"I've read all the usual recording books (Mixing Engineer's Handbook, Mixing With Your Mind, The Art of Mixing, Home Recording for Dummies etc.) and Killer Home Recording slays them."
"-----Jeff http://www.mountainmirrors.com ------
"I don't think their could be anything more helpful to your engineering skills then getting KHR. If a neumann mic costs you $2000, and cost was based on how much it will improve your sound, this pdf book should cost $250,000" ------ Jeremyk23 ------
"This must have been a MASSIVE undertaking because it covers everything and was done RIGHT." ------ Rex Rossbach - -
100% Guaranteed To Blow You Away!!
If you don't find that Killer Home Recording completely blows your mind and dramatically empowers your recording abilities, just task for a refund! No questions asked!
Killer Home Recording: Audio Engineering PDF
Conquer Your Home Recording Issues Now!
Killer Home Recording; Audio Engineering lays the foundation to make you a mega recording guy. Many home recorders miss something BIG when they struggle year after year. In this volume, we'll save you of all the big mistakes and get you on the fast track to be butt kicking!
"You've already saved me four grand!"
------ Nate Thorpe - -
Killer Home Recording: Murderous Mixing PDF
The Secret To Powerhouse Mixes
Learning to mix well can take years and years of trial, error, and guns in the mouth. Obviously, I'm kidding. There's no need to make errors!
In Killer Home Recording: Murderous Mixing, I take you by the hand and teach you the super tricks, secrets, and concepts to make your mixes sound bad ass. We'll conquer loud mixes, compression, delay, reverb, and a ton of other pits, people seem to get sucked into.
"KHR has got to be a "Holy Grail" for younger guys just starting to learn this stuff"
------ Jeremy Horner - -
Killer Home Recording: Setting Up PDF
The Boring Book
Killer Home Recording: Setting Up is my way of blasting you through the boring stuff. It's not an exciting read. It's about making big decisions in the very beginning about using a computer vs using a standalone recorder, using a Mac vs using a PC, how to avoid a billion problems and headaches when using a PC, explains the basics of routing, MIDI, synths, and samples, and basically is there to give you a jump through this crappy time when you can't even get your car to start.
Killer Home Recording: Bass PDF
The Interrogator Sessions: Bass PDF w/ 380MB Audio Files
If your bass isn't big and mean without stomping on the rest of the mix, you're about to start recording bass that is big and mean without stomping on the rest of the mix.
The Most Comprehensive Home Recording Series EVER!
Why Killer Home Recording DESTROYS Googling and Forums!
You could certainly pick up a tip here and a tip here and a tip here until after a decade you won't suck at this. The problem is blogs NEVER go deep enough. Forum posts rarely go past a paragraph or two. While this brevity is conventient when you are in a hurry, you don't really know a damn thing. It's WAY too slow. Why make crappy recordings for the next 8 years when you could just conquer this stuff now?
For example, on the RecordingReview.com forum I think someone asks how to make their mixes loud maybe once every week or so. It's a HUGE problem for beginners. The fact that their mixes aren't loud is usually the cause of other problems. Anyhow, I solved my loud mix problem years ago. The problem is I don't have enough room or time to cover it fully in blogs or forums.
Killer Home Recording is different. I have all the time in the world to teach you EXACTLY what you need to know without forgeting those crucial details everyone seems to miss when giving advice on forums. I took 15 pages to teach you how to make your mixes loud AND still sound good. While some of you may be woaning in agony at the thought of reading 15 pages on making a mix loud, I'm sure some of you would LOVE to get the full blown, over the top method of completely solving your loud mix problem once and for all! (Sounds pretty awesome, doesn't it!!!) I promise you it will make your next mix and all mixes after that sound expontially better.
Who Is This Brandon Drury Guy?
I Have To Talk About Myself! BORING!
Just in case you haven't heard of me, take a gandaer atthe video. I'm just a guy slugging it out in a home studio just like you! I just happen to have a headstart. In case you are wondering, yes, I did turn out a very lucrative modeling contract in order to follow my music recording dreams!
Some Of My Recordings
Any moron can write 13 PDFs and tell you he knows something about recording music. Here you can take a listen to my work and decide if I'm worth listening to.
I didn't blow 2.5 years of my life working on such an enormous project because it was fun. (Only the offensive stuff was FUN!) I put that much time into the project because it means everything to me to make it the most bad ass home recording thingy on the planet. PERIOD. I repeat. Killer Home Recording had better be the best home recording learning thingy majig you've ever gotten your hands on or I don't want you to pay for it!
So buy it! If you aren't totally blown away by what I teach, just shoot me an email within 30 days. I'll refund your money. My kids may starve, but that's okay.*
* As of this writing I don't have any kids.
This is NOT A Paper Book Or Audio Cds
Some people mistake by incredible graphic expertise (SARCASM!) as being the real thing. Those misleading pictures are only there to give you an idea of what you are buying. Just saying "a bunch of stuff" doesn't seem to do it. This kind of thing is well accepted in internet marketing circles, but some home recorders aren't used to seeing fake pictures (unless you read Playboy).
I realize that most people hate reading a computer screen. I know. All I can say is I'm flat out positive that KHR is worth the damn trouble. I don't have any plans on printing KHR on paper.
Do Not Hesitate! Make better recordings NOW!
"Great work dude it really explain every doubt I had" ------ Gnzlo - -
Killer Home Recording: Audio Engineering
By far, this is the most important volume in the Killer Home Recording series.
Without KHR: Audio Engineering, you have no foundation. Every tip, trick, and gadget you try is pretty much useless without the stuff I 'll conquer here. You are probably trying to walk with no feet. I just happen to have a foot collection I don't mind sharing with you.
In Killer Home Recording I strip down on all the bs you've been told and build you back up so you'll be making better recordings and spending less money. The biggest problem most home recorders face is they don't know which gadgets they need to put most of their money in. I see people all the time who buy $2,000 software and then spend just a tiny fraction on the SINGLE MOST IMPORTANT TOOL!
Even guys with all the mega tools aren't cranking out tunes anywhere near their potential because they are lacking a fundamental understanding of what is going on in audio land. For the guys who dirt poor, I'm absolutely positive that you can crank out mega recordings with your coat hanger and duct tape setup once you pig out on KHR: Audio Engineering.
By spreadin' 'er open you'll get a first hand look at what goes on in my brain during any given session. Yes, my brain is a girl.
You won't have to run sessions like a wuss. You won't have to be afraid of finding the right compression and reverb settings (although I tear into those tools in KHR: Murderous Mixing). You won't have to constantly wonder if you've done the right thing or bought the right mic, preamp, compressor, or converter.
To sum it up, Killer Home Recording: Audio Engineer will make you grow a pair. Enough said.
