Wow! What a ride I'm on right now.
Over the past 2 years things have changed so much. I started this post when I was still in school studying audio production, and now I'm writing to you as a Technical Ops Manager at a broadcast network! Who knew?
While my professional position requires me to be a jack of all trades with video, audio, lighting, software and so on, I still want to continue giving you all tips on how to develop your home studio (whether audio production or video production).
Some of my recent projects have been producing a hip-hop mix tape with OBStykkle, an artist I met in Chicago and are now collaborating over the web from Chicago, IL to Tempe, AZ.
I have also been working on releasing a double single with Ember Oceans, an incredible talent from Paletine, IL.
Check back soon for updates on current projects, as well as home studio solutions!
TTYL,
BCEB
*Everything is relative.*
Friday, August 8, 2014
Wednesday, March 6, 2013
Studio Headphones
Welcome back everyone!
Today we are going to discuss several headphones that one may want in their studio. When you are recording at home, your artist should have a good pair of headphone to listen to themselves play. This goes the same if you are recording yourself, or listening to an artist. A professional quality pair of headphones will also come in handy when you are not able to listen to your session through your studio monitors. An example of this would be monitoring in an apartment or if you can't be loud in your environment.
Before we look at some headphones we need to know what the two different types of professional quality headphones are available. First we have closed ear headphones, which have a backing that covers the entire ear. These are the headphones that will give you complete isolation and block any outside noise. Then we have open ear headphones, which don't have a solid cover and allow for outside noise and air to get into the headphones. While this may sound undesirable, the outside air that seeps into the headphones eliminates resonance buildup in the headphones (resonance build up is a build up of frequencies, particularly low frequencies that sit in the mix).
Another consideration to take into mind is the frequency response of the headphones you purchase. If you are doing a lot of mixing, you probably want headphones with the most even response across all frequencies, almost flat. This will help give a more accurate representation of each sound in your mix.
One thing to note is that open ear headphones leak out what is playing in the speaker itself through the back on the headphone. This would be really undesirable when tracking instruments such as guitar or bass. If your artist is playing back to a click track in the headphones, you don't want the sound of that beep to leak into the microphone that's picking up the artists instrument.
Here are a few examples of professional quality closed ear headphones.
Sony MDR-7506
The Sony MDR-7506 is an industry standard when it comes to closed ear studio headphones. They are great for mixing, detailed listening, DJing, and recording.
As you can see, between 40Hz and 10000Hz, the response is pretty flat, except for a nice dip around 7500Hz and at 11000Hz. However, there is a nice bump up around 15kHz. The frequency response along with the quality of the product make this a desirable headphone to have in your studio. It's usually a good idea to stock up on a couple pairs in case you need to have multiple headphones feeds going at the same time.
Shure SRH940
The Shure SRH940 are another pair of closed ear headphones. These are designed for comfort and on the go go use for mobile project. Shure also allows the user to detach the ear pad and get the most comfortable size for you.
The frequency response on this pair of headphones has a nice boost in the mid range to give a nice tight low end. There is also a nice peak around 10kHz, which will keep the high end present in the mix.
Now we have some open ear headphones.
Sennheiser HD 800
These open ear headphones offers a realistic and natural sound field with minimal resonance. They also are built with a large transducer, which is what transfers electrical energy to acoustical energy, which means outside noise will not interfere.
As you can see these headphones have a very unique frequency response. There is a very nice curve from 80Hz to 2kHz. This will give for a very smooth low and with tons of middle and low presence. There are then peaks at 7kHz, 11kHz, 12kHz. There will blend in a beautiful high end with the curved frequencies. As you can also see, the amplitude peaks of each frequency are very close to each other, so the frequencies that are highlighted don't out do each other.
AKG K702
These are another pair of open ear headphones. The AKG K702s try to give a near linear response, focusing on producing accurate bass response, while still delivering clear highs. They are also designed to give the "perfect" amount of air passage from the open ear design, making these headphones extremely comfortable to wear.
The AKG K702 open ear headphones produce a similar response to the Sennheiser model previously mentioned. There is a nice curve from 80Hz to 900Hz, giving a precise low end without muddying up the middle. There are then peaks at 1kHz, 5kHz, 9kHz, and 12kHz. This will highlight frequency areas that will make the high end have a solid presence without interfering with other frequencies. Also with these headphones, the highlighted frequencies have peaks at even amplitude, meaning the frequencies don't over power each other.
There are many headphones to choose from and all different designs and styles. In the end, the best way to choose a pair of headphones is to listen to them before you buy them. Just like studio monitors, one pair of monitors or headphones may sound good to one person, but you may dislike the sound of them completely. With that being said, it is also a good idea to have a couple pairs of good headphones so you can record and listen at home. A good idea may to have a really nice pair of headphones for yourself, and a basic profession model for your artists or guests.
*Note: I didn't add any links or pricing to this post. Headphones can range greatly in price, but it does mean they are any better than another pair, just like mics and monitors. If anyone wants the links to any of these headphones just leave me a comment.*
Leave comments and feedback on headphone stories you have had, or other headphones you or your artists enjoyed using!
