Cheap Advice On Music

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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The monitor speakers you use while mixing and mastering are a key factor in how your mixes will sound on someone’s stereo or in someone’s car. Although there are reasons to use headphones to verify the details of your mix (see my article Check Your Mixes In Headphones), there is no doubt that a good set of monitor speakers are required if you want your mix to sound good on a wide range of systems.

Sadly, though, the room you do your mixing in has a huge effect on how your monitor speakers actually sound, and the effect is usually to mar the sound in some way, generally by over- or under-responding to certain frequencies or frequency ranges. The room shape and dimensions, wall reflectivity, etc., are optimized in “real” mixing studios so that the overall frequency response is essentially flat. But what if you do your mixing in a basement or spare bedroom? Acoustic treatments are expensive, and no, egg cartons don’t work. So what to do?

One workaround that will definitely improve the situation is to put an EQ box between your DAW output and the monitor speakers. I use a 15-band unit, but any kind of EQ will help. Listen to CDs that you know well, and adjust the EQ a little at a time until the system consistently “sounds right.” In most cases you will apply the same EQ to both speakers, but if one of them is in a corner it may need a little extra bass reduction.

(An expanded version of this Mini-Tip appears in my eBook Cheap Advice On Home Recording.)

I can still remember the very first time I heard music through stereo headphones. It was (ahem) 1960 or so, and I was in the home of neighborhood buddy Kevin Ritchie. (When I say “neighborhood,” I mean that Kevin, a doctor’s son, lived on the street where the rich people lived, just around the corner from my neighborhood.) Kevin put on his dad’s favorite record by twangy guitarist Duane Eddy, put his dad’s headphones on my head, and said “Listen to this.”

Wow! I don’t think I had even heard stereo through speakers before that moment, except the time my high-tech cousin George made me lie face-down on his bed to listen to a taped comedy program that he played through his stereo headboard. That twangy guitar music sounded incredible in the headphones - it was the coolest thing I had ever heard! Of course, I immediately developed Stereo Envy, since my own Bozo the Clown record player was a mono unit.

These days, much if not most listening to pop & rock music takes place via headphones (or, agh, earbuds), so it is more important than ever to give special thought to the left-to-right stereo image you are creating inside your listener’s head as you mix. One method I use when mixing for headphone listening is the Triangular Approach, which attempts to produce a pleasing, non-jarring stereo image that will not distract from the music.

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Most home recording engineers are accustomed to recording a metronome-like “click track” to keep all the parts on the beat as the song is built up. The click track serves as a “rhythm guide.” It gets erased when the track it’s on is needed, which is OK because by then the drums are usually on there keeping the beat.

Let’s take this “guide” idea a little farther. Some of my more exotic arrangements are rather complicated, with repeated segments (a little different each time, natch), shortened or lengthened lines, very long solo sections, untoward key changes, etc. When I’m recording tracks for this song - the rhythm guitar, let’s say - the hardest part is remembering which segment is coming up next (is it the bridge?) and exactly when the change occurs (now? now?). This makes it hard to concentrate on the music. What I need is someone to signal me somehow when these changes are coming….

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