Table Of Contents
Accurate Studio Monitoring.............................11
Recording Blind/Deaf Without Accurate Monitoring....11 Five Factors of Studio Monitoring Accuracy...............13 Invest In The Gear You Use The Most........................21
Low Budget / Beginners..............................................21 The Effect of Room Acoustics.....................................22 The Two Dimensional Speaker Theory ......................23
The Inverse Studio Monitor Theory.............................26 Q: So Brandon, What Do You Think Of These Studio Monitors?..................................26 How To Test Studio Monitors.......................................26
Studio Monitoring Is A Personal Thing........................28 Flat Monitoring Is A Good Thing..................................30 There Is No Way My Room Is That Inaccurate!!.........30
Band-Aids For Poor Room Acoustics..........................32 Using Multiple Monitoring Sources.............................33 The Potential Multiple Studio Monitor Problem...........33
My Quest For Accurate Studio Monitoring..................34 Q: Why can't I just EQ my studio monitors to make them more accurate?...................36 Q: Should I use multiple speakers simultaneously for monitoring?...............................37 Bass and Treble Playback...........................................37
Q: What's the difference between active studio monitors and passive studio monitors? .................................38 Will some not-so-powerful studio monitors do the trick as well?...................................39 A Sub Is Required....39 When You Turn On Your Studio Monitors For The First Time........................................40
Control Room Acoustics..................................42
Only Scratching The Surface......................................42
Live Room Acoustics vs. Control Room Acoustics.....43
Infidelity and Room Modes.........................................43
Exponentially Complicating The Situation...................46
Stopping Sound Waves From Making The U-Turn.....51
How Not To Treat Your Control Room.........................55
The Golden Ratio.....57
Q: How Big Should My Control Room Be?.................58
5
Rockwool and Owens Corning 703.............................60
Live Room Acoustics.......................................62<
br />
Early Reflections......62
No Treatment Needed...Sometimes............................63
Controlling Ambiance..................................................64
Get Creative With Acoustics.......................................67
Permanent Solutions68
Q: If my room sounds bad, can I just record closer?.70
Q: Is plywood really a smart way of livening up a room?..............................................70
Q: Do I need special blankets made for studio use?..71
The Closet................71
Q: I have a small room. It's only 10x8x9. It’s just a regular room, so I don't think it’s
the greatest room at all. What can I set up to make it sound better?...........................73
Q: I just don't understand what the acoustics should be as far as recording wise. Can
you help?..................74
Phase and Comb Filtering:
The Worst Chapter In This Book.....................75
Intro.........................75
..If You Aren't Ready For This.....................................75
Phase 101................76
One..........................76
Two..........................76
Three.......................77
Putting It All Together..................................................77
Canceling Out Audio ..................................................77
No Such Thing As Sin Waves.....................................85
What is phase?........88
Who cares about phase vs polarity semantics?.........91
Comb Filtering Death..................................................91
The Time / Comb Filtering Relationship......................95
Situations Where Comb Filtering Can Occur..............96
The 3 to 1 Rule.........99
Why Does Panning Mask The Effects of Comb Filtering?...........................................100
The Shortcoming Of The Polarity Button..................100
The Source.105
What Is “The Source?”..............................................105
When Can An Engineer “Improve” The Source?......106
The Song................108
Why Did You Hit THAT Note?...................................108
The Musician..........110
6
The Produced Musician.............................................111
The Instrument.......112
The Room...............113
The Source – Conclusion..........................................115
Audio Engineering: Fundamental Concepts.117
Learning Engineering vs. Making Music...................117
Learning To Record Is A Process, Not An Event.......119
It Is What It Is..........119
The Problem of “Implied Best”..................................120
The Correlation Between Price and Quality Instruments.............................................121
The Vowel Sound Concept.......................................123
HATE the Mixing Process While Tracking.................123
Q: I don't get the sound I hear in the room! I want that sound!...................................125
Powerful Engineering Is Cumulative.........................127
Engineering Is Not A Product....................................127
Engineering Is A Quest..............................................128
When Albums Fluctuate............................................129
Engineering Is A Ninja Sword Fight...........................129
I Walk Slow When I'm Engineering...........................131
If A Mix Hurts, You Fail!.............................................132
The Problem With Exciters.......................................133
Q: How do I keep my tracks from getting muddy?...135
Getting Too Caught Up In The Science Side............136
Play Around With Samples.......................................138
Trust Your Ears – YOU CAN HEAR!!!.......................140
Preamps and Frequency Response.........................140
Mics, Preamps, and Impedance...............................141
Different Mic Pres On Different Sources...................142
Gaining Confidence - Learning From A Pro..............145
Avoiding Genre Stereotyping....................................147
Challenge Yourself.148
Your Favorite Bands Cheated...................................149
Live Studio Recording...............................................151
Q: Should each musician be placed in a separate room when recording the whole
band live?...............156
Q: How do I get that hard driving, pumping, butt kicking, energy into my mixes as I hear
it on all the great rock records out there? Like Foo Fighters, Danko Jones, QOTSA,
Racounteurs...........157
The Utopia..............158
Q: Is choosing the right mic/mic-pre combination for a particular (primarily vocal)
situation simply trial and error, or are there some established principles that come into
play? ......................159
Q: What is the best way to stop mic stands from transmitting floor noise to the mic? 160
Q: How do you make recordings consistently good? .................................................160
7
Instruments You've Never Recorded........................161
Benefits To Multiple Micing?......................................162
Tracks Stack...........163
Guys With The Magic Answer...................................164
Creative Sounds vs. Objective Fidelity.....................167
The Natural Way Of Recording Music......................169
Do It Wrong!...........170
Where Not To Find The Holy Grail............................171
There Is No “Proper”.................................................173
It's Liberating To Throw Out “Proper”........................175
Have The Balls To Stick With “It Is What It Is”..........176
The Problem With Presets........................................179
Do You Need All Of This Stuff?.................................183
Do You Need More Than 24 Tracks?........................184
Snag It The First Take...............................................185
When You Get Bored................................................187
Q: What sample rate should I record at?..................187
Q: What bit depth should I record at?.......................189
What Can Be Learned From Overmixing The Same Song?.......................................190
If I use 2 preamps (external and internal), I'll have two preamps in a row. Is that bad?
...............................191
Dealing With Cheap, Noisy Preamps........................191
Do I Need To Learn Frequencies?............................192
How Loud Should I Set My Preamps?......................195
Keeping Outside Noise Out of Mics..........................196
The Ineffectiveness of Upgrades..............................198
Q: I'm pretty happy with X piece of gear, but I think I'm going to upgrade Y gear. Is this
a good idea?..........202
Gear Acquisition Syndrome......................................202
Gear Research Syndrome........................................206
Gear Insecurity.......211
High-end Gear Requires High-end Service..............212
Q: How do you get objective about whether the talent in front of the mic merits the cash
outlay on the gear?213
Q: What are the pros and cons of doing everything "in the box?"...............................213
Q: I record clean guitar, bass, and strings. What pre amp will give me all the tone
control I need?.......216
8
Patchbay Basics.....216
Your “In Battle” Wish List...........................................217
Intro To Microphones.................................................219
Dynamic Microphones...............................................220
Condenser Microphones...........................................222
Ribbon Microphones.................................................225
Polar Patterns........228
Proximity Effective .230
Frequency Response Curves...................................234
Changing Microphones Probably Won't Change Your Life..........................................237
The Single Best Microphone.....................................239
When The Stars Align...............................................239
Microphones Are Like Crayons.................................240
Buy Every $100 Mic You Can...................................242
Tube vs Solid State Microphones.............................242
Small Diaphragm vs. Large Diaphragm Condensers.................................................245
High-end Microphones Aren't Always Bright.............246
LDCs With Massive Low End....................................247
Mic Collections On A Budget.....................................249
Q: You said that people who disregard the Shure SM58 as a serious vocal microphone
simply do not know how to use it. How would you use it?..........................................249
Q: Should I get the SM57 AND a Sennheiser 409 AND a Audix I5?..........................250
Compensating For Gear With Engineering...............252
Running A Recording Session.......................255
Communicate HEAVILY With The Band...................255
Attitude With Bands256
Help The Band Improve. It'll Pay Off Next Time!.....257
When To Compromise...............................................258
Q: Record Live or Recording Overdubs? ................258
Q: What should a band reasonably expect from the guy behind the desk? ..............259
Q: How do you go about preparing for a recording session. Do you keep physical logs
on paper? ..............260
Recording Order.....261
Engineers That “Butt In”............................................262
"KHR continues to blow my mind!" -----Jacet333-----
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Murderous Mixing
When most people sit down to mix there is this moment where they ask, “What the hell am I doing? I know this isn't right, but I have absolutely no idea how to fix it!”
The entire purpose of Killer Home Recording: Murderous Mixing is to arm you with extreme, real world, battle-hardened tactics on how to use mixing tools to make better mixes than you've ever made in your life.
I take it further, however. I've developed dozens of techniques to make sure I don't fall into the traps that everyone inevitably falls into. So, instead of you wasting three years because you can't maintain perspective, for example, I show you the exact solution that you can apply instantly. Every mix you do after recovering from your Killer Home Recording induced brain damage will be better. I guarantee it!