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
Today we are going to discuss several headphones that one may want in their studio. When you are recording at home, your artist should have a good pair of headphone to listen to themselves play. This goes the same if you are recording yourself, or listening to an artist. A professional quality pair of headphones will also come in handy when you are not able to listen to your session through your studio monitors. An example of this would be monitoring in an apartment or if you can't be loud in your environment.
Before we look at some headphones we need to know what the two different types of professional quality headphones are available. First we have closed ear headphones, which have a backing that covers the entire ear. These are the headphones that will give you complete isolation and block any outside noise. Then we have open ear headphones, which don't have a solid cover and allow for outside noise and air to get into the headphones. While this may sound undesirable, the outside air that seeps into the headphones eliminates resonance buildup in the headphones (resonance build up is a build up of frequencies, particularly low frequencies that sit in the mix).
Another consideration to take into mind is the frequency response of the headphones you purchase. If you are doing a lot of mixing, you probably want headphones with the most even response across all frequencies, almost flat. This will help give a more accurate representation of each sound in your mix.
One thing to note is that open ear headphones leak out what is playing in the speaker itself through the back on the headphone. This would be really undesirable when tracking instruments such as guitar or bass. If your artist is playing back to a click track in the headphones, you don't want the sound of that beep to leak into the microphone that's picking up the artists instrument.
Here are a few examples of professional quality closed ear headphones.
Sony MDR-7506
The Sony MDR-7506 is an industry standard when it comes to closed ear studio headphones. They are great for mixing, detailed listening, DJing, and recording.
Shure SRH940
The Shure SRH940 are another pair of closed ear headphones. These are designed for comfort and on the go go use for mobile project. Shure also allows the user to detach the ear pad and get the most comfortable size for you.
Now we have some open ear headphones.
Sennheiser HD 800
These open ear headphones offers a realistic and natural sound field with minimal resonance. They also are built with a large transducer, which is what transfers electrical energy to acoustical energy, which means outside noise will not interfere.
AKG K702
These are another pair of open ear headphones. The AKG K702s try to give a near linear response, focusing on producing accurate bass response, while still delivering clear highs. They are also designed to give the "perfect" amount of air passage from the open ear design, making these headphones extremely comfortable to wear.
The AKG K702 open ear headphones produce a similar response to the Sennheiser model previously mentioned. There is a nice curve from 80Hz to 900Hz, giving a precise low end without muddying up the middle. There are then peaks at 1kHz, 5kHz, 9kHz, and 12kHz. This will highlight frequency areas that will make the high end have a solid presence without interfering with other frequencies. Also with these headphones, the highlighted frequencies have peaks at even amplitude, meaning the frequencies don't over power each other.
There are many headphones to choose from and all different designs and styles. In the end, the best way to choose a pair of headphones is to listen to them before you buy them. Just like studio monitors, one pair of monitors or headphones may sound good to one person, but you may dislike the sound of them completely. With that being said, it is also a good idea to have a couple pairs of good headphones so you can record and listen at home. A good idea may to have a really nice pair of headphones for yourself, and a basic profession model for your artists or guests.
*Note: I didn't add any links or pricing to this post. Headphones can range greatly in price, but it does mean they are any better than another pair, just like mics and monitors. If anyone wants the links to any of these headphones just leave me a comment.*
Leave comments and feedback on headphone stories you have had, or other headphones you or your artists enjoyed using!
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
Saturday, March 2, 2013
Audio Signal Connections
Welcome back everyone!
We now have almost every element needed to create a strong foundation within the development of the at home studio! I have discussed how you will use your studio, different DAWs available on the market, several digital interface options, microphone options, studio monitors, microphone stands, even showing options of how one can take their studio on the road.
The last topic I must cover in order to create the solid foundation for the at home studio are audio signal connections. This is going be a bunch of cables and connectors one will need in order to route audio signal. We have our interface, microphones and monitors, now we need a way to get signal from all these sources and out to the listener or engineer.
XLR
The first type of connection, one of the most common connections, is XLR. This is the standard cable that one would connect to their microphone, and from the mic to the interface. This is what transfers the audio signal from mic (analog), to interface/DAW (digital).
These particular connectors are balanced, meaning the connection has both a send, return, and ground. This makes this connection very stable, and can be found on almost all professional audio gear.
The female end, which is the end that has insert and not prongs to plug into anything, will go into the mic. The male end with the prongs will go into the receiver, whether that be your interface, mixer, snake, compressor, monitors, or other effect processor.
Here is the bottom of a mic, which has the male connection, and the back on of Saffire Pro 40, which has the female inserts.
TRS 1/4"
Standing for Tip, Ring, Sleeve, this connection also is balanced and acts like the XLR. The tip, ring, and sleeve act as the send, return, and ground of the electrical signal. A common use for the connection would be send audio signal from a guitar to an amp, bass to an amp, amp to input on a mixer or interface, or sometimes even microphones.
Another use for this connection would be sending the audio signals coming from your interface to your studio monitors. This is usually done with TRS, but can also be done with XLR. In most situations I've been in, all monitor connections were done by using TRS connections.
