Studio process 2

These are some of the trails ans tribulations of what I had to learn the hard when trying to enter the music business.  Before I relieved to invest in my own studio. I had sent thousands of dollors on studio time, but I wasn't experienced enough to record at that level to make them recording sessions count in regards to making an impact in the music scene.  The experience of building my own studio for what waits ahead in the future.  At the present day I can produce, write,  and mix my own songs.   Bring so busy I rarely have the time to do all three, but its more yhem benefitial to have the option to save money in that aspect if I needed to.  I must admit there is something special when you make a hot song right at the studio. But if a songs hot its hot no matter how it came about.The absolute biggest reason to build your studio up piece by piece (or a few pieces at a time) is that it forces you to learn your gear. I mean really learn your gear inside and out. Think about it: if you buy an entire mic collection from day 1, after a handful of recording sessions you might only have scratched the surface on what your mics can do. Contrast that to the person who starts out with a simple $100 microphone for a couple of years. After the same handful of recording sessions, that one mic guy is going to the full capabilities of his only mic because he’s been forced to lean on it alone to get all of his dToo many people have too much gear that they know too little about. This trend plagues the home recording market and creates a plethora of weakly formed opinions on the gear in question. Budget gear would haveFor those of you who don’t have money growing on a tree in your backyard, then you’ll appreciate this. One of the best things about investing in studio gear slowly is that you get way more value out of your purchases. Financially you are spending the same amount of money on paper, but in reality you are spreading those purchases out over time, allowing you to squeeze as much musical juice ouIt’s also a way of forced deferral of money being spent. If you wait to get that DAW upgrade next year, you allow yourself time to make some extra cash to pay for it. And all the while you are getting more projects done with your current DAW version. Thus you get more value for money already spent. Plus you are learning more about your DAW t of every dollar you spend. better reviews if people actually took the time to use the darn stuff!

Studio process

There are a few different ways you can approach this process, if u have took the time to save our money and invest the time and money to secure your own recording studio.  If you havent, the best way to go about gettin your music recorded in costly manner is get your beat from whoever.   Anyone who you know wh o make beat, or something that I do is lease beats off the internet.   This is a cost effective way to get material recorded but save cost on the production of the song recorded.  You should write your lyrics before going to the studio because save money and money on your recording process, but if you invested in your own studio, you have to pay some money at first but it will be more benefitial in the end.  You can record without any future cost.  Having your own studio give You more time to create at a natural pace rather then feel pressured to finish a song in a set amount of time. This whole post is predicated on the fact that you actually have money to spend. But let’s be honest, many people today are spending money they don’t have. All it takes is 30 seconds and a credit card to become a slave to some financial institution.If you are going into debt to buy recording gear, you are foolish. There aren’t many things in this world worth borrowing money for, and studio gear is definitely not one of them. For every person who drops $1000 of money they don’t have on gear that they want, there’s some teenager in his parent’s basement making a better sounding EP on an old laptop with free software. Am I against spending money on gear? No way! But the best way to pay for your gear is with money. Actual money. So invest slowly, over time, when you can actually afford to buy, and you’ll avoid the debt trap. This is especially important for those of you trying to run your studio as a business. The only way to really make a living is to run your business debt free. It keeps your overhead low, and forces you to make money with the gear you have, which you can then reinvest into your studio. What a concept!

Some facts on mirophones!

Tips for Independent Artist!!! Ribbon microphones use a thin metal ribbon suspended in a magnetic field. The ribbon is electrically connected to the microphone's output, and its vibration within the magnetic field makes the electrical signal. Ribbon microphones are similar to moving coil microphones, both produce sound from magnetic induction. Basic ribbon microphones detect sound in a bi-directional pattern because the ribbon, which is open to sound both front and back, responds to the pressure rather than the sound pressure. The front and rear pickup can be a problem in normal stereo recording, the high side rejection can be used to by positioning a ribbon microphone horizontally, Other directional patterns are produced by enclosing one side of the ribbon in an acoustic treated room, allowing sound to reach only one side. Protective wind screens can reduce the danger of damaging a vintage ribbon and also reduce plosive sounds in the recording. Most are designed with wind screens to unwanted attenuation. Like other dynamic microphone, ribbon microphones don't need phantom power, the voltage can damage some older ribbon microphones. Some new modern ribbon microphone designs have a preamplifier and do require phantom power. Also there are new ribbon materials available that are immune to wind blasts and phantom power. Dynamic microphones work by electromagnetic induction. They are robust, inexpensive and resistant to moisture. This, coupled with high gain before feedback, makes them good for on stage use. Moving-coil microphones use the same dynamic principle as in a loudspeaker, only reversed. A small movable induction coil, positioned in the magnetic field of a permanent magnet, is attached to the diaphragm. When sound enters through the windscreen of the microphone, the sound wave moves the diaphragm. When the diaphragm vibrates the coil moves in the magnetic field producing a varying current in the coil through electromagnetic induction. A single dynamic membrane does not respond linearly to all audio frequencies. Some microphones have multiple membranes for the different parts of the audio spectrum and then combine the resulting signals. Combining the multiple signals correctly is difficult and designs that do this are rare and tend to be expensive. There are on the other hand several designs that are more specifically aimed towards isolated parts of the audio spectrum. The AKG D 112, for example, is designed for bass response rather than treble. In audio engineering several kinds of microphones are often used at the same time to get the best result.