EQ Controls Explained...18
What's All This “K” Talk?.20
I Hate Parametric Equalizers With Visual Graphics..........20
Parametric EQ Is A Wha Pedal.....Sort Of.........................22
Don't Assume Tracks Need EQ.........................................22
Don't Assume Tracks Don't Need EQ................................23
Q: You mentioned that you only resort to using EQ after you have exhausted all other
possibilities in mixing. What possibilities would those be? .................................................24
Compression25>
The Controls..................25
When Not To Compress..33
Compression Has A Sound To It........................................34
Different Compressors Have Different Sounds.................35
Harmonic Content...........36
Increasing The Apparent Harmonic Content.....................37
Increasing Dynamic Range...............................................38
Good Places To Start......38
How To Really Learn What A Compressor Is Doing..........42
How A Fast Release Distorts Low End..............................42
Is Your Gain Reduction Ever Hitting Zero?........................43
Why Isn't The Ratio Accurate?..........................................44
Cascade Compressors To Avoid Coloration......................45
Parallel Compression......45
Compress With A Sidechain..............................................47
Miscellaneous Sidechain Uses..........................................49
Expanders......................49
Multi-band Compressors49
6
Gates............54
Be Gentle With Gates.....55
Use A Sidechain With Your Gates.....................................56
Delay............57
Delay Features Explained.................................................58
Delay Genres..................59
Q: Should a delay be in time with the song?.....................60
Out of Time Delays Cut Through.......................................61
EQ Your Delay................62
How Much Feedback / How Many Repeats......................62
Bring Up The Level of Repeats.........................................63
Calculating Delay Times.64
Inverse Panning On Delay.................................................64
Reverb..........66
Reverb Features Explained...............................................66
What You Feed A Reverb..................................................68
Reverb and Instruments.69
When Reverb Isn't Working...............................................74
Multi-band Compressors And Reverb...............................75
Miscellaneous Tools........................................77
Sample Layering and Replacement..................................77
Reamping.......................78
Pitch Shifting..................80
Pitch Correction..............81
Chorus...........................82
Phaser............................82
Flanger...........................82
Can You Really Mix A Crappy Song?................................83
Outside World.................84
Mixing vs Blending..........85
The First Steps Of Mixing..................................................85
Avoid The Solo Button....87
Always Reach For The Volume Fader First.......................89
How To Check Levels.....90
The Teeter Totter Effect...92
The Domino Effect Of Mixing.............................................92
7
Making Room For All This Noise.......................................95
Mixing Is About Perspective..............................................97
The Save The World Theory..............................................99
The Two Kinds Of Mixing Engineers...............................104
“Miss 'em When They're Gone” Concept........................105
Snare Drum Dictates Tone Of Mix...................................106
Spread An Instrument Out Over Time.............................107
Spread An Instrument Out Over Frequencies.................108
Spread An Instrument Out Left To Right..........................109
Mono Compatibility.......110
How Much Of A Given Effect Should I Use?....................111
Will Using A Spectrum Analyzer Improve My Mixes?......113
Prepare For Disappointment: Compare Your Mixes With The Big Boys............................114
It Hurts To Compare......114
HATE the Mastering Process While Mixing.....................117
Dealing With Free plug-ins...............................................118
Q: Does the key of a song make a difference to how you approach EQ or does it help as a
starting point especially on the bottom end? ..................119
When Do You Stop Mixing?.............................................120
I Hate “Warm” But I Love “Important”..............................121
Mixing Should Make The Musicians Sound Better..........122
Mixing Creatively vs Mixing Objectively..........................122
The Cheap, Overdone Kick Drum...................................124
SPL Levels During Mixing................................................125
Q: When mixing, do I pull down the vocal or push up the guitar?......................................127
Spectrum Analyzers And Microsurgery EQ.....................128
Q: What are the basics of "active listening"? People always say "listen to your levels, or
EQ”... but rarely describe how.........................................131
Properly Using Routing In Your Recording Software......133
Dealing With Sibilance..139
Up Front Vocals............142
Vocal Doubling..............145
Conquering Loud Mixes150
Drum Mixing..................165
Pumping Drums In Time With Music...............................175
Pounding Drum Secrets..................................................176
Drum Impact Dilemma..179
When The Kick And Bass Don't Play Well Together........180
Bass Mixing..................182
Q: How do you really achieve that really sub harmonic bass... i.e. Snoop Dogg?............184
Taming A Wild Bass Note................................................185
300-400Hz Bass Snot Problem.......................................186
Blend Distortion For Bite..................................................187
8
1K Cutting Frequency...187
1dB EQ Method............188
Q: Is it worth while sending a completed mix through my hardware compressors, EQ, or
whatever to give it some kind of "analog" sound? ..........193
Q: I would like some input on getting the best sound from a plug-in like EZ Drummer.....194
Q: How do I make a mix sound integral, so that it sounds like one unit, rather than several
sounds put together?....195
Compensating For Arrangement During Mixing..............196
That Stupid Autotune Effect.............................................199
Q: Should I EQ before or after the compressor?.............199
Q: Are there specific frequencies that sound better when panned?..................................201
Prepping A Mix For Mastering.........................................201
Q: How do I set up my FX to approach the results I'm hearing in my head? ....................203
Q: How Do I Use An EQ?................................................205
Fun Gimmicks...............206
Fundamental Frequencies Of Music Notes Chart...........210
"I downloaded the course and love it. It represents a really unique approach and quite lucid in execution. This is a real insider look at a field that has finally slowed down enough technology wise that it can be scrutinized in the way you've done." ------ Steve Baker - -
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Setting Up
Setting Up a modern home recording studio is hair-ripping-out experience. The mayhem start the second you realize there are 50 kajillion different mics, cables, interfaces, standalone recorders, computers, software, bla bla bla.
Of course, none of this makes any sense until you've taken the time to figure out exactly what you need. I take you by the hand and let you figure out exactly what gear you need based on YOUR specific needs.
After you figure out what gear to purchase, I then help out with actually getting the stupid thing to work in the first place. Most people continue to smash their heads into a brick wall doing the same things wrong over and over.
While we are at it, we'll go ahead with a full chapter on using MIDI, a chapter on troubleshooting, and a full blown glossary to get your new guys up to speed on the stupid terminology.
Setting Up a studio has never been tougher. Setting Up will make is guaranteed to save you big bucks, tons of time, and will save you a few thousand headaches.
Table Of Contents
Standalone Recorders Vs Computer Recording................................................18
Benefits of Standalone Recorders.....................................18
Drawbacks of Standalone Recorders................................19
Benefits of Computers For Recording...............................21
Drawbacks of Computers For Recording..........................26
Which sounds better? A standalone box or a properly setup computer recording rig? .....27
Which is better for me? A standalone box or a properly setup computer recording rig? ...28
Why I Consider Standalone Recorders To Be More Complicated.......................................30
All Drum “Machines” Are Not Created Equal.....................33
Reasons I Use Recording Software..................................33
Q: What About Digital Recorders That Function Like Tape Machines?...............................35
Before You Buy...............39
Popular Options..............41
Overview Of The Computer Recording Process................................................42
Electric Guitar Recording Gear..........................................53
Bass Recording Gear.....55
Drum Recording Gear.....56
Microphone Selection.....60
Mics I've Used And I Recommend Checking Out..............63
One Mic Guys.................69
Mic Stands .....................70
Speaker Stands..............71
10
Headphone Amps...........72
Headphones..................72
Acoustic Treatment.........73
Studio Monitors...............74
MIDI Production Gear.....75
An Overemphasis On High-End Gear...............................77
Q: Do I Need A Mixer For Home Recording?....................79
Q: Do I Need A Pop Filter?................................................83
Q: Do I Need Expensive High End Analog To Digital Converters?......................................83
Q: Do I Need Expensive High End Preamps?...................84
Q: Will A Tube Preamp Smoke My Stock Audio Interface Preamp?....................................86
Will The Band Notice High End Preamps?........................87
Q: I have a friend who insists on doing everything in analog. Should I go this route?.......89
Q: Do I Need A Control Surface?.......................................91
What do you think of USB microphones?..........................94
Monitoring For Performers.................................................95
Studio Monitors: Pair Or Single Speaker?.......................100
Better Instruments vs Better Recording Gear.................101
Things You Don't Know You Need...................................102
Things Not To Buy Yet..108
X-Red Niner - Secret Recording Technology..................108
How To Break Recording Gear........................................110
Audio Interface Features..................................................117
Home Recording Soundcard Wizard...............................125
Q: Which audio interface sounds the best?.....................125
Q: Do I need a soundcard and an audio interface?.......126
Q: I want to record my entire band live. How do I add more inputs?................................127
Q: Why does my audio interface only have 8 inputs even though it advertises much more?