When dealing with our interfaces, often times each audio input on the device will have a connection for both XLR and TRS. However, you can not connect both a TRS and XLR at the same time. If the interface you are using has 8 inputs, and you are using 4 TRS connections on 4 inputs, then you are only able to use 4 more XLR connections or 4 more TRS connections, or mixed and matched.
As you can see on the Pro 40, each input is able to take an XLR, as well as plugging a TRS directly into the middle of the input. This is another great feature of the Pro 40.
Here is the back of the KRK Rokit 5 studio monitor. As you can see, there is an input for both TRS and XLR for audio signal. This is how the signal gets transferred from the interface or mixer to the monitors.
Other uses for the TRS would be sending an instrument to a DI box, effect peddle, compressor, delay, reverb unit, and so on.
TS
A TS connection is very similar to TRS, only in this case the TS connection is unbalanced. Meaning this connection runs in mono, only having a send and ground, no return. Since this cable in unbalanced, there may be extra noise and not as clear signal being sent, but this connection will work the same as the TRS connection.
Note: Some devices and processors will not except a TS connection and will require the TRS or XLR connection in order to operate properly.
Another use for TS and TRS connections is here on the patch bay. The patch bay is a routing system that using audio connections to transfer signals from one location to another, just my simply connection the cable from source to destination.
RCA
RCA connections were released through the Radio Corporation of America, and were designed to replace old phono connections. RCA connections are capable of sending both the left audio signal, the right audio signal, as well as a composite video signal. This is a common connection used for those working on audio and video together.
Here is an effect processor that accepts TS, TRS, and RCA connections.
S/PDIF
The S/PDIF connections is a digital audio connection, that only sends digital signal to devices. This is very similar to HDMI, but HDMI also carries digital video signals.
Here is what an S/PDIF connection looks like, as well as the In and Out S/PDIF connection on the back of the Saffire Pro 40. Uses for the connection can be linking up a mixer or interface to the interface you already have, or sending the signals your are working with to a CD player, PA system, or other processing device. This connection may allow you to add more audio channels into your system by connection another interface.
Optical
The optical connection is a used to transfer high quality digital audio signals to other devices or loudspeakers. Again, this may be used to add more input channels to your system by connection more devices to your main interface. It may also be used to send signals to computers, video game systems, live sound systems and so on. This is a very strong connection because the signals are transferred through light, which means they travel extremely fast.
There are all the typical connections one will find in there at home studio. While there are several other connections in the audio field, most of the other connections deal with live sound applications, which is not what we are focused on.
It is my suggestion to stock up on XLR and TRS cables. To have about 10 of these each in stock will make sure you are ready for any recording or monitoring situation. Also if one cable goes bad or the connector breaks, you will have plenty more cables in your collection so there is no delay on the creative process.
Here are some links for purchasing cables:
XLR: http://www.sweetwater.com/store/detail/XLR20
TRS: http://www.sweetwater.com/store/detail/1/4in20/
Leave comments and feedback on what you think of these connections. Also, if you feel we should stock up on other cables and connections, please leave this information in the comments section so we can all learn! Stay tuned for my next post where we start to add extra features to our at home studio!
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
We now have almost every element needed to create a strong foundation within the development of the at home studio! I have discussed how you will use your studio, different DAWs available on the market, several digital interface options, microphone options, studio monitors, microphone stands, even showing options of how one can take their studio on the road.
The last topic I must cover in order to create the solid foundation for the at home studio are audio signal connections. This is going be a bunch of cables and connectors one will need in order to route audio signal. We have our interface, microphones and monitors, now we need a way to get signal from all these sources and out to the listener or engineer.
XLR
The first type of connection, one of the most common connections, is XLR. This is the standard cable that one would connect to their microphone, and from the mic to the interface. This is what transfers the audio signal from mic (analog), to interface/DAW (digital).
TRS 1/4"
Standing for Tip, Ring, Sleeve, this connection also is balanced and acts like the XLR. The tip, ring, and sleeve act as the send, return, and ground of the electrical signal. A common use for the connection would be send audio signal from a guitar to an amp, bass to an amp, amp to input on a mixer or interface, or sometimes even microphones.
When dealing with our interfaces, often times each audio input on the device will have a connection for both XLR and TRS. However, you can not connect both a TRS and XLR at the same time. If the interface you are using has 8 inputs, and you are using 4 TRS connections on 4 inputs, then you are only able to use 4 more XLR connections or 4 more TRS connections, or mixed and matched.
Other uses for the TRS would be sending an instrument to a DI box, effect peddle, compressor, delay, reverb unit, and so on.
TS
A TS connection is very similar to TRS, only in this case the TS connection is unbalanced. Meaning this connection runs in mono, only having a send and ground, no return. Since this cable in unbalanced, there may be extra noise and not as clear signal being sent, but this connection will work the same as the TRS connection.
RCA
RCA connections were released through the Radio Corporation of America, and were designed to replace old phono connections. RCA connections are capable of sending both the left audio signal, the right audio signal, as well as a composite video signal. This is a common connection used for those working on audio and video together.
