivalent of the car dropping suddenly down when you hit a bump, and then gradually smoothing out again afterwards. So, the ideas and techniques we’ve discussed so far are only the beginning of the story. Like all processing in audio recording and mixing, it’s just as valid to ignore all the rules and choose the ‘wrong’ settings as it is to do things by the book – the bottom line is, if it sounds right, it is right!

CHARACTER VS CONTROL IN GENERAL, different compressors tend

to sound different when compressing the same signal, even with the same settings. Some engineers will choose to use compression to add ‘character’ to the sound, rather than simply to control it. ‘Character’ is hard to define, though. It can mean the effect that dynamic control has on the sound – for example, a well-compressed vocal can sound full, warm and intimate when the original sounded thin, hard and distant – or it can mean the particular sonic characteristics of a hardware compressor, such as the valves of a Fairchild or the lightning-fast attack time of a Urei 1176. The key to all this is to realise that the rules of thumb suggested in this article only apply to straightforward ‘mathematical’ software compressors – so you shouldn’t expect a 4:1 ratio on Logic’s compressor to sound the same as on a classic hardware unit, or even on a modern software emulation of one.

It’s just as valid to ignore all the rules and choose the ‘wrong’ settings

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ADVANCED TECHNIQUES LIMITING A limiter is a compressor with a very high ratio – typically more than 20:1 – and very fast attack and release times. Limiters are often used in mastering because they offer a great way to control unwanted peaks and spikes.

MULTIBAND COMPRESSION Sometimes used on an entire mix during mastering, a multiband compressor splits the signal into several different frequency bands and applies compression to each one separately. Multiband compression needs to be used with caution – the right amount can pull a mix together nicely, but too much can remove internal dynamics, leaving you with nothing but confused, over-compressed mush.

SIDECHAIN COMPRESSION Some compressors can be set up to react to the input from another channel – the sidechain. This external effect triggers the compressor. Use fast attacks, high ratios and a longer release time – and make sure the effect works in time with the music.

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IN PRACTICE: LISTENING WITH INTENT Getting great results with compression

SOFTWARE VS HARDWARE While software tools are very capable, there are certain jobs only components can conquer The compressors most of us use are

USING COMPRESSION is an art, just like every

audio mixing technique. There’s no real mystery to it, though – it’s just that you can achieve such a range of effects and results that it can be hard to get a handle on them. Here are some guidelines to help keep you on track.

DECIDE WHAT YOU WANT TO ACHIEVE ARE YOU looking to control a dynamic

‘bounce’ (where you can hear the level ducking as the compressor cuts in, and then springing back up when it releases) try dialling in a shorter release time and easing off the threshold – or using a lower ratio. To add punch, experiment with higher ratios, slightly longer attack times and shorter release times, but watch out for ‘pumping’ (where the end of the note is louder than the start) and any distortion that might be introduced.

software plugins, often the ones that came with our DAWs – and the truth is, they do a great job. The flexibility to be able to put as many compressors as we like anywhere in the audio chain, at any time, is a luxury that the engineers who mixed most of our favourite classic tunes could only dream of. But there’s a catch. Simple software compressors bear no relation to the

signal, or add punch and impact, or change the sound and create an unusual effect? Keep listening with your final goal always in mind. Choose a neutral starting point. We suggest a ratio of around 2:1, a 75ms attack time and around 100ms release.

the different settings against each other. For example, higher ratios usually need higher thresholds if you want to avoid a heavily over-compressed sound.

OVERDO IT TO BEGIN WITH

EXPERIMENT

WIND DOWN the compressor’s threshold

EXPERIMENT, IMITATE and listen again.

compressors was an art – a constant

until it starts working – it can be useful to start with an exaggerated version in order to help you get the settings right. You can better hear how the attack and release are working at the more extreme settings. If you find yourself having to turn the threshold a long way down, try boosting the input level a little instead.

Some of the greatest sounds to have been heard in popular music owe their existence to the use of compressors – and some of the most unpleasant, too! Using too much compression when it’s not needed is almost always worse than using too little. At the end of the day though, there’s no right or wrong when it comes to compression settings – only what sounds right to you. Just remember that ratio controls the degree of ‘squash’, threshold determines how much squash happens, and attack/ release and knee dictates how fast and how abruptly it squashes. Every source and every mix is different, so keep these points in mind, fire up whatever compressors you have to hand and listen, experiment – and enjoy.

process of balancing the technical

For a smoother sound, try using a faster attack time and higher ratio – but make sure you keep enough energy and excitement in the sound

LISTEN FINE-TUNE THE settings, remembering the

goal you have in mind. Once you’re getting close, you can adjust the threshold to get just the right amount of compression to achieve the effect you’re aiming for. For a smoother sound, try using a faster attack time and higher ratio – but make sure you keep enough energy and excitement in the sound. To reduce

hardware compressors that those same engineers use in their mixing, right up to the present day. These days it’s pretty easy to

LISTEN AGAIN

mathematically define a compressor in

AND BALANCE

terms of ratio, attack and release times and so on, and build a plugin that slavishly follows that definition. Back in the golden age of audio though, that wasn’t the way things were done! Compressors were built with electronic components – transistors, resistors, amplifiers and valves – and these components weren’t capable of the infinite control and flexibility of a computer. As a result, designing

requirements of the project against factors like noise, headroom and cost. To give you an idea of what we mean, if you listen to a digital compressor with a ratio of 1:1, the chances are that its output will sound exactly the same as what you put in, even at quite a high level – whereas the classic Fairchild 670 limiter (for example) uses no less then 20 valves in its design, meaning that even when it isn’t compressing things at all, the output may well have all kinds of interesting colouration and sonic changes that have nothing to do with compression. This is one of the reasons why big-name engineers love the sound of their expensive racks of analogue hardware.