.....................................127
Are the preamps in an audio interface as good as the preamps in a mixer?.....................128
Is Firewire better than USB 2.0?.....................................128
Before You Buy.............129
Mixers bundled with audio interfaces..............................129
Q: I was thinking of getting X audio interface, but just a few hours ago I read someone had
a problem with it. Should I get something else?.............130
Placing Too Much Stock In Recording Software.............132
Recording Software All Sounds The Same ....................133
No Bad Recording Software............................................133
Powerful Recording Software..........................................134
The Recording Software Commitment............................135
11
Q:I plan on using crappy software now, but upgrading later. Is this a good idea?............138
Q: What's the best software?...........................................141
Features To Look For In Recording Software..................141
Features You Won't Look For..........................................146
Wav Editor vs DAW......147
Q: What do you think about free software?.....................147
Q: Will my recording software work with my audio interface?............................................148
You Don't Need Mp3 Conversion In Your Recording Software..........................................148
So You've Just About Given Up On X Recording Software?..............................................149
Getting Started: Tutorial vs Manual.................................149
Mac vs PC .151
Advantages of Mac.......151
Advantages of PCs.......151
Computer Dependent Gear.............................................152
Q: Aren't Macs More Reliable Than Windows Computers?...............................................153
Q: Aren't Macs Better For Recording?.............................153
Q: Brandon, What do you recommend? Mac or PC?......154
You Don't Really Record With The Operating System....154
Conclusion...................155
PC Computer Stuff........................................155
Calm Down!..................156
Computer Guts.............156
Recording Computer Demands.......................................160
Q: Should I update my operating system?......................163
Q: What Is A Chipset?...164
Q: Should I Go With AMD or an Intel Processor?..........166
Q: What if my computer doesn't come with USB 2.0 or Firewire?.....................................167
Quad Core Computer Power...........................................168
Keeping A Recording Computer Quiet............................170
UPS (Uninterrupted Power Supply).................................177
Laptop Recording Considerations...................................178
Computer Performance Optimization............180
Dux nLited XP Pro .......180
Avoid The Problem In The First Place ............................180
Make A Carbon Copy Backup Of Your Operating System.................................................183
Stick with Good Ole, Reliable, Stable Operating System184
Use Multiple Hard Drives ................................................185
7200 RPM, 10k RPM, and 15k RPM Hard Drives...........186
Optimize The Operating System.....................................186
Should I Use Internet On My Recording Computer?.......187
12
How Much Should I Spend On a Recording Computer?.188
Take A Look At Servers.190
How Much Computer Power Do I Need?........................191
There Is Always A Way Out.............................................192
32-bit vs. 64-bit Operating Systems................................195
Where To Get Your Recording Computer........................195
Incompatible Audio Interfaces.........................................197
Cables........198
Different Types Of Cables................................................198
Should I Pay Top Dollar For High End Cables?..............202
Really, Really Bad Cables...............................................203
Short vs. Long Cables XLR.............................................204
Q: Should I Use Balanced (TRS or XLR) Cables Via Unbalanced Connections?............204
Beginner Studio Construction........................206
Q: Do I Need A Vocal Booth?..........................................206
Q: Should I Begin Studio Construction?..........................208
The Robo Basics of Soundproofing.................................212
Avoiding Electrical Noise.................................................218
How Pretty Should My Studio Be?..................................221
Form Is Function...........222
Gobo Construction........223
Ideas For The Ultra-Broke Recorder.............226
Q: Do I really need a condenser mic?.............................226
Q: Can I use my stock soundcard?.................................227
Q: Do I really need studio monitors?..............................228
Q: Do I really need a pop filter?.......................................228
Maxing Out An Old Computer..........................................229
Buy Used Gear When Possible.......................................230
Never Pay Interest Unless It's Profitable To Do So.........231
Always Have A Plan When Buying Gear.........................232
Be Skeptical Of Outsider Advice......................................233
You Will Never Be Satisfied.............................................233
Get A Used Standalone Recorder...................................234
Pirated Recording Software: Why I Don't Use It.............235
Signal Flow...................238
Computer Troubleshooting..............................................239
Q: It seems that all seven tracks are recording the same thing? Why?...........................240
13
Q: I Can't Hear Any Audio On Playback? Why?............241
Q: No Audio Recording At All! Why?..............................242
Audio Only Records On One Side...................................245
MIDI Makes No Sound.245
Troubleshooting Clicks and Pops....................................246
Clicks and Pops With A Single Track...............................246
Clicks And Pops With Multiple Tracks.............................252
Clicks and Pops With Samples........................................254
MIDI............256
An Explanation of MIDI.256
The New Era Of MIDI...256
MIDI Doesn't Have To Be “Stiff”.......................................258
What Is A MIDI Sequencer?............................................259
What Is A Synthesizer?.260
What Is A Sampler?......261
Loops...........................262
MIDI Is Simple..............265
The Basics Of MIDI Routing............................................265
MIDI Messages.............269
Potential MIDI Problems..................................................271
Drum Programming......272
So which method of drum programming should you use? ...............................................275
My Basic Approach To Mouse Drum Programming........281
Q: Drum Samples: Are you worried about songs losing their individuality?.......................288
Q: Do you have to think like a drummer to program great MIDI drums?...........................290
Q: How Do I "Convert" MIDI To Wav..............................291
"Jezus christ man you are a monster, what you have put in there is amazing"
------ glen - -
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Electric Guitar
Get ready to make the best guitar recordings of your life. You'll find out what you are doing wrong, what you are doing right, what you have haven't thought of, and what you probably shouldn't think about.
Table Of Contents
Killer Home Recording: Electric Guitar..............7
Warning!...........................7
Intro..................................7
I Keep Saying “Capture”...7
There Is No Tone in EQ....8
The Clean Tone Test.........9
Electric Guitar Amp Isolation.............................................10
Shure SM 57 ..................11
Mic Placement with the 57 and Beyond............................12
Get the Source Right First.................................................13
The Turd Perspective......14
SM57 Proximity Effect ...14
Be Aware Of Your Brain..15
Direct Guitar Recording..15
The Old Fizz...............15
The New World of Direct Guitar Recording ..................16
Impulses ....................16
Hi-Z Inputs .................17
Modeling Amps...........17
Solid State Guitar Amps..18
Great Amps Aren't Always Expensive................................19
Versatile Amps Dilemma ..................................................21
Should I Have My Guitars Setup Properly?.......................23
How Much Low End?......25
What Pick Should I Use?26
Do I Need New Strings?.27
Should I Use High End Guitar Cables?.............................27
How Crucial Are Guitar Speakers?....................................28
Dealing with Crappy Speakers..........................................30
Every Speaker Sounds Different.......................................31
Should I Use A Room Mic?................................................32
Do I really need a $2,000 guitar amp head?.....................32
Capturing Tone vs. Creating Tone.....................................33
The Power of Small Amps.................................................34
5
Smaller Speakers.......35
Low Wattage...............35
Different Tubes...........35
The High Gain Midrange Dilemma....................................36
Layering Distorted Rock Guitars..........................37
When Not To Double .39
The Chorus Sound ....40
Excessive Frequency Buildup ......................................40
Hesitation to Double...40
What About 4, 8, or 16 layers of guitar tracks?.............41
Should I Use Different Tones On Each Guitar Track? Maybe a Les Paul on one side
and a Strat on the other?...............................................43
Instead of real doubling, can I just copy and paste a mono track to each side? What if I
delay one track slightly?................................................44
Is there an advantage to recording 4x12 cabinets versus 1x12 cabinets?..........................45
My electric guitar rig sounds great live but sucks for recording...........................................46
How do I get a fantastic guitar sound out of an SM57?....47
Will a condenser microphone do something magical to my guitar recordings?...................47
Should I dump $1,100 on a Royer R121? Is an SM 57 good enough?..............................48
Keep It Simple, Dummy..50
Different Amps, Difference Phase.....................................56
Complicated Systems Save and Waste Time...............57
Equalizing: Before or After the Amp?................................57
Delay: Before or After the Amp?........................................59
Anything: Before or After the Amp?..................................59
Should I Record Guitars with Effects?...............................60
What If I Don't Like the Effect Later?.................................61
What If The Guitar Player Isn't Happy With His/Her Tone?.................................................62
Gigantic Warning Sign62
No Relying On Mixing.....63
Can I add delay and reverb to make guitars sound huge?..................................................65
Guitar Reamping.............66
Can you produce feedback through amp simulators on computer?....................................67
Can I use wah-wah pedal and other hardware effects while playing through guitar amp
emulator plugin?.............67
I'm recording distorted guitars at home. How do I get powerful guitar sounds at bedroom
levels?............................67
Avoiding Noise in Distorted Electric Guitars......................69
"I LOVE IT!!!!" --- Darrell Shepherd ---
Do Not Hesitate! Make better recordings NOW!
The Interrogator Sessions: Electric Guitar
This was FUN one!
I get a new thread a week at RecordingReview.com asking about layering electric guitars. Inevitably, we start arguing about whether 1,2,3,4, or 12 layers of electric guitar is THE sound.
Of course, I know the answer. I did the dumb tests. Anyone who has experienced Killer Home Recording knows the answer too.
Figuring out layers is pretty straight forward. However, there are issues that aren't so straight forward. Like: Is a ribbon microphone absolutely required for mega electic guitar sounds? How do emulators compare to the real thing?
You get the idea! We test a ton of stuff in The Interrogator Sessions: Electric Guitar so you'll immediately know what works and what doesn't. If your underwear rips, it's because your ball grew a bit too fast. That's my goal!
Interrogations
Multiple Mics On A Cabinet
What's the deal with using more than one mic on an electric guitar cabinet?
Your Benefit:
Find out immediately if there is any obvious boost in your guitars sounds by using multiple mics!
