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Published by roxy, 2016-01-28 19:31:35

SettingUp

SettingUp

By
Brandon Drury

1

Pre-Book Junk

Legal

© 2009 by RecordingReview.com, All Rights Reserved worldwide under the Berne
Convention. May not be copied or distributed without prior written permission.

Dear Killer Recorder,

Thanks for buying this piece of the Killer Home
Recording pie.

Brandon Drury: Destroyer of Creating Killer Home Recording has been the most
worlds, debatably the best looking ridiculous, hair-brained scheme I've ever concocted.
guy of all time, and recording guy I'm assuming that if I would have spent the night in
jail for smashing in mailboxes when I was 17, I would
come from we cook our food!) probably regret writing Killer Home Recording first,
mailbox facelifting second. I've never smashed a
mail box. So, #2 is a toss up between buying
Captain Ron on DVD or eating that big ol' piece of
Wasabi at the sushi bar at the Michael Wagener
Workshop. (How was I supposed to know? Where I

The idea of trying to cram everything I know about home recording into one series of books is
flat out insane. When you factor in to that the endless barrage of audio clips, Interrogations,
and illustrations, it's a wonder if I have any sanity left at all. In fact, I get extra quiet around
cops and social workers just because I never know when they may mistake me for the
Unibomber.

2

My goal with this entire series has been simple. I wanted to take a topic that is way harder
than it should be and make it infinitely easier. After reading Killer Home Recording, I don't
expect you to be winning any engineering awards over night. I don't have any Grammy
Awards yet! (Man, I'd love to do what Pearl Jam did!) I do expect you to have a dramatically
clearer understanding of what it is this whole recording thing is all about. We will drastically
reduce and maybe even eliminate those feelings of indecision and second guessing that
plague us home recorders and we will exponentially improve your results in audio land.
I've tried my best to be a good boy in this thing. Like an 8-year old boy in church, I think I've
managed to be a little naughty, but in the end I realize that I still have to answer to a higher
authority: Dad's belt! (Yup, God always seemed to forgive a little faster than the sting on my
future God's gift to women.) In this case, I guess you are Dad (or God) and you are armed
and dangerous.
My general philosophy is if you can't offend 'em, befriend 'em. So if I can make it through
Killer Home Recording without feeling appalled shoot me an email and I'll owe you a beer.
Good luck!
Brandon Drury
http://www.recordingreview.com

3

The Killer Home Recording System

Killer Home Recording: Setting Up is just part #1 in my 13-part Killer Home Recording series.
I decided to give it away because I figured you should haven't to go through the headaches of
choosing you gear and actually getting it to run when you could be going through the
headaches of actually getting the sounds in your head coming out of the monitors.
So, enjoy the "boring book" of the series.

4

Killer Home Recording Owner Comments

"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 ------

"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

"You've already saved me four grand!"
------ Nate Thorpe - -

"This is ridiculously bad-ass! ....What a wealth of valuable, no-nonsense, no bullshit
information contained in this system."
------ Metaltyme ------

"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

5

will improve your sound, this pdf book should cost $250,000"
------ Jeremyk23 ------

More Info

There many, many more user comments and tons of info on what is included in the complete
Killer Home Recording package at http://www.recordingreview.com/killerhomerecording/

6

About RecordingReview.com

I started RecordingReview.com
because I felt there was no good
place for home recorders to get help.

It seemed the guys that dominated the home recording communities weren't recording at
home at all. They were tired, bitter old pros who wanted to tell everyone to simply throw
money at their problems. It's clear they weren't willing to respect the beginners enough to
give them the attention they required. (“Newbie” became a derogatory term. Why?) I think
maybe they themselves had forgotten just how difficult it was for them to start recording.

So RecordingReview.com is all about helping the beginner make the most bad ass recordings
they could possibly make. Maybe you don't have a $3,000,000 room or a $100,000 console.
So what! RecordingReview.com is all about you and I and all of our peers coming together to
give the big dogs a run for their money.

A surprising result was we ended up attracting way more than just beginners! We have a
strong member base of very experienced individuals who run the gamut from beginners to
war-hardened veterans who just happen to be very generous with their time.

At RecordingReview.com beginners and masters come together in ways I've never seen in
another recording forum. We work together to test various new mic placements, new gear,
and new mixing techniques. The idea is to unravel the secrets of our favorite recordings one
by one as we all progress to be more effective recording humans together.