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PROFESSIONAL MASTERING

You’ve written a brilliant song and have mixed it to perfection – now discover how to give it a high-gloss finish with our expert guide astering is the final stage of the production process, and your last chance to make your track as good as it can be. When done well, mastering will polish your mixes to perfection. Done badly and the mastering process can undo much of the good work that came before it. Traditionally, a dedicated mastering engineer would take over this phase of production, but these days the computer musician is often expected to be composer, producer and engineer. For this reason, we feel it’s time to extend you a helping hand to set you on the right track. But first, here’s a little history on the subject… Back in the bad old days of analogue, a finished studio mix would be played through the mixing desk and recorded to two-track (ie, stereo) tape. This master tape would be the last the mix engineer would see of their hard work before sending it off to be turned into vinyl records. A mastering engineer would then transfer the tape to a master disc, from which all of the records would be pressed. During this transfer from tape to disc, the engineer may have chosen to apply some further processing to improve the sound of the mix. Perhaps the mix was created using speakers that lacked bass, so the mix engineer had made the mix too bottom-heavy without

M

134 | EXPERT HOME STUDIO HANDBOOK

realising it – the mastering engineer could correct this by applying EQ to the stereo mix. As time went on, these sort of postmixing corrections and improvements became more commonplace, and keen-eared mastering engineers would perform their critical work using extremely accurate speakers in an acoustically treated room that typically far exceeded the listening conditions of the average mix room. Today’s mastering engineers work in much the same way, but these days the

For a lot of mastering tasks, there are ways to do a fantastic job yourself emphasis is on the processing more than the transfer to a physical medium. Typical processes include applying EQ to balance the track’s frequencies, and compression and limiting to ‘glue’ the track and to increase its volume. They either apply these effects plugins on the master bus in the DAW, or render out a track as a WAV file (at least 32-bit) and then load it into a fresh project, placing the plugins on the appropriate track. Given that mastering is essentially your last chance to make your tracks blast the competition out of the water, is this stage something you should attempt yourself,

or is it best left to specialised pros? As with most things, it depends. We’re not going to suggest that a layman can match the ears, experience, tools or acoustic environment available to top mastering engineers. However, in a lot of cases that doesn’t matter. If you simply want to add a dash of life to a demo, there’s no point spending additional money on the job – after all, there are plenty of things you can do with the tools you already have to transform your song into a great sounding track. And for a lot of tasks, there are ways to do a fantastic job yourself. That said, if you have invested months of your life and many pints of blood, sweat and tears into producing your album, it seems silly to split hairs over a few hundred quid to make it sound as good as it can. Indeed, for some formats – such as vinyl or 5.1 – it’s pretty much essential to go to a pro studio with the equipment and the know-how to do the job properly. Even in these scenarios, though, if you’ve at least had a go at mastering yourself, that may help you to understand what mastering can (and can’t) do for your tracks and how best to communicate what you want to the mastering engineer. Here we look at the common scenarios you’re likely to run into, and we’ll be visiting Metropolis – one of the world’s finest studios – to gain insight from one of its renowned mastering engineers. Over to you, then, Mazen Murad…

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MEET THE MASTER: MAZEN MURAD MAZEN Murad’s credits

include releases from a raft of modern day superstars, from the quirky talents of Björk to Duffy’s sultry swing, Groove Armada’s laid-back tracks and the raw rock muscle of Muse. Mazen began his mastering career at EMI, under the tutelage of engineers who invented the very techniques that we now take for granted, such as those pioneered on early Beatles albums. He didn’t begin his career with an eye on turning into a mastering maestro, however: it was the birth of a new format that drew him unexpectedly into that world. “I started out recording and mixing,” explains Mazen. “Then, when CD came in, they got me working on a lot of CD remastering work. There was so much work that I ended up getting into mastering [full-time].”

LET YOUR EARS LEAD YOU MAZEN STARTS work by pressing into service the most precious of all his equipment: his ears. “I start by listening to the whole track,” he says. “You’re balancing all the frequencies. You listen completely differently when mastering. It’s got to sound good wherever you play the track.” This means that the settings Mazen uses on his processors vary a lot, and not always for purely technical reasons. “If the band doesn’t come in, I’ll look at their website or Facebook page and see what they’re about. You can get it all technically right, but some things are a matter of taste,” he points out. “So, the chain I use varies according to what the track needs. Sometimes it’s EQ, compression and a limiter. Or if it doesn’t need compression, it would comprise EQ and then limiters. Or if the mix needs compression before mastering, I would put the compressor first and then drop in the EQ and limiters. And then I sometimes use parallel compression or multiband to get the job done. It just depends, really. The chain is very

important, but you certainly don’t always need a compressor to make tracks loud.”

MIX WELL TO WIN A LOT of issues are best dealt with in the mix rather than at the mastering stage. If Mazen thinks it will be easier and faster to correct a problem this way, he will suggest that the band or artist supplies a tweaked mix rather than working on a master that won’t reach its full potential. He elaborates: “Sometimes you might cut at 20Hz [on the master bus] if there’s too much information. But that is best done at the mixing stage. If you have a high string with low rumble, cut the rumble [on the track].” He also suggests avoiding certain types of EQing in the mix to ensure the best results can be obtained at the mastering stage. “You often get situations where the kick and bass aren’t working

mastered,” he warns. “Doing so will limit what the mastering stage can add. So, keep your limiting low if you use it. I find people [overdoing the limiting] happens a lot, especially with dance remixes – they’ll send it turned up full. All I can do is turn it down 5dB or whatever, do whatever processing it needs and then turn it back up. Of course, that’s not great. But then if you mix it with the limiter on, and then take it off, your balance is going to change, so maybe send a version with and without.” And Mazen’s key tip? “Trust your ears. Just because you can, really doesn’t mean you should. Sometimes less is more.”

