By John Anaya
Boundless options. That’s what independent artists are facing these days. The options for creation and competitive distribution in a brave new digital market open the door for all of our voices to be heard.
This can be confusing, and I hope to provide some real-world insight and a solid suggestion base for everyone delving into their dreams in the digital recording field.
I will be the first to say “please honor your own art,” but remember that if you would like to reach a broader audience than aunt Thelma and Bob, your local bartender, there are some ideas that have proven effective.
All of the technology in the world is not going to help a bad idea become a good idea. A gold-plated piece of doggy-doo is still you-know-what. So, let’s start with the basics.
Harnessing the Power
Practice:
This will solve a multitude of problems when it comes time to actually press the red “record” button. The time you spend refining an idea and letting it grow and experimenting with arrangements, adding “color” chords, sound effects or harmony vocals is practice.
Preproduction:
Conceptually, preproduction is managing the production before production actually starts. Include a producer/engineer in this aspect of the process. Decide early how and what you will do with the digital power. Come up with a schedule and timeline for how the project might work out. Take into consideration the producer’s/engineer’s experience. Have your instruments in tune, drink tea and don’t eat cheeseburgers before your vocal takes. Think Boy Scout (“Always Be Prepared”) when starting a session, because whether you’re in the studio or at home, nothing kills the vibe more than having to stop your creative process for the missing pick.
Keep it Real:
You can fix a lot “in the mix” with editing, pitch correction and sampling–but recording digitally while leaning heavily on these options sounds, well, like digital recording. Let’s not forget that we are human, and humans like the sound of other humans.
Hardware:
There are definitive ways to ensure your digital recording workstation can give you an edge. While there are many new and exciting toys on the market, a computer-based system is the most powerful and versatile. To be as close to self-sufficient as a producer/songwriter can be, a Power Mac G5 1.6 has done the trick for me. I purchased the machine as a refurbished unit directly from Apple, saving a ton of dough. The computer, in addition to running several audio programs, can also run Flash, Dreamweaver, Photoshop and has a high speed Internet connection. I use it to create a Web presence and distribute my creations to the entire world.
Software:
The diverse software options on the market can perform excellently and can be affordable. Traditional-looking digital audio workstation (DAW) systems include Logic, Protools, Cakewalk and Traktion. Popular loop-based software, which work best with good sample libraries and a midi interface, include Reason and Live. Make sure that your application can be used at any studio in which you might work. Protools is most widely used right now; you can purchase a start-up Protools system (the Mbox) for as little as $400. It’s compatible with Fantasy, the Plant or Prairie Sun recording studios. When purchasing, remember to keep PC/Mac compatibility issues in mind. This is key when you want to use expensive, analog signal chains in the big studios and then bring your basic tracks home to edit or sing your vocal take in the shower.
Caveat Emptor:
Just because you can afford an amazing workstation for your studio doesn’t mean you’re an engineer. The same concepts that rule the analog world work in the digital domain as well. Educating yourself on the basics of signal flow, equalization, microphone technique, compression and mixing concepts will not only make your digital recording sound better, but open up a world of options.
Recording Concepts
Signal Flow:
Follow the wires. Of course, once those wires are running around on a tiny chip in your computer, it gets a little more complicated. Find out what a buss or aux (auxiliary) does–how is your sound getting in to the computer and back out? What is a master fader, or aux return? A buss is like a real “bus”–it picks up audio and carries it from point A to point B. Thus, signal flow! Know where your sound is going and what is affecting it. Understanding your mistakes makes it easier to make them again–this time on purpose–impressing everyone with your ability to tweak a sound with your imagination. Another important reason to understand signal flow is it will help you economize the use of digital signal processing (DSP).
Economize with Aux and Buss:
Let’s say you have 16 tracks of sounds, guitar, synth and yodels. You want reverb on most of those tracks. So, you start by putting a plugin on each individual track, and soon your computer says, “No, you slave-driving bastard!” Instead, use a buss and aux return system. Most DAWs let you fine-tune your levels so each instrument can have its own amount. Start by adding a buss send–say buss 1-2–from each track you want reverb on. Then, create a new track, a stereo aux return, make its input the same as your buss send–in this case buss 1-2–and add your reverb plug-in to just the aux return track. Push up the fader on the aux return track and listen to the result. Fine tune by using your buss send faders on each individual track. You now have a reverb effect on many things using one plug-in.