Some Facts on Microphones!!!

Tips for Independent Artist!!! The condenser microphone was by E. C. Wente, however it can also be called a capacitor microphone or electrostatic microphone—capacitorscondensers. The diaphragm of the mic acts like one plate of a capacitor, and the vibrations produce changes in the distance between the plates. There are two types depending on the way you get the audio signal from the transducer. DC based microphones, and radio frequency or high frequency condenser microphones. With a DC microphones plates have a fixed charge. The voltage across the capacitor plates changes with the vibrations in the air. The assembly of fixed and movable plates is called an "element" or "capsule". A constant charge is keep on the capacitor. As the capacitance changes, the charge across the capacitor does change very slightly. Within the time frame of the capacitance change the charge is constant and the voltage across the capacitor changes fast to reflect the change in capacitance. The voltage across the capacitor varies above and below the voltage. The voltage difference between the bias and the capacitor is seen across the series resistor. The voltage across the resistor is amplified for performance or recording. In most cases, the electronics in the microphone itself contribute no voltage gain as the voltage differential is quite significant, up to several volts for high sound levels. Since this is a very high impedance circuit, current gain only is usually needed, with the voltage remaining constant. AKG C451B small-diaphragm condenser microphone RF condenser microphones use a comparatively low RF voltage, generated by a low-noise oscillator. The signal from the oscillator may either be amplitude modulated by the capacitance changes produced by the sound waves moving the capsule diaphragm, or the capsule may be part of a resonant circuit that modulates the frequency of the oscillator signal. Demodulation yields a low-noise audio frequency signal with a very low source impedance. The absence of a high bias voltage permits the use of a diaphragm with looser tension, which may be used to achieve wider frequency response due to higher compliance. The RF biasing process results in a lower electrical impedance capsule, a useful by-product of which is that RF condenser microphones can be operated in damp weather conditions that could create problems in DC-biased microphones with contaminated insulating surfaces. The Sennheiser "MKH" series of microphones use the RF biasing technique. Condenser microphones span the range from telephone transmitters through inexpensive karaoke microphones to high-fidelity recording microphones. They generally produce a high-quality audio signal and are now the popular choice in laboratory and recording studio applications. The inherent suitability of this technology is due to the very small mass that must be moved by the incident sound wave, unlike other microphone types that require the sound wave to do more work. They require a power source, provided either via microphone inputs on equipment as phantom power or from a small battery. Power is necessary for establishing the capacitor plate voltage, and is also needed to power the microphone electronics. Condenser microphones are also available with two diaphragms that can be electrically connected to provide a range of polar patterns (see below), such as cardioid, omnidirectional, and figure-eight. It is also possible to vary the pattern continuously with some microphones.

The importance of mixing (part 6)

Now that I have broken down, some simple introductions into getting familiar with recording and mixing capabilities with hard work and dedication you are on your way to becoming a well rounded artist and music engineer.  We have cover some of the basics, we have discussed various tools used to manipulate your audio with dynamic processing within your protools software.   We have covered compression,  which is a dynamic processing tools used to increase or decrease your the frequencies of your sound source.  Also,  we have went over the fundamentals of equalization which is the act of altering low ,med and high frequencies within a audio signal.  another audio dynamic processing feature of protools that we have discussed is reverb, this feature manipulates audio to duplicate how audio would sound in a small roon versus a large room that give off different frequency reflections when the sound bounces off the walls around it and the amount of space within the room.  In my last post I explained the importance of incorporating chorusing within your mix, this alters your audio to give off a doubling effect that is useful in specific situations when trying to enhance the audio desired.  In conclusion to my six part blog on the importance of not just being an amazing artist, but developing an all around skill basis to have more control over your music creation. 

The importance of mixing (part 5)

Another crucial part of the of the mixing process is understanding and applying the dynamic processing called chorusing.  Chorusing is the Process  manipulating any sound source which was recorded without any ad libs or under dubs but applying chorusing it creates the effect that there were multiple takes recorded underneath the fundamental or first recorded audio.  This effect is a very useful tool when mixing your project.  In most cases I only use this effect if I am mixing singing vocals and I may not be able to get the singer back into the studio at the time of mixing so them extra vocals I may need but not able to get, so to reproduce the effect of multiple voices.  Thid tool is adds dynamics to your vocals or instruments. Depending on how u master this tool you can apply this without even have to use extra vocals on specific types of songs.  The tools splits the audio with a delay to make the vocals or instrument output slightly after the original vocal which creates the effect that more audio takes were recorded but its just the chorus manipulating the audio to create is effect.