THE CASE FOR GOING PRO No matter what stage of the music-making

It’s important not to slam the compressor/ limiter at the mixing stage – it will limit what mastering can add

process you’re at, it’s good to get another set of critical ears involved. When you’re too involved you can’t always listen in the right way, and this happens to everyone, even the pros. “I was recording a band for months,” recalls Mazen, “and I was getting too close to it, so I suggested they bring somebody else in to mix it.” Then there’s the familiarity with top-end techniques and gear. “A mastering engineer

together because somebody’s boosted a shelf that’s covering everything. So, if the kick is around 100-120Hz, take a bit of that out of the bass. You don’t need any kick at 300-500Hz, so maybe take a little bit of that out too.” Similarly, give vocals and guitars their own space to begin with, which means that the master will sound even better. “Maybe the guitars don’t need boosting at 3kHz – perhaps boost them higher to make space in the 1-4kHz range for the vocal,” Mazen suggests. He also warns against pushing things too hard when mixing, especially the use of compression/limiting on the master bus. “It’s important not to slam things at your mixing stage when you’re comparing it to tracks that have been

is in one room, and he knows it inside out,” he says. “We can EQ for CD, vinyl… We know how to trick limiters for radio. We even did tests with the BBC.” Mazen points to a rack of gear against one wall. “That’s one of the best reasons to use a place like this [Metropolis]. Even the wiring is the best of the best! We have different clocks for all our digital equipment – some work better on different styles and even a tiny shift can change the whole groove. Nobody knows how to clock their system, it scares them!” So, what’s the catch? The price, though it’s not as prohibitive as you might think. “Our pricing is tiered and caters to all budgets,” Mazen tell us. Mastering with Metropolis starts at £60 for one track. Further info can be found at www. metropolis-group.co.uk.

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TOOLS OF THE TRADE TO MASTER your own tracks, there are a few

pieces of kit you will need to do a decent job. Let’s have a look at the essential ingredients of a mastering meisterwerk…

MONITORING THE POINT of mastering is to create a mix

that sounds great anywhere you hear it. This requires a decent pair of monitors – there’s no point troubleshooting a frequency only to find out that it was your monitors at fault, or to completely miss a problem sound because your speakers didn’t reproduce it properly. In general, the more you spend on speakers the better they’ll be, so this is an area that will demand your cash. Just as important is the room itself. Even the best speakers won’t sound any good in a poor acoustic environment, which can cause poor stereo imaging, a bumpy frequency response and general lack of detail. This is a topic in itself, but do take it seriously because without a decent-sounding room, you will struggle to create good mixes and masters. The things to look into are speaker placement and the use of acoustic treatment products such as bass traps and absorption/diffusion panels. Assuming you’ve got all that sorted, listen to as much different material as possible until you learn the limitations and idiosyncrasies of your environment. When

TAPE EMULATION Many modern producers are convinced that things

mastering, you should also listen to your tracks on many different systems. Even Mazen, who’s been using his exceptionally well-calibrated system and room for years, still checks on midfield speakers and even iPhone headphones from time to time. If your master sounds awesome in your room but unbearable on earbuds, then go back to the drawing board. If you’re really stuck, there are plugins that claim to compensate for flawed monitoring and poor acoustics, such as IK Multimedia’s ARC. These work to an extent, but they’re not a magic bullet, and you’ll get the best results using them in combination with a well-treated room and great speakers.

EQ THIS IS one of the most critical processes in

mastering. Two main factors affect how we hear a finished mix, and one of these is the frequency spectrum, so a good EQ is essential. It’s also important for setting the general tone of the finished master. All of the usual rules apply, but there are some special considerations that we will get into on the dedicated EQ page (p.138).

112dB’s Redline Equalizer has an auto-gain mode that’s massively useful in evaluating your tweaks or even remove – pumping. It’s important to choose the right compressor. Some are better suited for sounds with fast attacks, others will shine with smoother grooves. While valve and analogue emulation is all the rage, these models are not always ideal for mastering, where you often need something accurate yet not overly clinical.

MULTIBAND DYNAMICS THESE ALLOW you to compress and limit

A COMPRESSOR’S main use is controlling transients and groove. So, the process can be used to accentuate or smooth the punch of your bass and kick, or to add –

(and sometimes expand) different parts of the frequency spectrum individually. When troubleshooting bad mixes, this is an incredible boon as it allows a huge amount of control over each part of the mix. These tools can be used to tame bass, bring out vocals, reduce harsh top end and fix a multitude of other issues. It can also be used more subtly to pull together parts of a mix and add some sonic glue. With more bands come more problems, and we’ll look at some of those

us never listen to them on the sort of equipment

digital signal, then, but so can EQ, and without

they would originally have been played on.

distorting things.