Killer Home Recording is one gigantic leap towards fulfilling those original goals I had back
when I started RecordingReview.com back in 2005.

You are always welcome to take part in the most friendly, down to Earth recording
forum on the planet. RecordingReview.com

7

This Is Not Free!

Okay, maybe it's a little free! I didn't charge you for it up front.
I never intended for "Killer Home Recording: Setting Up", to be free. It was meant to be a kick
ass system that was well worth whatever price tag I put on it.
After some careful debating, I've decided that this is my way of buying you a beer. When
you are 100% sure I'm not in the sex slave industry maybe then you'll reciprocate....but no
pressure.
So here you go. Hopefully I save you a few thousand bucks and a few thousand headaches,
but like some kind of mafia Godfather, I may need you to do me a favor involving a large debt
and a shovel.

Help Me Proofread!

If you find any errors in Killer Home Recording, it would do me a HUGE favor if you could
make a list of them and email them to me ([email protected]) for correction. I
replaced all my grammar knowledge with beer and recording knowledge so a little help with
that will go a LONG way!

The Fastest Way to Recording Paradise

In this discussion of paradise I'll omit any references to cash, weather, or mind powers over
the opposite sex. I'm taking the more reasonable route to paradise. I'm assuming that
paradise is the ability to sit down and record our music without feeling like we are fighting a
battle each and every time. This little section is intended for people wearing their “musician
hat” while recording, but I guess it applies to the audio engineering head covering as well.

8

For most of you it appears that the 30 foot monster, known as “Learning Curve” in these
parts, stands between you and your ability to just plop down in a chair, grab a
weapon/instrument , and go to town making/recording your tunes. When you've got a
screaming baby, a screaming wife, and a screaming boss it's usually tough to make time to
toss down screaming guitar. So when you get 20 minutes to have some fun, you need to be
able to jump right in and rock on your recording rig at will.

What No One Is Telling You!

The problem with home recording is you can't play nice with Learning Curve. It doesn't work.
You can not injure her. She will simply heal up by the next time and take her vengeance out
on you even worse the next time. Of course, you can try to run past Learning Curve. But that
usually means you have to run four miles out of your way. I'm not sure about you, but I'm not
in the shape I once was. By the time I run that far, I'm too tired (if not dead) and I have too
little time to actually lay down my noise. Even worse, I remember how terrible that
experience was and avoid the whole mess simply because I don't want to have to deal with
Learning Curve next time.

The Secret to Home Recording Success

The ONLY way to achieve the big goal of being able to record your music at the drop of a
dime is to kill the stupid monster. Yes, cut her throat, poison her, or get more creative and
implement some of the tactics in the movie “Seven”. Once she is dead, she's gone. She
can't come back. Once you've slayed the beast you can walk happily with peace of mind
knowing that you can make music faster than you can make a cup of coffee.

My Paradise

Several months ago a gang of former hoodlum clients (generally known as a “band” to
uninformed laymen) conned me into joining their ruckus making adventure club. So now I try
to write a new noise piece at least three times a week on my guitar. I don't have to worry

9

about the Learning Curve monster because I killed her years ago. In fact, taking the time to
grab the damn guitar cable and plug it in is way more annoying than the recording rig.
(Seriously!)

Note: In this setting I am NOT in engineer mode. The last thing I'm thinking about is
compressors, equalizers, and all that junk. I don't want to deal with any of it. I'm in music
mode and I just want to play guitar and make noise.

So I fire up Cubase, go to the “Recent Projects” list, and select “Practice”. It immediately
opens Superior Drummer 2.0, EZ Player (a drum loop library thing), and three tracks all
loaded with my emulator of choice (usually Guitar Rig or Amplitube). This literally takes eight
seconds. That means in less than ten seconds I'm hearing my guitar through my monitors. I
often have a drum loop left over from last time. So I can hit play and be rocking right off the
bat. I just have to figure out what I want to play and hit record. When I'm happy with one
guitar part, I switch to the next track, arm it, unarm the other track, and hit play again. It's
literally that easy once you've killed Learning Curve.