S/PDIF
The S/PDIF connections is a digital audio connection, that only sends digital signal to devices. This is very similar to HDMI, but HDMI also carries digital video signals.
Here is what an S/PDIF connection looks like, as well as the In and Out S/PDIF connection on the back of the Saffire Pro 40. Uses for the connection can be linking up a mixer or interface to the interface you already have, or sending the signals your are working with to a CD player, PA system, or other processing device. This connection may allow you to add more audio channels into your system by connection another interface.
Optical
The optical connection is a used to transfer high quality digital audio signals to other devices or loudspeakers. Again, this may be used to add more input channels to your system by connection more devices to your main interface. It may also be used to send signals to computers, video game systems, live sound systems and so on. This is a very strong connection because the signals are transferred through light, which means they travel extremely fast.
There are all the typical connections one will find in there at home studio. While there are several other connections in the audio field, most of the other connections deal with live sound applications, which is not what we are focused on.
It is my suggestion to stock up on XLR and TRS cables. To have about 10 of these each in stock will make sure you are ready for any recording or monitoring situation. Also if one cable goes bad or the connector breaks, you will have plenty more cables in your collection so there is no delay on the creative process.
Here are some links for purchasing cables:
XLR: http://www.sweetwater.com/store/detail/XLR20
TRS: http://www.sweetwater.com/store/detail/1/4in20/
Leave comments and feedback on what you think of these connections. Also, if you feel we should stock up on other cables and connections, please leave this information in the comments section so we can all learn! Stay tuned for my next post where we start to add extra features to our at home studio!
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
Wednesday, February 27, 2013
Studio Monitor Options
Welcome back everyone!
We are now getting into the final stretch of creating the skeleton of the at home studio. The next essential step is to get a pair of studio monitors so you can listen to what you are working on. Working in headphones can be a great way to monitor, especially when working late and don't want loud sound, but headphones can often miss out of low frequency content and you may not be getting as clear of a mix as you think.
That's why we need a good pair of monitors to get accurate results when working on our projects at home.
When it comes to monitors there are two available types, active and passive. Active monitors are a designed so there is no external power amp needed to power the monitors. With active monitors, the amp is actually build in behind the speaker driver. This means the user can attached the supplied power cord, plug it in to the wall or power strip and the monitor will turn on.
As you can probably guess, passive monitors require an external power source to power the monitors. In this came we need a power amp, which will not only power the monitors, but in most cases will receive the audio signal and the monitors will receive the signal through the amp.
There are definitely some advantages and disadvantages to both designs. An advantage with active monitors is they will take up less space because the power supply is internal. There is also no need to spend extra money on a good power amp. However, since the power supply is build into the monitor housing, behind the speaker cone, there may be some hiss from the power amp that comes through the speaker cone. This may not be an issue to some, where as to others that are working with quiet sounds may need to turn their gain up on the monitors, which may cause more hiss to get through.
An obvious advantage to passive monitors is there is no hiss behind the speaker cone. Since the power supply is external, what comes out of the monitor is only the signal that's being fed into it. Another advantage to this monitor design is the manufacture can focus all their attention into the design of the monitor, and not worry about the amp that's going to power the monitor. With that, buying an external power amp can be very expensive. If the user doesn't have a high quality amp, even the best passive speakers will not sound good.
For the at home studio, being practical and saving money is the best option for us. One thing to consider when testing out monitors is there may not be a "best" choice. The best way to choose which monitor pair is best for you is simply to test the monitors before purchasing.
Here are some passive monitor examples:
Avantone Audio MixCubes
These passive monitors are 6 1/2" tall and have a 5 1/4" speaker, which makes these perfect for sitting on a desk. With a frequency response of 90 Hz - 17 kHz, these speakers are designed to mix in "real life" situations where bass is usually challenged. This can be when using an mp3 player, computer, car stereo and so on. With those missing frequencies you may not be able to get the most accurate mix as possible, but often times the frequencies not present with these monitors are never heard anyway.
These monitors are available through Sweetwater for $269.00 (pair).
http://www.sweetwater.com/store/detail/MixCubes/
Next we have a pair JBL Control 5 studio monitors.
The JBL Control 5 stands 15.25" tall and 9.875" wide. While these are a bit bigger than the Avantone monitors, these monitors offer a greater frequency response. Being able to reproduce sound at frequencies from 50 Hz - 20 kHz, these speakers will reproduce sound with great accuracy. With a tight design, these speakers can also fit in less than ideal areas to work and have the same great performance.
These monitors are available through Sweetwater for $338 (pair)
http://www.sweetwater.com/store/detail/Control5/
While there are monitor designs that feature higher quality materials in the construction, the Avantone and JBL monitors mentioned are more than enough to get great results in the at home studio. For the price, both these monitors are great for anyone working in small spaces or less than ideal monitoring areas.