COMPRESSION

So, do tape emulations have any real place in

Of course, there are some situations (such as a

used to be ‘warmer’ back in the days of analogue

mastering? Well, we think that warming is best

soundalike or a song intro) where you might want to

gear. They cite the cosiness of vintage recordings

applied at the mixing stage, rather than at the

properly mimic that warm and fuzzy style.

and seek out tape emulation and valve saturation

mastering stage. Instead of whacking a tape

plugins to try and recreate the sound for themselves.

emulator on your final mix and setting it to one of

But are they right?

the ubiquitous mastering presets, and then basking

The truth is complicated. Old recordings were

in the subtle distortion and compression, why don’t

made courtesy of analogue units, but it was hugely

you try applying the effects to individual channels

expensive high-end gear, jockeyed by highly

and use a compressor on your final mix? Most tape

specialised and gifted professionals. Such records

emulation plugins are based on multitrack tape

were often also completed in very laborious ways

recorders, and although they can add character to

(such as endless bouncing to accommodate a full

individual channels, they can also take away from

band using just a four-track recorder). Many factors

the clarity and dynamics of a full mix. Tape

contributed to the sound of old tracks, and most of

emulation can take some of the edge off a sharp

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Tape emulation plugins recreate analogue kit’s warmth, and are best applied at the mixing stage

free ebooks ==> www.ebook777.com MASTERING | MIXING & MASTERING issues later on. Multiband dynamics is not mandatory, and some mastering engineers rarely use it, or perhaps only a band or two. We’d say that if you’re relying on multiband dynamics to get a good sound, you need to work on your mixing.

same genre comes in handy. Play your favourite mastered tracks through the analyser and have a look how the meters behave, then compare it to your own stuff. If there are obvious differences between your tracks and theirs, this will give you some pointers on what to fix.

LIMITING LIMITERS HAVE become synonymous with the often overly-loud style of modern mastering. This processor prevents peaks in the signal exceeding a certain threshold, and so the signal can then be turned up louder without those peaks causing nasty digital clipping.

PROCESSOR ORDER AND GAIN STRUCTURE YOU MIGHT use some or all of these tools

frequencies, particularly in the bass. This way you can keep an eye out for such ear-evading problems. Stereo correlation meters can also help you to keep an eye on phasing issues (which can be introduced by stereo processors). So where to place your metering? As you’d imagine, stereo analysers should be placed after any stereo field processors in the signal chain (any decent stereo mastering plug should include one). Frequency analysers should be applied at least after your EQ, though ideally you want to be able to check what’s going on before and after the equaliser to see the effects, so we recommend you place two into the chain. Many modern EQ plugins feature built-in frequency analysis anyway. Dynamics processing can also have an impact on the frequency content, so we like to have an analyser right at the end of our chain, to check the final product. Try different analysis modes too, eg, some analysers feature an RMS/hold mode that gives an average of the signal’s frequency content, rather than a constant update. If you aren’t exactly sure what a good mix looks like, this is where playing back professionally mastered material in the

on any given track, but it’s no use applying the appropriate processors if you’re not using them in the right order. It’s vital to have an understanding of the signal path and how this affects your finished master. Firstly, processor order. Some tools will affect the quality of results further down the line. EQ, for example, affects the level of frequencies within the signal. This means it will impact on the results of any subsequent dynamics processors (since these react to signal level), particularly on heavy bass frequencies. For this reason, it is often a good idea to place your EQ before the compressor to ensure that it’s working on a well-balanced mix. The limiter should always come last in the chain. This is because it doesn’t just create loudness but is also a functional device for preventing clipping and overloaded signals. Gain structure is the second consideration. Each processor will affect the level a little, especially compressors and limiters, so be careful that none of them cause any overloading or add unwanted distortion. Any decent mastering processor will feature an input and output meter so you can be sure it’s getting enough signal and not overloading internally. Most modern plugins are tolerant of overly hot levels, but many still work best with a sensible signal level.

ALL-IN-ONE SOLUTIONS

its fifth incarnation. This mastering suite has quite

will come with certain limitations. You may find that

a lot to recommend it, offering compression, stereo

a certain tool within the package just won’t provide

imaging tools, EQ, frequency analysis, loudness

you with the results you desire.

Choosing individual plugins can be a real pain, so

slightly contentious) mastering reverb. It sounds

mastering plug-ins or bundles altogether. Indeed,

all-in-one solutions like IK Multimedia’s T-RackS 3

fantastic, too.

Ozone 5 and T-RackS 3 both offer individual effects,

STEREO TOOLS STEREO PROCESSORS come in a number of

flavours, with varied uses in mastering (more on this later), and are typically used to create a greater sense of space in the stereo mix, but this can have a knock-on effect on the clarity and focus of certain parts. You may also reduce the stereo width to create a more central punch. The most important things to consider when using stereo tools are that bass should usually be mono and vocals should normally take centre stage. Stereo widening often increases the perceived level of high frequencies: something to consider when EQing your mix.

SIGNAL ANALYSERS WE OFTEN say you should trust your ears above all else, and we stand by that. However, there are a number of reasons why even pro mastering engineers like having a visual meter on hand to guide and confirm their impression. When you’re mastering your own stuff in your own studio, using a meter is even more important because your monitors may have problems reproducing certain

Multiband dynamics tools allow you to isolate specific frequency ranges and process them separately

maximising, demonstrative presets and even (the

So, what’s the catch? Since mastering tools and

or iZotope’s Ozone 5 are appealling. But are these

We aren’t suggesting that you dismiss all-in-one

so you can use just the bits you like. The thing to

one-stop shops a good idea? Well, iZotope Ozone is

settings vary as much as music itself and the taste

bear in mind, then, is that you may sometimes get

one of our favourite such packages, and it’s now in

of the people who make it, most all-in-one solutions

better results by involving other plugins, too.