How to Kill Learning Curve

The best way to kill Learning Curve is to watch Sioux Indians hunt a buffalo. The Sioux
mainly used a bow and arrow. A thin thrown stick with a rock on it is not going to take down a
one-ton mammal. You've got to use an all-out, Blitzkrieg-style assault to bring the beast
down. They didn't piddly-wink around.

So if you are serious about obtaining recording paradise, you simply need to invest a big ole'
army of time all at once, read through the Getting Started manual (not the actual 1,000 page
manual), and follow the tutorials. By scheduling one Saturday where you can get a running
start and slam Learning Curve as hard as possible, you may be able to knock her down and
kill her.

10

Conclusion

I seriously believe that those who FOLLOW THE DIRECTIONS (even if you don't tell your
football buddies), go through the tutorials, and dedicate a Saturday to this task will be 90% of
the way there. They just need to follow up the next day by recording a song or two. That's it!
In a five hour period you can have your recording paradise. Will you know everything about
your recording setup? Absolutely not! I'm using a four year old version of Cubase right now
and I'm sure I only know how to use 13% of it. That's all I need. When I need an advanced
feature, I open the giant manual, do a search, and in two minutes I usually have that feature
down.
The alternative is throwing rocks at Learning Curve on a daily basis and never getting to the
point where you can actually make music. Life is too short!

11

Table of Contents

Pre-Book Junk......................................................................................................2

Legal.......................................................................................................................................2
Dear Killer Recorder,..............................................................................................................2
The Killer Home Recording System.......................................................................................4
Killer Home Recording Owner Comments.............................................................................5
More Info ................................................................................................................................6
About RecordingReview.com.................................................................................................7
This Is Not Free!.....................................................................................................................8
Help Me Proofread!.................................................................................................................8
The Fastest Way to Recording Paradise................................................................................8

Standalone Recorders Vs Computer Recording................................................20

Benefits of Standalone Recorders........................................................................................20
Drawbacks of Standalone Recorders...................................................................................21
Benefits of Computers For Recording..................................................................................23
Drawbacks of Computers For Recording.............................................................................28
Which sounds better? A standalone box or a properly setup computer recording rig? .....29
Which is better for me? A standalone box or a properly setup computer recording rig? ...30
Why I Consider Standalone Recorders To Be More Complicated.......................................32
All Drum “Machines” Are Not Created Equal........................................................................35
Reasons I Use Recording Software.....................................................................................35
Q: What About Digital Recorders That Function Like Tape Machines?...............................37
Before You Buy.....................................................................................................................41
Popular Options....................................................................................................................42

Overview Of The Computer Recording Process................................................44

Routing: Getting Started.......................................................................................................46
Recording Software Routing.................................................................................................55

Beginner Recording Gear Stuff..........................................................................57

Electric Guitar Recording Gear.............................................................................................57
Bass Recording Gear...........................................................................................................59
Drum Recording Gear...........................................................................................................60
Microphone Selection...........................................................................................................64
Mics I've Used And I Recommend Checking Out.................................................................67
One Mic Guys.......................................................................................................................73
Mic Stands ...........................................................................................................................74
Speaker Stands....................................................................................................................75

12

Headphone Amps.................................................................................................................76
Headphones.........................................................................................................................76
Acoustic Treatment...............................................................................................................77
Studio Monitors.....................................................................................................................78
MIDI Production Gear...........................................................................................................79
An Overemphasis On High-End Gear..................................................................................81
Q: Do I Need A Mixer For Home Recording?.......................................................................83
Q: Do I Need A Pop Filter?...................................................................................................87
Q: Do I Need Expensive High End Analog To Digital Converters?......................................87
Q: Do I Need Expensive High End Preamps?......................................................................88
Q: Will A Tube Preamp Smoke My Stock Audio Interface Preamp?....................................90
Will The Band Notice High End Preamps?...........................................................................91
Q: I have a friend who insists on doing everything in analog. Should I go this route?.......93
Q: Do I Need A Control Surface?..........................................................................................95
What do you think of USB microphones?.............................................................................98
Monitoring For Performers....................................................................................................99
Studio Monitors: Pair Or Single Speaker?..........................................................................104
Better Instruments vs Better Recording Gear....................................................................105
Things You Don't Know You Need......................................................................................106
Things Not To Buy Yet.........................................................................................................112
X-Red Niner - Secret Recording Technology......................................................................112
How To Break Recording Gear...........................................................................................114

