Cheap Advice On Music

In the Ancient Days, the only way to record a song was to get your guitar (or whatever) ready, hit the “Record” button and simply play the entire song straight through. If you wanted additional instruments or vocals, you listened to the existing tracks as you recorded those new parts, playing straight through the whole song each time.

The capability of “punching in” new material to fix weak passages in an otherwise great part began to break this pattern, but you were still basically playing (or singing) the song all the way through every time you put on a new instrument or vocal.

With the current-day DAW software that so many of us use (GarageBand, Logic, Cubase, etc.), you can still record a song this way if you want to. But, the amazing editing capabilities of even the simplest of these software packages allow you to take your creativity down paths that simply never existed before.

As an example, let me lead you through the process I followed to create a song that was never played all the way through by anybody, but rather was “assembled” from selected bits of previously recorded musical parts.

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Dear Puzzled,

Thanks for getting in touch. And don’t despair! Your idea for expanding your single-track song by panning copies left and right is spot-on. All you are missing is one concept and some techniques. (It’s not that common to have a song on a single track, but everything I will discuss applies to individual tracks as well.)

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OK, I admit it: I tend to be compulsively neat. Not to the point of mania, mind you, but I do like to tie up my cables in a harness, arrange my gear neatly, and replace my guitar strings in alphabetical order. (OK, I was kidding about that last one.)

Just as duct tape is a key tool for repairing all manner of things, for me those little Velcro squares you see in office supply departments are a “magic” solution to keeping small items in place that otherwise tend to go astray and become part of what recording engineers call “a big tangle of cables and stuff.”

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I got into computerized recording fairly recently, finally scrapping my trusty (or more accurately, dying) Yamaha MD8 (an 8-track MiniDisc recorder) and substituting a MacBook laptop running GarageBand, Logic Express, and Cubase. A quick rainy weekend spent rewiring the whole studio and I was ready to go!

To get audio in and out of the laptop, I bought an Audio Genie Pro two-channel interface from American Audio. (See my article A Simple Audio Interface For Your Computer for more info about this device.) The Audio Genie Pro’s two-channel limitation was not really a problem, since I usually only record one thing at a time anyway, even if there is another musician with me, which there usually isn’t.

A problem arose, though, when I went to transfer dozens of unfinished 8-track songs from the MD8 to the laptop before bagging the old gear. The MD8 lacks a digital output, and with only a 2-lane “audio highway” leading into the laptop via the Audio Genie Pro it would take four passes to transfer each song. Plus, the resulting tracks would have to be painstakingly realigned on the computer to bring them back into time sync. There had to be a better way!

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Here’s a mixing tip that applies to both home recording and live sound. With both types of mixing, your mission is to establish and maintain a balance of levels for the various instruments and vocals, while keeping the mixer controls set somewhere close to their “normal” positions. Specifically, the volume faders should never end up all toward the bottom or all toward the top of their range, as this indicates a problem with gain structure, which can result in noise and/or distortion in your final output.

Why would this happen? In a typical scenario, you start out with all the mixer faders at the default “0″ point, i.e. about 3/4 of the way up. (This is accomplished by adjusting the mixer’s Input Trim controls for each channel so that each input produces a “0″ peak reading on the output meter with its channel fader set to the “0″ point.) Then you set the mixer’s Master Volume control to produce a suitable sound level through the onstage speakers (or through your home-studio monitors). Everything looks great. Then the music starts.

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When we mix a song, one of the things we are always listening for is tonal balance - that’s right, the old bass & treble bit. Too much bass and it’s boomy or bottom-heavy. Too much midrange and it’s squawky or boxy. Not enough treble and it’s muffled or dull.

Of course, problems like this are relatively easy to hear, diagnose, and fix with a bit of EQ. Drop that bass, boost that treble! But what about subtler problems? What about cases where you know there’s something wrong with the EQ but you aren’t sure just what? No problem! Riding to the rescue is the spectrum analyzer, which allows you to see what’s going on with your EQ, so that you can fix the sound.

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When I first set up a simple computerized studio for MIDI-plus-audio recording, I used the audio hardware that came with my computer (a Windows machine from Hewlett-Packard) to get audio into and out of the Cubase software I was learning at the time.  Since I planned to record alone in that studio, my needs were simple.  I used an external mixer to route microphone signals to the “Line In” connector on the PC, and I used a MIDI-to-USB cable to directly input MIDI parts from a keyboard.  The PC’s “Speaker Out” connector was connected to a power amplifier and a pair of desktop speakers.

As I worked with Cubase, I came to realize that using the PC audio hardware was not the best approach for this kind of recording.  The main problem was that I was unable to use the various monitoring modes offered by Cubase, since everything that came in on the Line In connector came right out the speakers, whether I wanted to be hearing the input signal or not.  I needed a way to listen to only what Cubase was actually putting out as a monitor signal, not what I was putting in.

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Sharing your home-recorded music with others is easier than ever in these enlightened days of the Internet Age.  Your DAW, whether hardware or software, undoubtedly has a way of exporting your song as a WAV or AIFF computer file, which can be easily converted to a space-saving mp3 file.  The mp3 file can then be carried around on your thumb-drive keychain, loaded into your iPod, or even uploaded to the web for all the world to hear. Cool!

Still, there’s a special satisfaction in having an actual high-quality CD with your recordings on it to give to people - like family, friends, booking agents, whoever. And, for those who treat their music as fine art, the ability to design the CD label and the booklet and the back cover of the case presents a wonderful opportunity to extend the artistry and themes of the recorded album into the visual realm through its packaging. Let’s face it, a CD with well-designed artwork is a lot more impressive than one with “New Songs 09″ scrawled on the label with a Sharpie!

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