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EQUALISATION FOR MASTERING, you want a fully parametric

EQ with shelving filters for the top and bottom end, as well as a high-pass filter. This allows precise work on specific frequency ranges as well as broader top- and bottom-end adjustments. Something else associated with mastering is linear-phase EQ. Such tools are designed to eliminate phase distortion, which is caused by the tiny time delays introduced at different frequencies. While this problem is usually extremely subtle and often unnoticeable, it may affect further processing. The idea behind linear-phase EQ is to make the process ‘transparent’ by affecting the

Analogue emulations such as this one from Nomad Factory can provide a touch of warmth and smoothness

level of each frequency but not its phase relationship. Linear-phase tools are particularly associated with mastering because the signal chain at this point of the overall production process contains the full range of frequencies, meaning that any phase distortion across the spectrum is compounded. Linear-phase EQs have their pros and cons. The process preserves the shape of transients and waveforms rather accurately, but unlike a normal EQ that causes ringing after each sonic event, linear-phase tools spread the ringing before and after. This can be most noticeable in the bass, where it can produce a (subtle) ‘womp’ before bass notes and kick drums. Pre-ringing is increased by tighter Q values, so linearphase EQs are better suited to broad, gentle adjustments. They’re also good for left/right or mid/side EQing because they eliminate phasing issues caused by having different EQ settings on each channel.

OTHER OPTIONS WHEN IT comes to boosting, we often like

an EQ that imparts some character,

GETTING EXCITABLE One of the simplest tools for adding top-end sparkle to a sound is an exciter. This process can be carried out in a variety of ways, including generating higher harmonics based on the information in the signal, applying more traditional EQ boosting and subjecting the signal to other more unusual methods. For instance, BBE’s Sonic Maximizer range claims to introduce tiny signal delays at certain frequencies to compensate for the delays introduced within electrical circuits, such as those in monitor speakers. However they work, we’re wary of using exciters on the master bus. Firstly, if your mix is okay, you shouldn’t need to add too much to the top. Secondly, by adding to the harmonic mix you are increasing the amount of sonic clutter. While top-end is important for a clear-sounding mix, it’s equally important that you don’t overload the frequency spectrum or expose unpleasant harshness. In most cases we’d much rather use an EQ to add top-end presence and brightness, leaving exciters for individual channels. As Mazen confirms: “Maximisers and bass boosters affect the whole track, so they’re better used on just the parts that need it.”

Think twice about adding exciters at the mastering stage – you may be better off using them in the mix 138 | EXPERT HOME STUDIO HANDBOOK

FabFilter’s Pro-Q can operate in linear-phase mode, ie, the sound wont be subject to phase distortion perhaps one modelled on an analogue unit with a touch of valve warmth. Anybody who’s listened to a high-end analogue EQ will tell you that for boosting, many digital EQs aren’t quite as smooth at the top end or as solid and clear in the bottom end. This is especially true if you’re using it to add shelving EQ at the top end. For troubleshooting problem frequencies, giving a bit more presence to a vocal, or carrying out similar frequency-specific jobs, we find that a mix of analogue emulations and ‘digital’ EQs works well. Still, it entirely depends on the music and plugins in question, so use your ears. There is no one-size-fits-all for mastering EQs. We have a few favourites for different types of music and different applications, but what really matters is the settings you dial in. This makes infinitely more difference than the relatively subtle distinctions between different EQ types.

INSERTION ISSUES WE USUALLY insert EQ before any compression or multiband dynamics tools since it can really affect what these do. For example, if you don’t use low cuts (high-pass) on channels at the mixing stage, there can be lots of accumulated boominess down the bottom end. This can go unnoticed on smaller monitoring rigs as they often don’t reproduce the lowest frequencies, yet this sonic muck can trigger compressors and limiters, causing pumping and other issues. Therefore, it helps to put the EQ first, with a low cut engaged.

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STEREO PROCESSORS STEREO TOOLS are one of the newest

weapons in the mastering armoury, and there are a few ways in which these can affect the stereo field. One of the simplest is to delay one side of the stereo signal (or one side of a dual-mono signal), thus creating a perception of space. This is called the Haas effect, and its results range from subtle to disorientating. As the effect is not very natural-sounding it should be used with caution – we certainly wouldn’t use it on the master bus! Another way to create artificial stereo is to use a type of comb filtering that spreads the frequencies of a signal alternatively left and then right. This technique is more suitable for mastering and is offered by plugins such as Vengeance-Sound’s Stereo Bundle. As we’ve pointed out, artificial stereo isn’t the most natural-sounding thing in the world, and so a number of dedicated

wideners such as Waves’ S1 and Sonalksis’ Stereo Tools are available for those times when you need less-obvious stereo processing – when mastering acoustic genres, for example. These utilities essentially act like a mid/side processor, allowing you to adjust the balance between the mono and the stereo signals. This means that they can make the track seem wider without adding anything that wasn’t already in the signal. The downside of this, of course, is that they are no use for widening pure mono material. The last stereo tool in the mastering engineer’s toolbox is mid/side processing, as found in EQs and compressors. These tools allow the mastering engineer to either equalise or compress the stereo, or work on the mono signals separately. This technique can be used to increase the perceived stereo field. It can also be employed

Sonalksis’ Stereo Tools makes tracks seem wider without adding anything artificial creatively for things like making just your mono bass pump, or increasing separation between instruments by targeting them and bringing them out/pulling them in. Whichever process you use, the key to stereo processing is not getting carried away. You should always turn the effect off from time to time to evaluate the difference it makes. Take regular breaks, too, as it’s easy to get seduced by width. After a few minutes away from the studio, your refreshed ears should be able to tell if you’ve overdone it.