Audio Interfaces ..............................................................................................117

Audio Interface Features....................................................................................................121
Home Recording Soundcard Wizard..................................................................................129
Q: Which audio interface sounds the best?........................................................................129
Q: Do I need a soundcard and an audio interface?..........................................................130
Q: I want to record my entire band live. How do I add more inputs?................................131
Q: Why does my audio interface only have 8 inputs even though it advertises much more?
............................................................................................................................................131
Are the preamps in an audio interface as good as the preamps in a mixer?.....................132
Is Firewire better than USB 2.0?........................................................................................132
Before You Buy...................................................................................................................133
Mixers bundled with audio interfaces.................................................................................133
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?................................................................134

Recording Software..........................................................................................136

Placing Too Much Stock In Recording Software................................................................136
Recording Software All Sounds The Same .......................................................................137
No Bad Recording Software...............................................................................................137
Powerful Recording Software.............................................................................................138
The Recording Software Commitment...............................................................................139

13

Q:I plan on using crappy software now, but upgrading later. Is this a good idea?............142
Q: What's the best software?..............................................................................................145
Features To Look For In Recording Software.....................................................................145
Features You Won't Look For.............................................................................................150
Wav Editor vs DAW............................................................................................................151
Q: What do you think about free software?........................................................................151
Q: Will my recording software work with my audio interface?............................................152
You Don't Need Mp3 Conversion In Your Recording Software..........................................152
So You've Just About Given Up On X Recording Software?..............................................153
Getting Started: Tutorial vs Manual....................................................................................153

Mac vs PC .......................................................................................................155

Advantages of Mac.............................................................................................................155
Advantages of PCs.............................................................................................................155
Computer Dependent Gear................................................................................................156
Q: Aren't Macs More Reliable Than Windows Computers?...............................................157
Q: Aren't Macs Better For Recording?................................................................................157
Q: Brandon, What do you recommend? Mac or PC?.........................................................158
You Don't Really Record With The Operating System.......................................................158
Conclusion..........................................................................................................................159

PC Computer Stuff...........................................................................................159

Calm Down!........................................................................................................................160
Computer Guts...................................................................................................................160
Recording Computer Demands..........................................................................................164
Q: Should I update my operating system?.........................................................................167
Q: What Is A Chipset?.........................................................................................................168
Q: Should I Go With AMD or an Intel Processor?.............................................................170
Q: What if my computer doesn't come with USB 2.0 or Firewire?.....................................171
Quad Core Computer Power..............................................................................................172
Keeping A Recording Computer Quiet...............................................................................174
UPS (Uninterrupted Power Supply)....................................................................................181
Laptop Recording Considerations......................................................................................182

Computer Performance Optimization...............................................................184

Dux nLited XP Pro .............................................................................................................184
Avoid The Problem In The First Place ...............................................................................184
Make A Carbon Copy Backup Of Your Operating System.................................................187
Stick with Good Ole, Reliable, Stable Operating System...................................................188
Use Multiple Hard Drives ...................................................................................................189
7200 RPM, 10k RPM, and 15k RPM Hard Drives..............................................................190
Optimize The Operating System........................................................................................190
Should I Use Internet On My Recording Computer?..........................................................191

14

How Much Should I Spend On a Recording Computer?....................................................192
Take A Look At Servers.......................................................................................................194
How Much Computer Power Do I Need?...........................................................................195
There Is Always A Way Out................................................................................................196
32-bit vs. 64-bit Operating Systems...................................................................................199
Where To Get Your Recording Computer...........................................................................199
Incompatible Audio Interfaces............................................................................................201

Cables..............................................................................................................202

Different Types Of Cables...................................................................................................202
Should I Pay Top Dollar For High End Cables?.................................................................206
Really, Really Bad Cables..................................................................................................207
Short vs. Long Cables XLR................................................................................................208
Q: Should I Use Balanced (TRS or XLR) Cables Via Unbalanced Connections?............208

Beginner Studio Construction...........................................................................210

Q: Do I Need A Vocal Booth?.............................................................................................210
Q: Should I Begin Studio Construction?.............................................................................212
The Robo Basics of Soundproofing....................................................................................216
Avoiding Electrical Noise....................................................................................................222
How Pretty Should My Studio Be?.....................................................................................225
Form Is Function.................................................................................................................226
Gobo Construction..............................................................................................................227