Guitar Speaker Cable Wars
In Killer Home Recording: Electric Guitar I tried out four different speaker cables.
Your Benefit:
You find out if there is any significant change in tone when using a cheapo cable. If anything is lost by using a super long cable. You'll see if anything is gained by using an expensive name brand cable.
Taking Away The Toys
In most of the shootouts for Killer Home Recording: Electric Guitar I used my Manley TNT preamp through my Distressor compressor into my Mytek AD96. How big of impact does all this crap have on electric guitar recordings? What would happen if I just plugged straight into a Presonus Firestudio.
Your Benefit:
You'll hear the real world benefit the high end gadgets have on the recorded electric guitar tone. You'll get to put into perspective the impact of these gadgets on a tone which you've heard numerous other factors change (mics, mic placements, amps, etc).
Royer R121 vs The World
In Killer Home Recording: Electric Guitar I toss the Royer R121 in the ring with numerous other popular electric guitar mics.
Your Benefit:
You'll find out if the Royer R121 is the undisputed kind of metal guitar tone or just another flavor. You'll see if any mics that cost a fraction of the cost can give the Royer a run for its money. You'll be knowledge to decide if the Royer R121 is worth the money.
Power Tube Distortion vs Pre Amp Gain
I compare the effects of power tube distortion vs pre amp gain on a metal guitar tone.
Your Benefit:
You'll find out if it's worth all the trouble (loud volume, cops showing up, divorce, etc) to crank up an amp to incredibly loud levels.
Electric Guitar Mic Placement
If I had a million dollars for every time someone had asked me where to place a mic on an electric guitar cabinet, I'd have more than $5. In Killer Home Recording: Electric Guitar I shed some light on this.
Your Benefit:
You'll find out the sonic personality of an electric guitar speaker. I 'll show you the sweet spots on an electric guitar speaker
High Gain Electric Guitar Preamps
I tossed 11 different preamps on doubled high gain modern rock guitar tracks. Preamps ranged from nearly from $8 to $3,000.
Competitors:
Vintech 1272,
Presonus Firestudio,
Great River MEQ-1NV,
Manley TNT,
Martech MSS-10, M-Audio
Octane, Presonus ADL 600,
Presonus Digimax D8,
Presonus Studio Channel,
RNP,
True Systems P-Solo
Your Benefit:
You'll know the difference between high end preamps, budget preamps, and a bunch of preamps in between. You'll find out if a high end mic preamps are a solution to your guitar tone problems.
Guitar Layering Experiments
I go through 16 layer variations of electric guitar.
Your Benefit:
You'll hear the possible benefits of a whole bunch of layers, the benefits of active octave power chords, the benefits adding all kinds of random jibberish, the benefits of blending different tones, and you'll know if all this junk is really worth it.
DI Inputs Put To The Test
I compare several different DI inputs.
Your Benefit:
You'll know the difference between Hi-Z inputs and standard inputs. You'll hear the difference between Hi-Z inputs on a Presonus Firestudio, M-Audio Octane, and Great River MEQ-1NV.
Clean Electric Guitar Preamps
I test numerous mic preamps on a jazzy guitar sound.
Competitors:
Manley TNT, Martech MSS-10,
M-Audio Octane,
RNP,
Presonus Studio Channel,
Trident S20,
True Systems P-Solo,
Vintech 1272,
Presonus ADL 600,
Presonus Digimax,
Presonus Firestudio,
Great River MEQ-1NV
Your Benefit:
You'll hear the difference between mic preamps ranging from robo cheap to turbo expensive. I 'll make it a little easier to decide which preamp is right for you and your clean guitar sounds. You will compare this shootout with the High Gain Electric Guitar Preamp shootout and decide if all guitars benefit from the same preamp.
Overdoing The Gain
There is much talk about how a person should avoid overdoing the gain, but seldom is this ever put into any real context. Some genres require quite a bit of gain. In Killer Home Recording: Electric Guitar the goal is to shine some light on the issue.
Your Benefit:
You'll know what happens with too much gain. You'll knoow a quick and easy way to determine if too much gain is being used.
Your Benefit:
You'll know if expensive mic required for electric guitar recording? You'll know if an SM57 good enough? You'll know if an Audix I5 be better? Find out if ribbons like the Cascade Fathead II, Karma K6, or Royer R121 stack up against dynamics like the Sennheiser MD421, Shure SM7, SM57, or Audix I5? Find out how a budget microphone Behringer C1 or MXL V63M handle electric guitar?
Layering
I wish I had a million dollars for every time I 've fought about layering high gain guitars. Some people insist that two hard panned layers is all you need. Others like to add a third layer down the center. Others say that four hard panned layers is absolutely required.
Your Benefit:
You'll immediately know the differences between 2, 3, or 4 layers of high gain electric guitar. You'll never waste time recording 4 layers of electric guitar when you'd be happier with two. You'll never settle for less when four layers is exactly the sound you are looking for.
20 Layers
I tracked 20 layers of a metal guitar riff to illustrate the benefits, if any, of playing the same riff 20 times.
Your Benefit:
You'll know any possible benefits of recording an electric guitar track 20 times. You'll know the difference between the way two different high end preamps known for their electric guitar preamps stack (Vintech 1272 and Great River MEQ-1NV). You'll know the real answer to the big time debates I 've heard about this high end preamp and that high end preamp in a situation where the tonal qualities of each preamp should be perfectly clear if you subscribe to the preamp stacking argument. You'll know if this preamp stacking argument is a crock or not.
Amps N Emulators
I tossed together some random clips of DI guitar either reamped through a real amp or ran through various emulators.
Your Benefit:
You'll know if emulators are ready for real deal recording yet.
Room Mics
I tossed a Royer R121 6' in front of a guitar cabinet with its null facing the amp in a typical room I all are likely to be recording in.
Your Benefit:
You'll know if there are any benefits to recording distorted elecrtric guitars with a room mic
"This must have been a MASSIVE undertaking because it covers everything and was done RIGHT." ------ Rex Rossbach - -
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Vocals
Everyone screws up their vocal recordings in the beginning! It's a fact of life. You can sit around fiddling for the next 5 years or you can let me show you how to get killer vocals NOW!
Most people thank that nailing robo vocals is nothing but a bunch of knob turning. Knob turning is probably 4% of the process. Most people COMPLETELY miss out on the other 96%. It's no wonder so man people struggle with their vocal sounds! Well....not for long!
Table Of Contents
Killer Home Recording : Vocals.........................6
Intro..................................6
Warning!...........................6
The Performance...........................................6
Like It Or Not, You Are Producing!.......................................8
Don't Think Of A White Horse............................................10
Singers Are Weird...........12
Get The Singer FEELING The Song.................................14
Vocals Are Over The Top .....ALWAYS!!............................15
The Vocal Headphone Mix................................................16
When The Singer Is Uncomfortable..................................22
Vocals Mic Placement.....25
Microphone Selection.....27
Microphone Pattern Selection...........................................29
Preamp Selection...........30
Vocal Mic Upgrades - Myth................................................32
Best Vocal Mic For $300, $500, or $1,000??....................33
What Is a Neumann Going To Do For Me?.......................33
What Are I Looking For In A Vocal Sound?...................34
Avoiding Sibilance..........35
Should The Singer Hold The Microphone?.......................36
Should The Singer Use Headphones?..............................38
Vocal Layering / Doubling..................................................40
Comping Vocals..............41
Pitch Correction..............43
Should I Use A Hardware Compressor?............................45
Backing Vocals...............49
Q: Are emotions possibly linked to getting a good vocal sound? ........................................50
Is There Any Benefit To Stereo Miking Vocals?.................50
"Brandon, you deserve a standing ovation."
------ Md2802 - -
The Interrogator Sessions: Vocals
This is one of my favorite pieces in Killer Home Recording. You'll hear me smash one myth after the other after the other when it comes to vocal recording.
We put mic placement, microphones, preamps. compressors, etc to the test so you can hear EXACTLY what impact/benefit these things are going to have on your recordings. You may be shocked!
Interrogations
Vocal Mic Placement
I tossed a Peluso 251 in front of our female singer and put it in five different positions.
Your Benefit:
This is THE most valuable shootout / illustration in this entire book. If you skip the concepts laid out in this illustration, you die...almost!
Your Benefit:
You'll know what a ton of microphones sound like on a soft pop chick vocal. You'll know the benefits, if any, of buying an expensive microphone. You'll hear the difference between a mic that costs $26 and a mic that costs $2,600.
Vocal Preamp Shootout Three
I tossed 10 preamps on a soft pop chick vocal.