MULTIBAND DYNAMICS TOOLS AS WE stated earlier, dynamics processors have two main uses in mastering: controlling transients and making things seem fuller and louder. The primary tools for these tasks are compressors and limiters. But there is another use for dynamics processors in mastering, and that is to isolate and reduce or enhance specific elements and frequencies – for instance, get the bass pumping independently of the rest of the track. To do this, the signal must be split up into different frequency bands. Nearly every DAW features a multiband processor, and there’s no shortage of third-party plugins on the market either. When working with multiband dynamics tools, the most important thing you must do is get your frequency range right. If you get this badly wrong, you can severely upset the frequency balance of your track, ruin the groove, squash the dynamics or upset the mono/stereo balance.

The other important thing to remember is to avoid overdoing things. A little adjustment can make a big difference when you’re working with a multiband dynamics processor, as each band filter will probably be wider and blunter than the low-shelf setting on a good mastering equaliser. So, when you’re raising the gain of a certain section in order to bring it out more in the track, bear in mind that it shouldn’t need that much of a push. The last golden rule is not to tweak all five bands just because you have them sitting there in front of you. In fact, you might not need to adjust more

Multiband compressors such as Waves C4 make it easy to treat the bass separately to the top end than one. Does the track really need it? In other words, are you adding something that was missing; tidying or fixing something that’s already there; or giving a bit of life to a certain section? If you don’t need to do any of these things to your track, you probably don’t need multiband dynamics.

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MASTERING ROCK/ACOUSTIC TRACKS ACOUSTIC AND rock tracks can vary in style

and tone more than almost any other genre, so there is no one representative song we could choose for the accompanying tutorial. Instead, we chose one to highlight some of the variances found in the genre, and also to cover some other problems you can encounter in mastering tracks of any genre. So, what are the challenges of these ‘live’ genres? One of the main differences between a rock master and an electronic one is that you need to ensure things don’t sound overly synthetic. Excessive stereo wideners, unnatural exciters and extreme limiting and EQ can turn a human-sounding song into a clinical

exercise in flatness. You need to create a dynamic and real feel, ensuring there is adequate separation between the instruments while retaining their balance. You also need the vocal to be strong and true through the centre of the mix. The kick and groove are also important, but they tend to feature greater variety and inconsistency in timing than you would find in electronic music. You must be very careful with the settings, then, particularly when working with the timing of compressors and limiters. For example, tempos are generally far less strict than pop or dance, both in terms of the range of speeds used and the band’s ability to

hold an exact tempo throughout a track. The dynamics will not be as precisely controlled either, so you can’t often set the attack/release to pump to the beat as you can with dance music. To show you some of the tricks we use on rock masters, we’ve taken a live demo jam by singer Zena Kitt (www.zenamusic. com). Recorded quickly, it comprises a vocal, acoustic guitar and drums. We need to make sure that it sounds full and balanced, as well as give it a little life. As the track is the result of a jam rather than a proper multitrack recording session, we have to inject some sonic character that isn’t there, while still retaining the pleasing live vibe of the recording.

STEP BY STEP TAMING THE DYNAMICS

1

We add a tape emulator set to high-speed tape (30 ips) to preserve top-end. Our track is pretty lo-fi, so

2

We use Abbey Road’s TG Mastering Pack for a classic EQ. In the Filter, we add 1dB of Presence at

3

In the slot after the EQ, we insert Waves’ SSL G-Master Buss Compressor. Threshold of 8.5

we want to keep top-end clarity; the track count’s low

10kHz; Low-pass knob down to 20kHz, to roll off harsh

gets the needle to 4dB – nice on this compressor.

so it gives gentle cohesion without muddying it. With

top. In the EQ, 1dB of boost at 2.05kHz, Medium Q

Every compressor is different, though A fast Attack of

a busier track, we’d only use this type of plugin on

settings to give the vocal body. We skip two plugin slots

1ms and slow Release of 1.2 prevent the drums being

individual channels, but this track won’t overwhelm it.

and add Brainworx Control, Mono-Maker up to 100Hz.

too thumping, a 4:1 Ratio finishes things off.

Mid/side EQ courtesy of PSP oldTimerME to bring

Vengeance-Sound Stereo Bundle adds top shelving

We add FabFilter Pro-L, avoiding extreme Attack

4

5

6

peaks, which can be overbearing in a basic mix. We set

area (1.5kHz), then add a push at 1kHz to the mono EQ.

notes drift. Using just Slate Digital’s FG-X’s main

it on the Mono channel, turn off Auto and dial in a slow

We apply compression to the sides. It’s now brighter

processor, we raise the Gain until the RMS level is

Attack and fast Release with medium Compression

and wider, with a warm, distinct centre. We turn up the

about -10dB, protecting peaks and transients while

and 2:1 Ratio. We tweak it to accentuate the vocal.

Mono Level for a balance of presence and width.

raising the level. Then a simple 13-second fade-out.

out the vocal in the centre. Valve mode softens the

140 | EXPERT HOME STUDIO HANDBOOK

to the stereo signal. We dip a little out of the vocal

and Release settings as kick and lower guitar

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PRO MASTERING TIPS MOVE THE BASS IF YOUR bass is muddy, try using mid/side

EQ. “You can take out the bass where it doesn’t need to be, if there’s a bit of spill into the stereo,” says Mazen. By reducing clutter from the stereo field, the centre bass can poke through and it’s not getting muddled up in the busy side signal.

COMPRESSION AFFECTS WIDTH A NARROW mix can be widened using mid/ side processing, as compression and gain on the outer frequencies will accentuate them. Just be careful not to obscure important parts in the centre, like bass and vocals. An overly wide mix can be reined in by compressing the centre signal, then raising its level back up.

TRICKSY KICKS IF YOUR kicks are cutting through too much yet turning them down takes out too much, try compression with a fast Attack and/or slow Release. Conversely, if your kicks don’t come through enough, try a slow Attack to let the crack of the kick through, plus a fast Release. Multiband compression can zero-in on kicks.