Ideas For The Ultra-Broke Recorder................................................................230

Q: Do I really need a condenser mic?................................................................................230
Q: Can I use my stock soundcard?....................................................................................231
Q: Do I really need studio monitors?.................................................................................232
Q: Do I really need a pop filter?..........................................................................................232
Maxing Out An Old Computer.............................................................................................233
Buy Used Gear When Possible..........................................................................................234
Never Pay Interest Unless It's Profitable To Do So............................................................235
Always Have A Plan When Buying Gear............................................................................236
Be Skeptical Of Outsider Advice.........................................................................................237
You Will Never Be Satisfied................................................................................................237
Get A Used Standalone Recorder......................................................................................238
Pirated Recording Software: Why I Don't Use It................................................................239

Troubleshooting................................................................................................242

Signal Flow.........................................................................................................................242
Computer Troubleshooting.................................................................................................243
Q: It seems that all seven tracks are recording the same thing? Why?...........................244

15

Q: I Can't Hear Any Audio On Playback? Why?...............................................................245
Q: No Audio Recording At All! Why?.................................................................................246
Audio Only Records On One Side......................................................................................249
MIDI Makes No Sound.......................................................................................................249
Troubleshooting Clicks and Pops.......................................................................................250
Clicks and Pops With A Single Track..................................................................................250
Clicks And Pops With Multiple Tracks................................................................................256
Clicks and Pops With Samples...........................................................................................258

MIDI..................................................................................................................260

An Explanation of MIDI.......................................................................................................260
The New Era Of MIDI.........................................................................................................260
MIDI Doesn't Have To Be “Stiff”..........................................................................................262
What Is A MIDI Sequencer?...............................................................................................263
What Is A Synthesizer?.......................................................................................................264
What Is A Sampler?............................................................................................................265
Loops..................................................................................................................................266
MIDI Is Simple....................................................................................................................269
The Basics Of MIDI Routing...............................................................................................269
MIDI Messages...................................................................................................................273
Potential MIDI Problems.....................................................................................................275
Drum Programming............................................................................................................276
So which method of drum programming should you use? ...............................................279
My Basic Approach To Mouse Drum Programming...........................................................285
Q: Drum Samples: Are you worried about songs losing their individuality?.......................292
Q: Do you have to think like a drummer to program great MIDI drums?...........................294
Q: How Do I "Convert" MIDI To Wav.................................................................................295

Glossary...........................................................................................................298

A/D Converter ...................................................................................................................298
Absorption Coefficients.......................................................................................................298
Analog Inputs......................................................................................................................298
Anechoic Chamber.............................................................................................................299
Arming.................................................................................................................................299
Arrangement ......................................................................................................................299
ATA......................................................................................................................................300
Audio Interface....................................................................................................................300
Automatic Delay Compensation.........................................................................................301
Autotune..............................................................................................................................302
Aux Send............................................................................................................................302
Axis.....................................................................................................................................302
Bandwidth...........................................................................................................................303
Bass Traps..........................................................................................................................303
Bleed ..................................................................................................................................304

16

Boost...................................................................................................................................304
Bounce................................................................................................................................304
Breakout Box......................................................................................................................304
Bus......................................................................................................................................305
Cardioid...............................................................................................................................305
Chipset................................................................................................................................306
Clipping...............................................................................................................................306
Clock...................................................................................................................................306
Chorus................................................................................................................................306
Comb Filtering....................................................................................................................306
Condenser Microphone......................................................................................................307
Control Room......................................................................................................................307
Converter............................................................................................................................308
Convolution Reverb............................................................................................................308
Copying and Pasting...........................................................................................................308
Cut......................................................................................................................................309
D/A Converter ...................................................................................................................309
DAW....................................................................................................................................309
Decca Tree.........................................................................................................................309
Delay...................................................................................................................................309
Drivers.................................................................................................................................309
DI........................................................................................................................................310
Digital Inputs.......................................................................................................................310
Direct Monitoring.................................................................................................................310
Dry.......................................................................................................................................311
Dual Boot............................................................................................................................311
Ducking...............................................................................................................................312
Dynamic Microphone..........................................................................................................312
Early Reflections.................................................................................................................312
Feedback............................................................................................................................312
Flutter Echo........................................................................................................................313
Freezing..............................................................................................................................313
Figure 8...............................................................................................................................313
Filter....................................................................................................................................314
Firewire...............................................................................................................................314
Formant...............................................................................................................................314
Fundamental Frequency.....................................................................................................315
Gain-Based Effects.............................................................................................................315
Gate....................................................................................................................................315
General MIDI (GM) ............................................................................................................316
Gobo...................................................................................................................................316
Golden Ratio.......................................................................................................................317
Harmonic Content...............................................................................................................317
Headroom ..........................................................................................................................318
High-Pass Filter .................................................................................................................319
Hi-Z Inputs..........................................................................................................................319
IEEE 1394 ..........................................................................................................................319