Next let's move to some active monitors. These are going to be a bit different because of the build in power source. Here are a few designs of active monitors:
KRK Rokit 5
These active monitors have two build in drivers, one for the high frequencies and one for the low frequencies. These is what is going to give the power to the monitor. The KRK Rokit 5 stands 5" tall, has a frequency response of 52 Hz - 20 kHz, and has amplification of 30 Watts for low frequency and 15 Watts for high frequencies. These monitors also offer XLR, 1/4", and RCA inputs, as well as an input sensitivity control. These monitors also offer a very accurate response because it response to a large frequency range. These monitors also come in the Rokit 6 and 8 version, which a larger than Rokit 5.
These monitors are available through Sweetwater for $149.50 (each) so 299.00 (pair).
http://www.sweetwater.com/store/detail/Rokit5G2/
Next we have the Yamaha HS50M.
These passive monitors also has two drivers, one for high frequencies and one for low frequencies. The high frequency amplification of 25 Watts powers a 0.75" tweeter while the low frequency amplification of 45 Watts power a 5" woofer. These monitors have a frequency response of 55 Hz - 20 kHz, which gives for an accurate recreation of sound. A great feature about these monitors is the EQ section on the back of the monitor. This allows the user to reduce or add gain to a set frequency built into the monitor. These frequencies are 80, 100, 500, 2000, and 3000 Hz. This gives the user more control over how the monitors reproduce sound.
These monitors are availble through Sweetwater for $199.99 (each) so $399.98 (pair).
http://www.sweetwater.com/store/detail/HS50M/
So while there are differences in both passive and active monitors, the active monitor is going to be a little bit more expensive up front because you are not only paying for the monitor but the power supply for each monitor.
Keep in mind however that the passive monitor is going to require a power amp in order for the monitors to work. This is going to be another purchase and may end up being more expensive than the active monitor.
Another reminder is to always test out the monitor before you purchase them. Just because a certain monitor model sound good to one person, doesn't mean that it will sound as good to you.
Please leave comments and feedback on any monitor you have used. There may be some monitors suggested that I didn't mention in this post. Stay tuned for my next post where I continue the development of the at home studio.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
We are now getting into the final stretch of creating the skeleton of the at home studio. The next essential step is to get a pair of studio monitors so you can listen to what you are working on. Working in headphones can be a great way to monitor, especially when working late and don't want loud sound, but headphones can often miss out of low frequency content and you may not be getting as clear of a mix as you think.
That's why we need a good pair of monitors to get accurate results when working on our projects at home.
When it comes to monitors there are two available types, active and passive. Active monitors are a designed so there is no external power amp needed to power the monitors. With active monitors, the amp is actually build in behind the speaker driver. This means the user can attached the supplied power cord, plug it in to the wall or power strip and the monitor will turn on.
As you can probably guess, passive monitors require an external power source to power the monitors. In this came we need a power amp, which will not only power the monitors, but in most cases will receive the audio signal and the monitors will receive the signal through the amp.
There are definitely some advantages and disadvantages to both designs. An advantage with active monitors is they will take up less space because the power supply is internal. There is also no need to spend extra money on a good power amp. However, since the power supply is build into the monitor housing, behind the speaker cone, there may be some hiss from the power amp that comes through the speaker cone. This may not be an issue to some, where as to others that are working with quiet sounds may need to turn their gain up on the monitors, which may cause more hiss to get through.
An obvious advantage to passive monitors is there is no hiss behind the speaker cone. Since the power supply is external, what comes out of the monitor is only the signal that's being fed into it. Another advantage to this monitor design is the manufacture can focus all their attention into the design of the monitor, and not worry about the amp that's going to power the monitor. With that, buying an external power amp can be very expensive. If the user doesn't have a high quality amp, even the best passive speakers will not sound good.
For the at home studio, being practical and saving money is the best option for us. One thing to consider when testing out monitors is there may not be a "best" choice. The best way to choose which monitor pair is best for you is simply to test the monitors before purchasing.
Here are some passive monitor examples:
Avantone Audio MixCubes
http://www.sweetwater.com/store/detail/MixCubes/
Next we have a pair JBL Control 5 studio monitors.
These monitors are available through Sweetwater for $338 (pair)
http://www.sweetwater.com/store/detail/Control5/
While there are monitor designs that feature higher quality materials in the construction, the Avantone and JBL monitors mentioned are more than enough to get great results in the at home studio. For the price, both these monitors are great for anyone working in small spaces or less than ideal monitoring areas.
Next let's move to some active monitors. These are going to be a bit different because of the build in power source. Here are a few designs of active monitors:
KRK Rokit 5
These active monitors have two build in drivers, one for the high frequencies and one for the low frequencies. These is what is going to give the power to the monitor. The KRK Rokit 5 stands 5" tall, has a frequency response of 52 Hz - 20 kHz, and has amplification of 30 Watts for low frequency and 15 Watts for high frequencies. These monitors also offer XLR, 1/4", and RCA inputs, as well as an input sensitivity control. These monitors also offer a very accurate response because it response to a large frequency range. These monitors also come in the Rokit 6 and 8 version, which a larger than Rokit 5.