Compression and Equalization:
These are the two most-used tools in any recording studio during a mix or during tracking. Compression, the more elusive, should be studied and used carefully. The idea is to squash a sound and make it louder, so it sits in a mix better. As you squash the sound you will lose dynamics and add noise to it. Compressors turn into limiters when used with a higher ratio. Limiters are like brick walls that make your sound not go louder than it is set. This is great for global or master fader limiting, but not so for acoustic guitar. Equalization (EQ) should be used extremely carefully when trying to maintain a natural-sounding tone. Feel free to experiment with EQ, because it’s fun. Learn what high pass (HP) and low pass (LP) filters do; these are extremely helpful in defining a sound and where it will sit in a mix. Both compressors and equalizers come in the digital format, and some emulate the sound of classic versions of these instruments well. But beware, some digital versions are so filled with options that you will become a “kid in a candy store,” inevitably ruining your mix.
Microphone Technique:
You need to understand why you point a microphone in a certain direction and how to get a realistic sound, but when working with digital systems there is a little more to it. The preamp is what turns your source from the microphone into a line-level sound that you actually record. This is essential if you don’t want a small, constricted sound, and works hand in hand with your conversion system. Most hardware has decent analog to digital (A/D) conversion–but make sure you select the proper bit depth and sample rate. The higher the number, the better the sound and the more drain on your computer. A great-sounding basic set up is 24 bit, 44.1K sample rate. This will allow you to use a number of tracks. If it is available, try 96K and use fewer tracks. Experiment with different mics, know the difference between a condenser and dynamic and which one needs phantom power. Cheap mics can sound great, with good technique, preamps and conversion. So go ahead and buy that AT2020 for $99.
Mix Techniques:
Mixing is where you have the chance to shine as an artist and really make the song special. Be careful to make it sound great everywhere, from the mp3 to the hi-fi, this “due diligence” will make your music more enjoyable for everyone. The digital workstation has all the options to make this work:
- Effects are an indie artist’s best friend, and if you have honored good technique up until now, study the use of effects, such as reverb, delay, chorus and flanger. Having the power of a good DAW at your disposal lets you manipulate time, so fool around with it. Use effects with aux as much as possible, that way you still have the original, ‘dry’ tone to mix with the new effected ‘wet’ tone.
- Speaking of time, phase coherency is vital. Sometimes your sound will get ‘canny’–that is usually a phase issue. Try playing with your effect and the mix. Switching back and forth between mono and stereo can help you hear phase issues. Things will disappear or be considerably quieter in mono. Don’t forget to use your pans and faders.
- Listen to music you think is mixed well and try and find similarities. Spend time on your sounds and use EQ to define individuality in tones. For example, the human voice doesn’t sound so hot below 100hz, so use your HP filter and make the bass sound clearer.
Distribution:
In addition to having all the options that a world-class engineer has to sculpt a sound, the digital workstation is now set up to help you distribute your music without a lawyer, A&R; rep, or even a disc manufacturer. A Web site with free samples and information will help you sell your work. You can create digital downloadable art, or upload your music to services such as iTunes. MP3s or other compressed files are not only easy to make but are getting to be a great-sounding alternative to CDs. How’s that for indie?
Mastering:
Check into the many great mastering options online. Uploading your 24-bit audio files to a mastering engineer in Germany can produce amazing and affordable results, giving your mixes the final touch. Don’t forget–all that digital compression means it’s vital that the person doing the mastering is truly a professional.
While sounding human and understanding the basics of engineering are paramount, experimentation is vital. Work with concepts like unlimited editing down to the sample level, and syncing your song with software that uses loops and samples. The use of the “real world” techniques will only enhance this type of production. You had better believe Dr. Dre knows how to use an analog board.
Being an artist with the many options a high-quality digital workstation offer can be overwhelming. Art can get lost. Understanding how to take advantage of the digital medium will create new musical experiences for everyone.
And you can do it from home, in your underwear.
Resources:
- EQ magazine: Good gear reviews, great software user tips, and tons of interviews and pictures.
- Mix magazine: For professionals, audiophiles, and just plain nerds. It offers in-depth articles, audio engineering information, and interviews with the biggest names in the business, not to mention gear reviews that have no price point.
- Tape OP: Captures the true spirit of the West Coast indie vibe. No rules, no big paying advertisers, free subscription and the most opinionated producer’s column you can find. It is a great resource to ask even the stupidest question and get an answer.
- “Modern Recording Techniques” by Huber & Runstein, published by Focal Press. This is the casual to expert’s easy resource, like a writers thesaurus, and will answer most basic questions.
John Anaya is a member of the National Academy of Recording Arts and Science. Learn about his music and his home studio, Humpback Recording, at www.johnanaya.com/.
Tags: DIY Library