17

Impedance..........................................................................................................................319
In The Box...........................................................................................................................320
Integrated Audio..................................................................................................................320
Keying.................................................................................................................................320
Latency...............................................................................................................................321
Low-Pass Filter ..................................................................................................................321
Line Level............................................................................................................................321
Map.....................................................................................................................................321
Mastering............................................................................................................................321
Microphone.........................................................................................................................322
Microphone Preamp...........................................................................................................322
Mixing..................................................................................................................................322
MIDI....................................................................................................................................323
MIDI Controller....................................................................................................................323
Mixing Console...................................................................................................................323
Mono Compatibility.............................................................................................................323
Motherboard.......................................................................................................................324
mp3.....................................................................................................................................324
Multi-track Recording..........................................................................................................324
Noise Gate..........................................................................................................................325
Null......................................................................................................................................325
Omnidirectional...................................................................................................................325
ORTF..................................................................................................................................326
Overclocking.......................................................................................................................326
Overdub..............................................................................................................................326
Pad (microphone) ..............................................................................................................326
Pad (synth).........................................................................................................................327
Panning Law.......................................................................................................................327
Parallel Compression..........................................................................................................327
Parametric EQ....................................................................................................................328
PCI cards............................................................................................................................328
Phantom Power..................................................................................................................329
Phase..................................................................................................................................329
Plugin..................................................................................................................................329
Polarity................................................................................................................................329
Pop Filter.............................................................................................................................330
Preamp ..............................................................................................................................330
Predelay..............................................................................................................................331
Printable CD-Rs..................................................................................................................331
Proximity Effect...................................................................................................................331
Punch In/Punch Out............................................................................................................331
Q.........................................................................................................................................332
Quantized Grid....................................................................................................................332
Reamp ...............................................................................................................................332
Reverb ...............................................................................................................................332
Reverb Time.......................................................................................................................333
Ribbon Microphone.............................................................................................................333

18

RMS Loudness...................................................................................................................333
Robo...................................................................................................................................334
Roll Off ...............................................................................................................................334
Room..................................................................................................................................334
Room Mode .......................................................................................................................335
Room Node.........................................................................................................................335
RT 60 .................................................................................................................................335
RTAS ..................................................................................................................................335
Sampler...............................................................................................................................336
SATA...................................................................................................................................336
Sensitivity............................................................................................................................336
Sequencer..........................................................................................................................336
Shelf....................................................................................................................................337
Sibilance.............................................................................................................................337
Sidechain............................................................................................................................337
S/PDIF................................................................................................................................338
Staccato..............................................................................................................................338
Studio Monitors...................................................................................................................338
Track...................................................................................................................................338
Tracking..............................................................................................................................339
Transient.............................................................................................................................339
Virtual Instrument................................................................................................................339
Vocal Comping....................................................................................................................339
Voiceover............................................................................................................................339
VST.....................................................................................................................................340
VSTi ...................................................................................................................................340
wav File...............................................................................................................................340
Wordclock...........................................................................................................................340
X/Y Miking...........................................................................................................................341

Post-Book Junk................................................................................................342

In Review............................................................................................................................342
Still Have Questions?.........................................................................................................343
Feedback............................................................................................................................343
Tell Your Friends! I'll pay!...................................................................................................343
The Killer Home Recording System...................................................................................344

19

Standalone Recorders Vs Computer Recording

The debate over standalone boxes vs. computers for recording has come up time and time
again on the RecordingReview.com forum. While there is no standalone recorder currently
that can pull off everything that I can do with my PC rig, only you can decide if a computer or
standalone recorder is right for your needs. For all practical purposes, there is no reason to
expect any difference in sound quality between the two. The difference lies only in features
and possibilities.