The Importance of Mixing!! (Part 4)

After you have added reverb to your recording another cool dyamic processing tools that comes with your protools software is audio delay.   Delay is an audio effect that records your input signal, (with is your vocals) to an audio storage medium,  then plays it back after a period of time.  The delayed signal can either be played back multiple times,  or played back into the recording again to make the sound continuously repeat. In pop and electronic music delay is used faithfully an even in hip hop music.  Electronic guitarists use delay to produce layers of notes that complement the music.  Vocalist use it to add a dense quaility to their singing.  Extremely long delays of about 10 seconds or more are sometimes used to create loops of a whole musical sections.   This effect adds different dimensions to your recording, if done properly and at key points within your mix this will only appeal to your listeners more.  Delaying a particular part of a vocal or instrument can enhance your recording so mastering your delay tools is neccesary.  Another good tool to use along with delay is panning, which is directing your signal to the left or right speaker.  This tools used with delay can make delay sound that much better.  To have vocals bouncing around your mix, if done right will attract your listener.  These settle manipulations are what dynamic processing is all about within a mix.  There are many different types of delays though.  For example, there's pre delays, mono and stereo delays, ducked delays, distorted delays, ping ping delays, and slap delays.  So as you can see you must practice using these tools on a regular bases to know what is needed and at what instance it is needed. 

The importance of Mixing (Part 3)

After you have recored your vocals into protools, added compression and equalization,  your next step should be to try and enhance your recording by adding a dynamic processing feature call sound effects processing.   Sound effects processing are artificially created or enhanced sounds.  There are many didn't sub-groups that fall under sound effects, individual features or functions that manipulate your audio.  Depending on what you want done, there are numerous ways to take your recording to more entertaining level.  one of my favorite effects to use on a recording is reverb.  Reverb is a simulation of sound when sound reflects from surrounding walls or objects.   Basically,  a room simulator.  Some people confuse this with a delay effect with some filter,  but its way more complex then that.   Reverb can come in software plugins or external hardware units.  For example, if you are in a huge cathedral and yelled out, the reflections of your voice would make your voice sound fuller and wider. However,  if you were in a small bed room and you yelled the reflections of your voice wouldn't be nearly as full or wide.  This effect is often uesd in all kinds of music.  For you who are just starting to understand the importance if mixing this is a tool that you want to know how to use.  Using this tool little or to less can make the difference between a great song or one that doesnt gravitate to the public.

Pro-Tools Package for Independent Artist!!!

6 GOOD and AFFORDABLE!! Microphones for recording vocals! (Part 2)

4.  MXL V69 ME-  The V69 is a valve condenser microphone with a polar pattern of cardioid.  It has a slight lift in the top end but still have the warm characteristics of a high quality valve mic.  One down side to this microphone is it may require some equalization to get it to fit nice within a mix.  It has a naturally warm presence with an external power supply, it comes with a flight case, shock mount, windscreen,  interface cable and 3 pin XLR output cable.  This make has had great reviews and compares to thousand dollar microphones, but only cost $300.

5.  Avantone CR-14-  This is a ribbon microphone with a figure 8 ploar pattern.  It has a warm characteristics with a dark tone that responds well to equalization in the top end.  The CR-14 also is good for other instruments besides vocals,  such as a guitar, room mics, and drum overheads.  Its has a low mass ribbon characteristic with allows better sensitivity.  The structure of the microphone enables it to have an accurate transient response.  This microphone is valued at $260.

6.  sE2200T- This is a valve condenser with a cardioid polar pattern.  It was a small hyped top end boosting higher frequencies from the sound source.  It is equipped with a single large diaphragm which allows for a smoother warmer sound.   It has a 10dB pad to cut or boost amplitude and a 100Hz optional low-cut filter and transformer output stage.  This mic is also good to use on acoustic guitars or any sound source that you want to add air to.  This microphone is valued at $500.

6 GOOD and AFFORDABLE!! Microphones for Recording Vocals! (Part 1)

1.  The Shure SM57- The SM57 is a great dynamic microphone use for vocals as well as other instruments.   One of the best things its known for is its durability. This microphone can be used for your own personal studio and its good for stage performances.  One of the 57's best features is its natural presence booster which brings out the charity in vocals.  This microphone has a reasonable price of $80-$100.

2.   AKG D 5-Is a dynamic microphone and its polar pattern is supercardioid.  This microphone is silimar to the SM57, its design helps present feedback.   Its great for lead and back backing vocals, this mic is has a crisp sound that cuts through every mix.  It has a intergrated wind and pop screen for suppressing pops and breath feed.  This microphone will can cost from $130-$150.

3.  Rode M3- Is a condenser microphone with a cardioid polar pattern that runs off of phantom power.  It can also be powered by an internal 9V battery, it has a low self noise and high fidelity performance.   Its equipped with a frequency range of 40Hz-20kHz and cost $150-$ 180.  Its comes with a low cut filter to decrease on unwanted frequencies and another natural feature that it has is a pad of -10dB to -20dB to manipulate how much of the sound source is received when recording.  This microphone is good for studio and stage perfermances.