DROP THE OUTPUT WHEN CREATING MP3s, you’ll often get better results by converting from a WAV that has been mastered to a slightly lower output level than 0dB. Mazen suggests -0.5dB. “I did the tests myself,” says Mazen. “The difference was unbelievable.”

USE MULTIPLE LIMITERS “DON’T JUST use one limiter,” says Mazen. “I have two or three, each doing a little bit.” This allows you to gradually scale up the

limiting. Two limiters with 1.5dB of gain reduction could sound louder and punchier than the same limiter with 3dB reduction.

TOO LOUD TO BE PROUD IT’S A misconception that mastering alone is responsible for loudness, as any track’s potential for ‘going loud’ is really down to how well it’s mixed. If your mixes fall apart when pushed as loud as commercial ones, it’s likely to be your mixing that’s at fault and not the mastering.

CUT BEFORE YOU BOOST “IF YOUR mix is too dull, don’t add top end,”

advises Mazen. “Try taking out some bottom end first.” There’s only so much space in a mix, and too much of one thing will obscure others.

KNOW THE LIMITS “FOR THE radio, sometimes louder isn’t better,” Mazen says. “Most people think that to get your tracks really loud on radio you need to limit them, but we’ve done tests and if you limit it too much at mastering it will be quieter on radio once it’s gone through their system.”

DO DITHER DITHERING IS a complex subject, but all you really need to know is that you should apply it at the very end of your mastering chain, after all other processors (many master limiters include dither for this very purpose). Dither makes a very subtle difference that you may only hear on the quietest parts of your track, but it’s dead easy to apply, and there’s no reason not to do it, especially when

Using multiple limiters when mastering can make your track sound punchier and louder rendering out to 16-bit WAV (eg: for CD). So just do it!

NOTCH THE KICK “DON’T USE shelving EQ to boost your kick,” Mazen warns. “When you do this, you are boosting all the harmonics too. Always use notching to just control the thud of the kick. Make sure you need to boost it, rather than making space for it in your bass using EQing and sidechain ducking.”

RAMP UP THE VOCALS IF A vocal isn’t cutting through, Mazen

uses EQ. “I go to the centre and add some mids. I boost around the 2, 2.7, 3kHz range, depending on the vocal tone.” He may also use a mid/side processor to make the centre channel louder.

HAVE SOME RESTRAINT “JUST BECAUSE I have these great tools doesn’t mean I have to use them on everything,” Mazen warns. “If the music’s well-balanced, maybe I don’t need a compressor. It’s all about gain structure. You want to turn your track up but you don’t want to ruin the transients.”

BACK TO THE DRAWING BOARD

When EQing a kick drum, it makes sense to use notches rather than shelves

IF YOU find yourself using effects to excess, chances are you aren’t dealing with a good enough mix. We DIY types have the luxury of being able to revisit the project and make the necessary adjustments right there. So, make sure your mix is up to scratch rather than trying to force it over the final hurdle that is mastering.

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PROMOTE YOUR MUSIC ou’ve created music that has been written, played, recorded, mixed and mastered to sheer perfection. Depending upon your reason for making and recording music in the first place, now might be the time for the rest of the world to hear what you’ve got! In this golden age of social media, music is everywhere and readily available to all. The real trick is getting your music heard, reaching the global audience it deserves. The good news is that you don’t have to rely on the record industry PR machine to do that – many of today’s biggest artists are masters of DIY promo. In this section, we’ve drafted in an industry expert to run you through the best places to promote your music online. Time to say, “Hello world!”

Y

142 | EXPERT HOME STUDIO HANDBOOK

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HOW TO PROMOTE YOUR MUSIC ONLINE A&R and music producer Skip Curtis takes a peek behind the marketing curtain to bring you the best places for promoting your music online n the infinite sprawl of new music available online, getting heard and noticed is one of the biggest challenges facing new artists. The industry will always pay attention to artists that can afford to pay PR firms to land a big online premiere and service their music to the tastemaker press; but there are more and more ways for artists to promote themselves online and build their fan bases in-house. Here are the 10 best sites for promoting your music online.

I

SOUNDCLOUD SOUNDCLOUD IS the ‘industry’ new music king. This is where A&R scouts and bloggers tend to source new music. The site generates over 175 million unique listeners a month, so it’s an ideal place to establish a fan base. SoundCloud is great for following and collaborating with other musicians, especially remixers, and it’s an essential place for artists to upload and tag their music. The SoundCloud player is also the embedded link of choice for blogs, press websites and other media mainstays like Facebook and Tumblr. Easy to navigate and with tons of users, SoundCloud is a no-brainer.

YouTube is your biggest chance to go viral – it is still the site of choice for most listeners

YOUTUBE WITH OVER a billion users, YouTube is

potentially the biggest tool that artists can use to promote themselves. This is your biggest chance to go viral and YouTube is still the site of choice for the everyday listener. There seems to be two main approaches when it comes to getting mass YouTube hits; either do something totally new and original OR do a cover… There are countless established career musicians who have built their fan bases from a well-lit, well-recorded video cover version. A creative YouTube video can do wonderful things for your career.

REDDIT SoundCloud is great for getting music industry exposure – A&R scouts use it to source new music

AS LONG as you play by their rules (of which there are many!), Reddit can be a

great way to get a lot of listens and plays FAST. For the unenlightened, Reddit is essentially a link-sharing site; users post url links to music and other users have the ability to ‘upvote or downvote’ the links depending on if they like them. Just a handful of ‘upvotes’ on your link can start a snowball of upvoting and give a real boost in plays, which can lead to your music being promoted in Reddit’s infamous ‘Hot’ list. Be prepared for the odd troll though!