These monitors are available through Sweetwater for $149.50 (each) so 299.00 (pair).
http://www.sweetwater.com/store/detail/Rokit5G2/
Next we have the Yamaha HS50M.
These passive monitors also has two drivers, one for high frequencies and one for low frequencies. The high frequency amplification of 25 Watts powers a 0.75" tweeter while the low frequency amplification of 45 Watts power a 5" woofer. These monitors have a frequency response of 55 Hz - 20 kHz, which gives for an accurate recreation of sound. A great feature about these monitors is the EQ section on the back of the monitor. This allows the user to reduce or add gain to a set frequency built into the monitor. These frequencies are 80, 100, 500, 2000, and 3000 Hz. This gives the user more control over how the monitors reproduce sound.
These monitors are availble through Sweetwater for $199.99 (each) so $399.98 (pair).
http://www.sweetwater.com/store/detail/HS50M/
So while there are differences in both passive and active monitors, the active monitor is going to be a little bit more expensive up front because you are not only paying for the monitor but the power supply for each monitor.
Keep in mind however that the passive monitor is going to require a power amp in order for the monitors to work. This is going to be another purchase and may end up being more expensive than the active monitor.
Another reminder is to always test out the monitor before you purchase them. Just because a certain monitor model sound good to one person, doesn't mean that it will sound as good to you.
Please leave comments and feedback on any monitor you have used. There may be some monitors suggested that I didn't mention in this post. Stay tuned for my next post where I continue the development of the at home studio.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
Saturday, February 23, 2013
Microphone Stands
Welcome back everyone!
Last post discussed how to take your at home studio on the road if necessary. Having the opportunity to run sound at a event, I couldn't pass up the chance to show everyone how I roll on the road.
With that being said, this post is going to take us back to the development of the at home studio and show the next step to take in the creation of your studio!
Now that we have our interface, we have selected which DAW we are going to record with, and we have selected a few microphone options, it's time to get some mic stands so we can start setting up our session and get ready to record. Ideally, you as the at home engineer/producer don't want to be holding the mic for yourself or for the artist you are recording.
Mic stands pretty much all come in the same shape, but there are some different sizes and features on some stands and today we are going to discuss these features.
This is the cheapest stand I was able to find. It is available through Sweetwater for $19.95.
http://www.sweetwater.com/store/detail/MicStdLt/
Included with all mic stands is going to be a base for the stand to sit. What is pretty much standard on all stands is the the base has a knob which allows the entire base to move up on the mic stand. The legs then fold in and the stand because much easier to store. One of the biggest limitations on the stand is that the stand only moves up and down at one break point. This is great if you are recording vocals and maybe a guitar, but for anything else, the limitations on the position of where the stand can reach will turn anyone away from this stand.
A better option to go with instead of a fixed stand would be this:
This stand not only have the same style base, with three legs and an adjustable base to raise up and down, the same single break point to heighten or lower the stand, but also come with a boom option, which will allow the engineer to mic instruments with more precision.
What's nice about the boom is the adjustable level that will allow the boom to move up and down. This allows for the stand to be shorter and you can raise the boom to reach a higher point. One limitation to this style stand is that on the boom there is no break point. Some other stands have one or two break points on them which allow for even more control and accuracy when micing up a setup. Having these extra break points would allow for opening up more space and not having a clutter or stands when recording. This comes in handy with drum tracking and micing a full band.
This stand is available through Sweetwater for $24.95
http://www.sweetwater.com/store/detail/MicStdFBoomL/
Next we have a short stand available through Sweetwater for $27.95
http://www.sweetwater.com/store/detail/MicStdShortBm/
This stand is the same design as our other stands, featuring adjustable base, fold in legs, one break point to heighten and lower the stand, plus the boom arm that allows for more accuracy. The only different with this stand is that it's much shorter than the first two stands mentioned. A full sized mic stand can usually be adjusted between 36" and 64" inches, while the short stand can be adjusted between 17" and 27".
A great way to use this stand would be micing a kick drum, bottom of a floor tom, back side of a kick drum, bottom and top of a snare and amplifiers. Since the stand is so short, it rarely gets in the way of micing any other instrument and has precision control with the adjustable boom arm.
Next we have a standard sized stand with more precision control. This is the stand I use when I do all my at home work. It's available on Sweetwater for $34.95
http://www.sweetwater.com/store/detail/MicStdBoomLt/
What's great about this mic stand is the boom arm has an adjustable break point on it. This means the boom arm can go from 19" to 37", freeing up space if you have a tight mic setup. The adjustable boom will allow the engineer to place the stand farther from the source, but still reach the source with the adjustable arm. Another great this is the boom arm on this stand unscrews, essentially leaving the stand looking like the first stand mentioned in this post. This allows for different attachments to go on this stand such as a t-bar mic holder (allowing two mics to be mounted at once), or even placing a headphone amplifier on the stand.