Competitors: Vintech 1272,
Trident S20,
RNP,
Presonus Studio Channel - Drive 10 Presonus Studio Channel - Drive 0,
Presonus ADL 600,
Presonus Firestudio,
Martech MSS-10,
Manley TNT (Tube, Solid State, and a variety of impedances and modes) ,
M-Audio Octane,
Great River MEQ-1NV
Your Benefit:
You'll know 10 different mic preamps ranging from $8 to nearly $3,000 can do on a pop vocal chick. You'll know if budget preamps can give the most desirable preamps in the world a run for their money. You'll know if there is anything magical about the two tube preamps in the shootout. You'll know if there is anything to the clean vs dirty preamp debate.
Your Benefit:
You'll know the sonic differences on numerous microphones for a pop/country male vocal. You'll find out if you prefer the $26 mic or the $2,600 mic or something in between.
Vocal Preamp Shootout Two
Listen to 10 different preamps on a male voice doing hippie music.
Competitors: Great River MEQ-1NV,
Manley TNT (Tube Channel and Cool Channel),
Martech MSS-10,
Octane,
Presonus Studio Channel,
Presonus ADL600,
Presonus Firestudio,
Trident S20,
Vintech 1272
Your Benefit:
You'll know if it's worth it for hippies to take a brake from peace and love to get a job and buy some kick ass mic preamps.
Vocal Microphone Shootout Two
I tossed 17 different microphones on hippie male vocals.
Your Benefit:
You'll know the difference between 25 different microphones raning from $28 to $2,600.
Microphone Polar Patterns
I tossed our female singer in front of 2 different microphones (Peluso 251 and Groove Tubes GT57) and had her sing through three different polar patterns.
Your Benefit:
You will know the EXACT benefits of using the three different polar patterns at different times. This is one of the most powerful shootouts in Killer Home Recording!
Microphone Distance
I recorded vocals a 1", 3", 6", 12", 24", and 36" using both a Peluso 251 and Groove Tubes GT57.
Your Benefit:
You'll find out the impact of varying the distances from a vocal microphone to shape tone. You see how this effect changes with different microphones. EVERY serious home recorder MUST know this! Don't miss out!
Vocal Compression
I tossed seven different compressors (4 plugins, 3 hardware) ranging from cheap to robo expensive.
Your Benefit:
You'll hear the impact of hardware compressors vs plugin compressors. You'll hear how aggressive hardware compressors sond against clean hardware compressors. You'll hear the difference between big time bucks in compression land. You'll see if the colored compressor plugins can run with the colored hardware compressors.
i definitely got more than i payed for on this whole thing
------ Dante -----
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Drums
It seems that recording mega drum sound is something most people have to wait a good 5-10 years to really pull off. For good reason! Most people focus on the trees and forget their is a forest. My idea is to chop the whole damn thing down.
I'd bet money that the source of your drum problems has nothing to do with mics and preamps. I bet it's the damn drummer holding you back. Yup, I'm serious. Without spending a dime, I bet in just one page of this book, I can transform your drum recordings....assuming you aren't too afraid to tell your drummer how it is.
Of course, we can't blame EVERYTHING on the damn drummer. There are a whole bunch of areas that you can screw up and I'm confident that we cover them all.
With Killer Home Recording: Drums, you'll find out what you are doing wrong, why it is wrong, how to fix it, and your drums will have never sounded better!
Table Of Contents
Warning!...........................8
Intro..................................8
The Drummer's Performance..............................................9
The Room......................15
The American Drum Sound...............................................19
Reverb Doesn't Make Up For Dead Rooms......................19
Reverb VS Room............20
Small Rooms CAN Rock!..................................................22
The Sweet Spot Of The Room..........................................24
Drum Tuning...................25
The Thick Drums Myth....28
The Window Of Accepted Chunk.......................................29
Over-Reliance On Close Mics...........................................30
Get The Overheads Sounding Great.................................31
Underheads...................36
Dealing With Huge Drum Kits............................................37
Minimal Drum Micing......42
Drum Kits And Phasing...49
Unhappy With Drum Sounds.............................................51
Punchy Drums................51
Cardboard Kick Drums...53
Reducing Snare Ring......55
Build Your Own Subkick..59
Kick Drum Attack............60
Snare / Hi-hat Isolation...62
EQ During Tracking........64
The Kick Drum Front Head................................................65
Start With An AC/DC Beat.................................................65
Kick Drum Tonic..............66
When Drums Slide Around................................................67
Getting Started With Drum Micing.....................................68
Placing A Room Mic Within The Room..............................72
Room Mic Selection........74
6
The ExtraTrash Microphone..............................................75
Hi-hat Mics: Should I Use Them?.....................................76
Drum Tracking In Action..77
Drum EQ 101..................82
"This is so easy to read and understand! This should be offered (at an addition price) as an add on with every recording software program." ------ Sherok - -
The Interrogator Sessions: Drums
Once again, we put the gear and the technique to the test.
How much impact are fancy mics and fancy preamps REALLY going to have? We'll find out!
Can I really get a great drum sound with just 2 mics? We'll find out!
Is there anything really holding back your drum sounds? We'll find out!
Interrogations
Snare Microphones
I tossed three different microphones on a snare drum.
Competitors:
Shure SM57,
Audix I5,
Okatva MK012
Your Benefit:
You'll know if there is any reason to get mega excited about the various alternatives to the good ol' SM57. You'll know if you are missing out by not using a SDC condenser like the Oktava MK012 on snare drum.
Snare Preamp Shootout
I tossed six different mic preamps on a snare drum.
Competitors: Manley TNT Cool Channel,
Great River MEQ-1NV,
Presonus Firestudio,
Vintech 1272,
True Systems P-Solo,
Manley TNT Tube Channel
Your Benefit:
You'll know the difference between $8 preamps and $2k preamps on snare drum. I'll let you decide what kind of impact the high end preamps deliver and if it's worth your $$$. You'll choose your favorite mic preamp on snare drum.
Your Benefit:
You'll know the effects of $8 preamps and $2k preamps on kick drum. You'll know the impact high end preamps will make on your drum recordings.
Drum Overhead Microphones
I illustrate three possible overhead mic possibilities.
Your Benefit:
You'll know the differences in sonics between $100 overheads and $2,000 overheads. You'll hear the differences between SDCs and LDCs. You'll know what ribbon microphones are capable of on drum overheads.
Minimal Mic Options
I recorded a drum kit in a variety of popular minimal micing styles.
Your Benefit:
Find out what a drum kit can sound like with just two microphones. Hear the possibilities of the most popular minimal micing schemes.
Close Mics and Processing
I toss up some close mics and process them with EQ, compression, and parallel compression.
Your Benefit:
You'll know what dry, unprocessed drums sound like. You'll hear what a little EQ, compression, and parallel compression can do. You get an idea how to process your own drums.
Matched Overheads
I test matched overheads vs random, unmatched condensers.
Your Benefit:
Find out if drum overheads are really necessary.
Your Benefit:
You'll know which kick drum mic is right for you. You'll find if there really is a magical kick drum microphone.
Modern Drums With 2 Mics
I give it hell to snag a modern drum sound with just two microphones.
Your Benefit:
You'll see just how close I can get to a modern drum sound with just two mics. You'll realize the significance of the overheads in any drum recording. You'll know the role the source plays in a drum recording.
New Heads vs Old Heads
I record the same drums (same drummer, same room) with old heads and brand new heads.
Your Benefit:
You'll hear the sonic benefits, if any, of switching drum heads
"There is sooooooooooooooooooo much information there."
------ Walkinglife - -
Do Not Hesitate! Make better recordings NOW!
Killer Home Recording: Acoustic Guitar
In Killer Home Recording: Acoustic Guitar we are going to make sure you are cranking out the best acoustic guitar sounds ever. We'll focus on all the essential tactics for recording acoustic guitar, avoiding common problems, and overall butt kicking.
Your acoustic guitars will improve IMMEDIATELY!
Table Of Contents
Intro..................................6
Warning!...........................6
The Source......................7
Acoustic Guitar DI...........10
Acoustic Guitar Zones.....11
Mic Placement................13
Match The Mic With The Acoustic Guitar..........................16
Doubled Acoustic Guitar.18
Crazy Mic Placements To Avoid Boom..............................18
Can A Ribbon Mic Work On Acoustic Guitar?...................19
Q: Will it sound cool if I blend an acoustic guitar DI with the mic'd signal?.........................20
Mic Selection.................20
String Noise....................21
Tracking Singers / Acoustic Guitars At The Same Time....22
Tuning Effects Frequency Response................................25
When Acoustic Guitars Go Wrong.....................................26
Acoustic Guitars Change28
"I'm reading through KHR, and so far I already feel like a better engineer"
------ Guitarded88 - -
If you are screwing up your bass sounds, you aren't alone.