INSTAGRAM SINCE IT introduced video clips to its

repertoire, Instagram has become an increasingly influential way of sharing new music. It’s a great place to upload snippets of new material and behind-

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FIVE ELEMENTS OF ONLINE PROMOTION Your ‘in a nutshell’ checklist… 1. COVER You’ll get more passing trade from searches on YouTube by uploading a cover version. The US band Boyce Avenue launched themselves after having huge success doing this.

2. CROSSOVER Choose some popular artists that have fans who you think might be interested in your music. Post friendly introductions to your music on their forums, YouTube videos and profiles with links to find out more.

3. NETWORK Don’t just gig with other bands – promote each other and share fanbases. And don’t be shy about tactfully posting a link to your songs on the Facebook pages of venues

AWAL, or ‘Artists Without A Label’, allows users to digitally release their music globally the-scenes footage of yourself in the recording studio. With the right hashtagging, your content can really start racking up the views. If it’s good enough for Madonna, it’s good enough for you.

you’re playing because they will rarely

AWAL

do it for you.

‘ARTISTS WITHOUT A Label’ is a digital

4. INCENTIVES Separate yourself from the pack and keep people coming back – for example, release ºa new song free every month until you have an album after a year.

5. WATCH Look at other local artists: how well are they doing? How do they present themselves online? Take notes and see if it shows up any holes in what you’re currently doing.

distribution platform run by the forward thinking publishing company Kobalt. AWAL allows users to digitally release their music globally in pretty much the same way that record labels do; except with AWAL, the artist keeps all their rights and ownership. As long as you pass their quality control (make sure your recorded audio is acceptable) then AWAL can make your music available via every major online retailer including iTunes, Spotify, Deezer and Beatport. (Wow, I know.) They take a 15 percent slice of everything you earn from online sales, which is very reasonable for the service they provide.

LAST FM

Last FM allows users to recommend music they like to others 144 | EXPERT HOME STUDIO HANDBOOK

LAST FM allows users to recommend music they like to others online, through a process called

‘Scrobbling’. This is essentially a notification sent to the website indicating what song that particular user likes. This is a great service for music consumers, but as music makers it’s also a great place to get your music shared around. For some kind of context, to date there have been more than 43 billion ‘scrobbles’ on the site. Artists sign up (for free), upload their music to the official playlists, get a couple of friends’ scrobbling and you’re away.

TUMBLR TUMBLR IS an easy-to-use microblogging site that allows users to ‘like’ and reblog/ share content from other Tumblr users and pages. The website is very customisable and user friendly and lots of artists use it exclusively as their main website (Frank Ocean for example). At present Tumblr hosts over 234 million blogs. Tumblr users tend to post images and pictures more than heavy written content so make sure your posts and links are eye-catching and tagged accordingly. Also, prepare to be inundated with gifs; Tumblr users love gifs!

TWITTER EVERYBODY KNOWS the power of Twitter by

now – 140 characters to grab the attention of readers and win the hearts and minds of potential followers. Twitter

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VOICES OF EXPERIENCE Some top tips from the industry’s brightest…

BE PROLIFIC Ed Sheeran: “If I’m a fan and every month I have got new music to listen to, it doesn’t matter whoever it is, I’m going to become more of a fan, just because there’s more music to listen to. So if you are a singer/ songwriter trying to build up a fanbase, the best thing to do is just to release as much as possible.”

Earbits allows users to upload and share music whilst earning ‘Groovies’ to help promote artists

GO TO THE PEOPLE

is an essential place for artists to promote their new music. Like with the majority of sites listed here, clever hash-tagging can bring in a lot of traffic but the real trick with Twitter lies with genuine interaction between users and potential fans. Use the search tools to find people in your demographic who post about new music; and follow them. It’s also a great tool for finding the accounts of magazines and websites that are the most likely to review and feature your music.

Ron Pope: “Wherever people live, that’s

EARBITS EARBITS IS a commercial free, hand-

curated online radio-streaming site that allows users to upload and share music whilst earning ‘Groovies’ – a kind of social currency that helps promote certain artists. Users can add songs they like to their own libraries, which are easily sharable with other sites like Twitter and Facebook. For artists signing up, as with AWAL there’s a quality-check to pass first, but once you’re in your music will be added to the editors’ categorised playlists. Like with Last FM, your success on this site will rely on a handful of friends and fans having profiles too so they can give your music that initial spike of sharing and promotion to really make using a site like this worthwhile for promotion.

promote their releases but there are also some simple etiquette rules to adhere to. Firstly, spamming people will generally get you hidden or un-followed. Secondly, don’t sound too desperate, there’s nothing cool about the band who beg fans to ‘Please, please share our new single!’ Thirdly, schedule your posts so that yourselves as members of the site and your core network of friends and fans will re-post and share accordingly so that you stay in people’s timelines. Lastly, ‘sharing’ is massive on Facebook, but people generally only do it if you ask them. Ask fans and friends to share your content (without sounding desperate): ‘If you like, please share it.’

where you have to go with your music. There’s no such thing as mystique now. You’ve got to live where the people live; if people are on Twitter, you have to be on Twitter.”

GIVE IT AWAY Gabrielle Aplin: “It’s just using all of those resources to your best advantage – Facebook, Twitter, all that. Putting your music online is really important, too, for free! I don’t think you should sell your first EP for £5, or whatever. You shouldn’t even care about money – just about getting it out there and making the most of all your opportunities.”

FACEBOOK SHARE AND share alike. Facebook is still an

absolute must for new artists looking to

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