Finally we have our stands for overhead drum micing, or room micing. This stand is available through Sweetwater for $169.95
http://www.sweetwater.com/store/detail/StuBoomW/
This stand allows for the heights between 40" and 82". This is great for overhead drum micing because a standard size stand will have a hard time reaching over the top of the kit. If you decide to use a regular stand for overhead, the odds of the stand falling over are likely because of the full extension needed. This stand allows for a lot more flexibility and height control. The big base on this stand will allow for the stand to move up a lot higher and not have to worry about tipping over.
Another great feature are the wheels attached to the base of the stand. This allows for easy movement when placing this stand in your setup. The only downfall to this stand is if you are working at home and don't have a big enough space to store this stand, it will take up a lot of room and might get in the way of some things. (Especially if you purchase two of these stands!)
Keep in mind that most microphones will come with their own mount, but you will need a stand in order to place that mount.
Please comment and leave feedback on some stands you may prefer over what I have displayed. Also, if there are any funny mic stand stories you would like to share, please leave the story in the comments section.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
(My story is short. I used two regular sized stands just recently at a live event to mic overheads on a hand percussion setup. I didn't have the mounts that came with the overheads, so I ended up duct taping the mics to the stand in order to capture the performance. Embarrassing...I know!)
Last post discussed how to take your at home studio on the road if necessary. Having the opportunity to run sound at a event, I couldn't pass up the chance to show everyone how I roll on the road.
With that being said, this post is going to take us back to the development of the at home studio and show the next step to take in the creation of your studio!
Now that we have our interface, we have selected which DAW we are going to record with, and we have selected a few microphone options, it's time to get some mic stands so we can start setting up our session and get ready to record. Ideally, you as the at home engineer/producer don't want to be holding the mic for yourself or for the artist you are recording.
Mic stands pretty much all come in the same shape, but there are some different sizes and features on some stands and today we are going to discuss these features.
http://www.sweetwater.com/store/detail/MicStdLt/
Included with all mic stands is going to be a base for the stand to sit. What is pretty much standard on all stands is the the base has a knob which allows the entire base to move up on the mic stand. The legs then fold in and the stand because much easier to store. One of the biggest limitations on the stand is that the stand only moves up and down at one break point. This is great if you are recording vocals and maybe a guitar, but for anything else, the limitations on the position of where the stand can reach will turn anyone away from this stand.
A better option to go with instead of a fixed stand would be this:
What's nice about the boom is the adjustable level that will allow the boom to move up and down. This allows for the stand to be shorter and you can raise the boom to reach a higher point. One limitation to this style stand is that on the boom there is no break point. Some other stands have one or two break points on them which allow for even more control and accuracy when micing up a setup. Having these extra break points would allow for opening up more space and not having a clutter or stands when recording. This comes in handy with drum tracking and micing a full band.
This stand is available through Sweetwater for $24.95
http://www.sweetwater.com/store/detail/MicStdFBoomL/
Next we have a short stand available through Sweetwater for $27.95
http://www.sweetwater.com/store/detail/MicStdShortBm/
A great way to use this stand would be micing a kick drum, bottom of a floor tom, back side of a kick drum, bottom and top of a snare and amplifiers. Since the stand is so short, it rarely gets in the way of micing any other instrument and has precision control with the adjustable boom arm.
Next we have a standard sized stand with more precision control. This is the stand I use when I do all my at home work. It's available on Sweetwater for $34.95
http://www.sweetwater.com/store/detail/MicStdBoomLt/
Finally we have our stands for overhead drum micing, or room micing. This stand is available through Sweetwater for $169.95
http://www.sweetwater.com/store/detail/StuBoomW/
Another great feature are the wheels attached to the base of the stand. This allows for easy movement when placing this stand in your setup. The only downfall to this stand is if you are working at home and don't have a big enough space to store this stand, it will take up a lot of room and might get in the way of some things. (Especially if you purchase two of these stands!)
Keep in mind that most microphones will come with their own mount, but you will need a stand in order to place that mount.
Please comment and leave feedback on some stands you may prefer over what I have displayed. Also, if there are any funny mic stand stories you would like to share, please leave the story in the comments section.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
(My story is short. I used two regular sized stands just recently at a live event to mic overheads on a hand percussion setup. I didn't have the mounts that came with the overheads, so I ended up duct taping the mics to the stand in order to capture the performance. Embarrassing...I know!)
Wednesday, February 20, 2013
Taking Your Studio on the Road
Welcome back everyone! I hope everyone is staying super busy with their production work. I sure know I am! Over the past weekend I was given the opportunity to produce live sound at a birthday party at a small cafe in Rodgers Park for the band The Dastardly Bastards, whom which I am also recording their debut EP. One of the main reasons I got the Focusrite Saffire Pro 40 digital interface was because it would give me the capabilities and flexibility to run live sound through this interface. With the Pro 40, I was able to get 8 channels of audio signal (only used 7), and this particular interface has a specific output labeled "monitor output", which allows me to send a stereo (left and right) audio signal feed to two speakers, as well as monitor the mix in my headphones.
With this I thought it would be a great idea to show everyone how I like to travel with my studio. I know this is leading away from where we were going with the development of the at home studio, but don't worry! Check back on my next post where I continue the development of the at home studio!