A lot of people are being held back from big ol' bass sounds because they haven't identified the super mega important fundamental issues involved with any bass recording.
You'll find out quite quickly what's important and what isn't.
The truth is there are certain bass recording tactics that you CAN'T do at home. Well, you can, but only about 2% of you have the rooms to do it. We'll figure all that business out and a whole lot more in Killer Home Recording: Bass.
Table Of Contents
Warning!...........................6
Extremely Sensitive To Talent..............................................6
Amp vs DI........................7
Bass Amps vs Room Acoustics...........................................9
Bass DI Really Can Sound Good!.......................................9
DI Nothing vs DI Emulators...............................................10
Blending Bass DI with an Amp..........................................10
Q: Do I really need a DI box or can I just use a preamp for bass?......................................12
Bass Strings: New Or Old..................................................12
The Balanced Bass.........14
When One Note Leaps Out...............................................15
Active vs Passive Bases.15
Active EQ.......................17
Bass Tuning: Should Bass Be Recorded Last?.................17
Bass Tuning: Forget The Tuner........................................20
Bass Tone: Should The Bass Be Recorded Last?............21
Bass Recording Challenges..............................................22
Mic Placement................24
Disappearing Distorted Bass.............................................26
Bass And EQ..................27
Bass And Compression..31
Self Recorder: Pick vs Fingers.........................................32
"You'll get a lot of "thank you" emails... So, just saying you deserve all the praise you get for this." ------ Mark Devereux - -
The Interrogator Sessions: Bass
Home recorders are always playing the "What if?" game. "What if I should be using an amp? What if I should be using a DI? What if I should be using a pick? What if I'm using the wrong bass?
Cry!
Cry!
Cry!
In The Interrogator Sessions: Bass, we'll take a ball bat to this "What if?" game so you can start developing confidence in your ability to freakin' listen and make a decision on your own. I'll show you the difference between tons of this and thats, and you'll come out KNOWING how you want to record your monstrous bass sounds.
Interrogations
Bass Amp Micing
I go through some random trial and error to illustrate a number of concepts in recording bass at home.
Your Benefit:
You'll know the possibilities of micing a bass cabinet's woofer and also micing its tweeter. You'll know how different basses sound when ran through the same amp. You'll know how to identify the terrible effects of crappy rooms on bass cabinets.
Old vs New Bass Strings
I try extremely old bass strings and compare them to brand new bass strings
Your Benefit: Find out the actual impact of recording with new and old bass string.
Amps vs Ampeg SVX
I compare a real bass amp with a bass DI using Ampeg SVX.
Your Benefit:
You'll know how Ampeg SXV compares with the real thing. You'll see if there is any real, objective quality difference between amps and Ampeg SVX.
Bass Nerd Stuff
Imagine paying for the most nerdie, anal, and opposite-sex repelling night of bass experimentation in the world.
Your Benefit:
You'll learn any potential benefits of using an Eden or Carvin cabinet. You'll learn the sonic differences between an 800RB and a QSC power amp. I'll bore the crap out of you!
Modern Bass Options
I illustrate numerous possibilities provided by modern bass options.
Your Benefit:
You'll know the possibilities of micing an amp, blending the amp with a DI, compressinng both the amp and DI, using a De-esser on a bass, using just the original DI, smashing the DI with compression, and using Ampeg SVX. You'll be able to make sense of all these stupid options so maybe you can get a better idea of the route you want to go and where to put your $$.
Bass Mic Preamps
I tossed 12 different mic preamps ranging from robo expensive to robo nothing in cost on a Mesa Boogie bass cabinet.
Competitors: Martech MSS-10,
M-Audio Octane,
RNP,
Presonus Studio Channel,
Trident S20,
True Systems P-Solo,
Vintech 1272,
Presonus ADL 600,
Presonus Firestudio,
Great River MEQ-1NV,
Manley TNT Cool Channel,
Manley TNT Tube Channel
Your Benefit:
You'll know the potential sonic improvement delivered by various preamps. You'll have a frame of reference to decide if those potential improvements are worth your cash.
Hardware Compression On Bass
I tossed three different hardware compressors on bass.
Your Benefit:
You'll know any possible positive benefits hardware compression can have on bass. You'll know ways in which a bass track can be manipulated via different attack and release times.
Input Impedance On Bass
I recorded bass DI using five different input impedance settings.
1M ohms,
3M ohms,
10M ohms,
100k ohms,
300k ohm
Your Benefit:
You'll hear the effects of DI input impedance on bass recordings.
Bass Preamp DI
I recorded a bass DI through x preamps ranging from $8 to nearly $3,000.
Your Benefit:
You'll hear the sonic differences in bass DI. You'll be able to determine if a high end preamp/DI is worth your green stuff.
Bass AD Converter
I compare the Mytek AD96 to the stock Firestudio AD converter.
Your Benefit:
Find out if the tonal benefit of expensive analog to digital converters is worth your cash.
Bass Humans
I let different bass players play the same riff.
Your Benefit:
You will hear the SHOCKING tonal differences in the hands.
Bass DI vs Ampeg SVX
Not sure what a modern emulator can do for your bass sounds when compared to a straight bass DI?
Your Benefit:
Immediately find out if those amp sounds you desire are obtainable in the dramatically more convenient world of bass amp emulator plugins
Different Basses #1
Not sure if your bass is adequate for job? Think you may need to spend more? Afraid you've got the wrong bass for the job? You might! I played the same funky part with a number of different basses at a number of different price points to illustrate the impact that price, make, and model have on bass tone.
Competitors:
$200 cheapo Fender P-bass,
Fender Jazz USA,
Schecter Diamond Series,
Musicman Stingray,
Warwick Streamer
Your Benefit:
You'll know the sonic differences from the various families of bass guitar. You'll see how a cheapo bass fits within the ranks of big boy expensive basses.
Different Basses #2
In Different Basses #1 I played a funky thing. In Different Basses #2 I played a thing us rock guys are more likely to record.
Competitors:
$200 cheapo Fender P-bass,
Fender Jazz USA,
Schecter Diamond Series,
The most mistreated Schecter of all time,
Musicman Stingray,
Warwick Streamer
Your Benefit:
You'll get a further idea of what different basses can give. You'll find out how cash fits into the picture and you may be surprised how well an entirely mistreated bass fares.
Bass Microphone Shootout
What's the best bass cabinet microphone? I hear this question all the time. To answer it I tossed up 28 different microphones on the same reamped bass track.
Your Benefit:
Find out exactly what a $30 mic, a $2,700 tube Neumann, and everything else sound like on a bass cabinet. You'll never have to be afraid ever again that the mic you currently use on bass cabinets is holding you back.
Bass Microphone Placement
Not sure where to place the mic? I give you real world examples of the difference between numerous mic placements.
Your Benefit:
You never have to worry about micing your bass cabinets up in the wrong place ever again.
Do Not Hesitate! Make better recordings NOW!
What Other Customers Have To Say
Your stuff is the easiest to understand out there which is great for a newbie like me
------ B B - -
Hey Brandon -
Just wanted to write and say KHM = bad ass.
I'm amazed at all the detail you put into it and no-bullshit, real-world tricks and tips. The money I could potentially save on my gear-lust might pay for the book many times over. lol
So nice job. hanks for your hard work, and I enjoyed the sick humor in the book too. That is something this world is sorely lacking!
Cheers,
Jeff
------ Jeff - - http://www.mountainmirrors.com
Brandon Drury has a way with words. Killer Home Recording tackles some very complicated issues and it doesn't shirk the technical detail. But Drury's style is to give it to you straight, with a smile, like a good mate would. Brilliant.
------ John D. Lewis - -
Spectacular job! Great job, Brandon! Well laid out, well presented, well stated!
------ TonyB - -
I have read half of the books already and they are the best I have found so far
------ Noe Anton - -
Brandon, I got the KHR and is fucking great!! Really thanx!! I thing I will get info-overdose!! Thank you for your time and congratulations for KHR success, I think you worth it 1000%
------ Joe Simvonis - -
this is awsome
------ eamon7 - -
Dude. I have started reading from the beginning and have been perusing the rest and I am so impressed with the work.
------ Thesilentdrummer - -
recording's a lot to take in, this is better than teaching yourself or going to some high an mighty school to learn it. It's really an essential for anyone beginning to record, or anyone else. It opens a new era to home recording.
------ DesolationReigns - -
I've started reading the Recording Engineering book. wow, excellent material.
------ DarrenH - -
I thought there was a lot of hype over KHR but it's all true.