Another reason I purchased the Pro 40 is that it's not too big of an interface so it's pretty easy to travel with. The 8 channels of audio signal input really gives me a lot of recording options, so I often find myself traveling with my gear to various studio or events. When I first started traveling I used bags to carry all my gear, but this got really heavy and bulky quick, especially when I was carrying a significant amount of gear. Over time I put together my way of traveling with my studio and here it is below.
The best way to travel with your studio is a carry on suitcase.
As you can see, the interface lays on the bottom of the bag. My computer sits on top of the interface and gets strapped down with clips build into the bag. (Not in picture)
This is a shot of the bag with my computer on top of the interface, under the cables. It is very important to keep your gear neat and organized when traveling this way. If you chose to not carry your mic stands in the bag, one of the best ways to carry stands is with bungee cords.
Turning the stands head to toe and wrapping a bungee cord at the top and bottom is one of the easiest ways to carry stands. Usually I use 4 stands per bundle, but if you are using a car as transportation you may get away with wrapping 6 mic stands together.
What's nice about carry ons is there are pockets that can hold a lot of items and not get in the way of anything that's in the main storage area. In this pocket I kept a flash light (very important when working in dark conditions!!!!), ear plugs (in case it got loud), 2 extra XLRs and 2 extra 1/4" instrument cables.
There are also big pockets on the front of the bag. On the top pocket I keep a pen, pencil and Sharpie. In the bottom pocket I like to keep a miscellaneous pocket. For me this includes an 8', 3 plug, grounded extension cord, my computer charger, and my cellphone charger.
So I was able to fit all of these items, 5 XLR cables, 8 1/4" instrument cables, Saffire Pro 40 interface w/ cables, headphones, hard drive, power strip, extension cord, ear plugs, multi-tool, flashlight, MacBook Pro, writing tools, tape, 4 microphone stands.
And with all this in my bag, this is what it looked like:
This is pretty easy to carry. All you have to do is roll it around. The worst part of this would be carrying it up stairs because of the weight. I'd say this entire bag weighs close to 70 lbs, which may be pretty heavy for some. I was able to take this setup on the train several time with no problem, and in a cab several times too, so it's really easy to travel with.
Just a tip for all you that plan on doing live sound through your interface...
It is a really good idea to have painters tape and a sharpie with you so you can label your inputs on your interface. This will make it much easier for you to adjust something if necessary and not forget which input is which source.
So with all this I hope you all can find an easy way to travel with your studio if necessary. I love doing live sound and the Saffire Pro 40 gives me the option to do it.
If you all were wondering the show went great. I ran the monitor output from my interface to a JBL preamp, and that preamp powered two PA speakers which provided sound for acoustic guitar, 2 sets of vocals, percussion overheads, and the bottom of one doumbek for bass presence. Here are the only two pictures I took from the night:
I hope everyone got an idea of what can be done with their at home studio. Not only does your studio have to stay at home, but if you build it right, you will be able to take it on the go to record in the studio, produce live sound, or produce live sound and record at the same time.
Stay tuned for my next post where I continue the development of the at home studio.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
With this I thought it would be a great idea to show everyone how I like to travel with my studio. I know this is leading away from where we were going with the development of the at home studio, but don't worry! Check back on my next post where I continue the development of the at home studio!
Another reason I purchased the Pro 40 is that it's not too big of an interface so it's pretty easy to travel with. The 8 channels of audio signal input really gives me a lot of recording options, so I often find myself traveling with my gear to various studio or events. When I first started traveling I used bags to carry all my gear, but this got really heavy and bulky quick, especially when I was carrying a significant amount of gear. Over time I put together my way of traveling with my studio and here it is below.
The best way to travel with your studio is a carry on suitcase.
Turning the stands head to toe and wrapping a bungee cord at the top and bottom is one of the easiest ways to carry stands. Usually I use 4 stands per bundle, but if you are using a car as transportation you may get away with wrapping 6 mic stands together.
So I was able to fit all of these items, 5 XLR cables, 8 1/4" instrument cables, Saffire Pro 40 interface w/ cables, headphones, hard drive, power strip, extension cord, ear plugs, multi-tool, flashlight, MacBook Pro, writing tools, tape, 4 microphone stands.
And with all this in my bag, this is what it looked like:
Just a tip for all you that plan on doing live sound through your interface...
It is a really good idea to have painters tape and a sharpie with you so you can label your inputs on your interface. This will make it much easier for you to adjust something if necessary and not forget which input is which source.
So with all this I hope you all can find an easy way to travel with your studio if necessary. I love doing live sound and the Saffire Pro 40 gives me the option to do it.
If you all were wondering the show went great. I ran the monitor output from my interface to a JBL preamp, and that preamp powered two PA speakers which provided sound for acoustic guitar, 2 sets of vocals, percussion overheads, and the bottom of one doumbek for bass presence. Here are the only two pictures I took from the night:
Stay tuned for my next post where I continue the development of the at home studio.
TTYL,
BCEB
*It's not about how fast you can pump something out, it's how efficient you can use your knowledge to create the best available product while delivering a professional experience.*
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