------ Curtis Lange - -
khr is awesome. I really like the interrogater sessions, I wasnt expecting all that.
------ Circa321 - -
I bought it yesterday and I love it.
------ BillyO - -
your writing style is outstanding and I'm already feeling smarter and WAY more confident about attacking my next mix...
------ wkomassa - -
Wish I had the Setting Up Chapter about 7 years ago.........oh well.
------ rcprod - -
Brandon, you deserve a standing ovation.
------ Md2802 - -
Really like your no bullshit approach. Just read a few pages and its probably the most accessible stuff I ever read on recording.
------ PeterSimonRussel - -
I've read most of "Setting Up" and it's top-notch. Everything has been explained very well and none of it was condescending. "Ideas For The Ultra-Broke Recorder"...ha ha ha! THAT right there is what is going to set this series apart from everything else out there: it's written for everyone.
------ MetalMarc - -
I continue to be enthralled reading this stuff... the best $X I've spent in my whole life, ever
------ wkomassa - -
I've really been enjoying the hell out of "KHR." I started at "Audio Engineering" and will go on from there all the way to the end. I just wanted to tell you that it really is like having a light bulb over my head that gets brighter and brighter, the further I 'get on in it.' This is one totally informative piece you have here dude!
------ Metaltyme - -
I think you are selling yourself short by targeting KHR to intermediate and beginner engineers. Without directly revealing my age, when I started working in studios in Hollywood, our "state of the art" equipment included a Studer 2" 24 track, a 36 input MCI board, and JBL 4311 monitors (before even NS-10's, sheesh...)
needless to say, I have been doing this a long time, and I still found many excellent nuggets of wisdom in your tutorials, and the price was an absolute bargain (and still will be when you come to your senses and start charging more!!) your insights and plain English explanations�of engineering concepts is through and lucid, and in my humble opinion is useful for engineers, producers, and musicians at any level!
------ Frank Beehler - -
I bought KHR the week it came out. I've already found enough to make the $X worthwhile, for sure. Nice job.
------ Mark Alexander - -
Killer Home Recording is one firebrand engineer's provocative and sometimes ballsy take on how to turn great sound into great recordings. Instead of touting expensive gear and esoteric formulae for the manipulation of audio, Brandon Drury irreverently promotes the idea of letting the music speak for itself, by encouraging you to trust your ears (and what's between them). In this comprehensive and witty book you'll learn how to identify great sound, how to capture it faithfully, and how not to screw it up in the mix
------ David Williard - -
Out of all of my music related purchases in the last 14 years, this has been the best bang for my buck.
------ Bonebrake - -
My parents paid 25,000 for me to go to Media Techs Dallas Sound Lab and I can honestly say I have learned more from your book than I have learned collectively from everything else.
------ Trey Wagnor - -
...it's a great read. Well done, Brandon!
------ darrylm - -
Dude, as a newbie in recording, Thanks for making something much easier to understand and like everyone else says, offering it an affordable price Brandon! It kicks ass!!
------ Billy B L.A, CA - -
No, thank you. YOU are beyond awesome!
------ Torzelan - -
Well done my friend!...'m not new to home recording - I've had a project studio since 1997. I wish this had been available back then. I did it the hard way. It worked out, but I could have saved myself hundreds of hours and quite a few bucks.
Thanks!
------ KEDSC - -
There is sooooooooooooooooooo much information there.
------ Walkinglife - -
Thank you Brandon, I just wish this came out 15 years ago. I could have been a superstar home recording Troll by my own right today..... You have put great work into this.
------ Shiva - -
the info is concise and well presented. I found the writing to liven up some fairly dry scientific discussion with humorus stories and insertions. So far I can relate to your writing and find the info very valuable. Wish I would have had this years ago. I have spent hundreds of hours finding some the information you pulled together here. You should be proud! This is a great product!
------ IrishBallaDeer - -
You do a good job of keeping things objective & going in to detail about the optional set-ups. The nicest part is you keep everybody's best interests in mind when it comes to spending & not spending!!! Nice to learn a couple of tricks along the way & learn from your experience on the do's & don'ts.
------ Haazy34 - -
Great job! ..Too many writers are so afraid to offend anyone that they skirt around topics instead of hitting them head on- Thanks for not being a pussy, and calling things the way you see them.
------ Chris deVitry - -
I must say that you did an incredible job putting all this together. What really surprised me was the price. Normally a product like this would cost from 99.95 USD up. Despite my long experience as a touring musician and studio work after that, I started reading your books with great pleasure.Thanks a lot for your great work and many greetings from Bulgaria.
------ Konstantin Markov - -
These chapters are very stealthy. You are just reading along, listening to Brandon talk and talk. Before long, you realize you've really learned something. Probably several somethings. Imagine reading it with a lit lightbulb above your head.
------ Garageband - -
Killer Home Recording: Setting Up " is an enjoyable read. I thought I knew most of what is involved in getting started, however, I quickly learned many things I had no idea of. For beginner, novice, or intermediate recording folks, this is the ultimate, most accessible resource for learning, brushing up, or for occasional reference on the subject of audio engineering and recording. Brandon Drury's style of writing reminds me of that of Bruce Lee's "Jeet Kune Do" ...bad-ass, and without all the bullshit fluff and filler.
------ Metaltyme - -
i read almost every home recording book out there this is the only one where i can sit down with a cup of coffee a pen and paper (a word document i get those two confused at times) and actually learn something and get a laugh or two. Also you give some real world advice to (ex."This is handy when dealing with a member of the opposite sex, but it's not so handy with mixing.")
------ DCstudio10 - -
I read through the whole first portion. Extremely informative and entertaining as well!
------ guitargod09 - -
This is so easy to read and understand! This should be offered (at an addition price) as an add on with every recording software program. The software manual is a nightmare (if you get one) This prepares you much better and enables you to better understand no only the software but everything else you own along with it. The manual to the software might may better sense.
------ Sherok - -
this much info in one book (chapter in a series) has got to be a "Holy Grail" for younger guys just starting to learn this stuff
------ Jeremy Horner - -
I'm reading and reading KHR, but it never seems to end. There is so much stuff in there, and it is also very well written - it's all relevant, and where fun stuff is needed fun stuff is inserted. I started reading the audio engineering book some days ago,
------ Technobreath - -
I wanted to let you know that your work motivated me to keep on chasing quality sound.... Keep up the good work!
------ BigJoe10p - -
You are an inspiration and I thank you for your wildness because there is so little of it in this world!
------ Anyse - -
I just wanted to say thankyou for a) being so generous with your efforts and work and b) being supportive and offering a forum of support for home recorders. High Praise man! High Praise!
------ Aisha Dixon - -
Great job Brandon!
------ Inarvan - -
You deserve a beer or three
------ flewks - -
I see you are a homey
------ mike5746 - -
Really great stuff, Brandon!
------ Kriszkol - -
But during reading some more KHR last night, I was getting so inspired, that I had to stop reading & just get out my newest electric guitar and play for a few hours, as it had been a few days. I'm sure you can relate.
------ Jim Chamak - -
I really learned a lot when proofing the book and look forward to reading the rest of the series. You really busted you ass to complete the books and I hope you find great success when they are released. In addition, thank for providing the forum as a resource for home recording engineers, it has been invaluable
------ Jeff Gilbertson - -
I liked it a lot. I read the whole thing. It's actually really helpful. Thanks a lot.
------ Jack Vondrachek - -
Great work dude it really explain every doubt I had
------ Gnzlo - -
It is a great product and you should be proud.
------ Bert Dodd - -
I purchased the KHR yesterday...great job! Thanks.
------ Cougarman - -
I've been meaning to thank you for all the work you have put into KHR, it's certianly paid off.
------ TheJoker - -
part 1 of KHR was fantastic!!! Soooo much good information!! When's the official release?!?! Can't wait!
------ r1ng077 - -
I'm really enjoying the read! Thank you very much for this e-book, and your site. It's a tremendous help!
------ Nicholas Pretorius - -
I really like it, it helps a lot to understand the important parts in the djungle of audio recording!!
------ Martin Fredriksson - -
Thanks for putting out something different than the multitude of stale recording books already available
------ Aaron Griffin - -
I've been at this recording thing for quite a while and I've learned a lot from you and your forum
------ BlackBroadway - -
I truly appreciate your personal dedication to this project. A great wealth of information. I am going to be very busy.
Thank you again.
------ Gnome Tone - -
This is exactly what I always wanted in all the detail Brandon put in all this. It put my mind about gear to rest, and gave me a foundation I can refer to
------ lestat26 - -
Goddamn this course is sick man.
------Randy Ross - -