Benefits of Standalone Recorders

Fewer links in the chain

While the components are more or less the same between computer recording and
standalone boxes, the standalone recorders have everything you need inside one little
machine. This means you don't have to think about the way the various components in the
“chain” are interacting. There are no internal conflicts because the designers have already
taken care of that.

Portable

It's easy to carry a standalone box to your buddy's house.

Less Emphasis On The Eyes

Because there is less to look at, you are more inclined to use your ears while mixing. When
the eyes do the mixing, the results can suffer, so it's usually preferred to keep them out of the
equation whenever possible.

20

All Bare Essentials Are Included

A big advantage of the standalone recorders is the fact that you can pick something and be
done with it. You don't have to wonder if there is a better reverb or EQ out there because
very few standalone recorders have the ability to add third party plugins anyway. There is
something about this finality that can be extremely liberating. You never have to worry about
being bed/wallet stricken with Gear Acquisition Syndrome. You'll never stress about how
much computer processing you are using or how much hard drive space you have left. You
simply have a device to record music. It either works or it doesn't.

Note: Some high end standalone recorders do have these expansion capabilities.

Drawbacks of Standalone Recorders

All Or Nothing

Either a standalone recorder works or it doesn't. You can't simply replace a component if
something goes wrong. If the unit decides not to work, you either get it fixed or use it as a
paperweight. Getting it fixed is usually going to mean shipping the unit to a manufacturer.
This probably isn't something the computer whiz down the street can solve.

You Get What You Get

Standalone boxes are “fixed” in that you get what they give you. Because of the “All Or
Nothing” concept, most standalone boxes don't allow you to upgrade easily. For example:

If you decide that you need 20 inputs to record a live band and your recorder only has 8,
there is nothing you can do beyond upgrading to a larger standalone recorder. Even if you
were to borrow some gear to record these 20 simultaneous inputs, odds are that you won't be

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able to get these tracks in sync without tremendous hassle. You'll be forced to use some
other system for the mixing process.

Most standalone recorders do not give you the option of using different effects plugins. You
certainly don't have access to popular plugin formats like VST, which have a huge base of
developers that are practically giving them away for free. I consider this a huge drag
because when I mix I like to use specific compressors and reverbs for specific situations.

In most cases, you are very limited in terms of MIDI sequencing. Few people sequence
within their standalone recorders. Even if yours does come with a MIDI sequencer, you don't
have many options for adding new synths and samplers. Of course, a person could go with
hardware synths and samplers, but this is an old school route that few people are taking
today. I like the idea that I can fire up my software sampler and add string parts that sound
real (because they are real!) to my tunes in Cubase. If I don't like those string parts, I can
purchase “better” string samples easily.

Complicated To Learn

There are quite a few features, functions, and possibilities that most people don't think about
when purchasing a recording system. Because of their limited real estate, many
manufacturers of standalone boxes have chosen to make fewer buttons do more things.

Learning to perform some of these tasks can make a standalone unit extremely complicated.
For me personally, learning to setup a computer is much easier than trying to understand the
buttons in a standalone recorder. I would rather deal with a handful of issues on a computer
than have to memorize pressing 2nd, Shift, Option+Rewind to get to the beginning of the
song. Maybe remembering 2nd, Shift, Option+Rewind isn't a big deal, however, it's one thing
to use a system that has a learning curve, but dealing with a machine that fights you in the
heat of battle is another. It's counterproductive!

Obviously not all standalone recorders are created equal, so use your best judgment. It's
very possible that there are well-laid-out standalone recorders that make recording a breeze.

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Just for the record, I've also seen computer systems where music making simply was not
possible because of the technical problems.

Note: If any of you are aware of any standalone recorders that are amazingly simple to use
send me an email and I'll make note of it.

Creative Tricks Are Limited

I've not heard of a person who was able to reverse a track, add reverb to it, and then reverse
it again. This was a common trick used on 80's snare drums or as an eerie vocal effect. Do
you need the ability to do cool tricks? That depends on your music.

Just be aware that silly tricks are limited in standalone boxes. Again, you get what you get.
Only you can decide if you want to add a bunch of weird noises to your songs, but I know
many of my clients certainly do. I'd be lost if I didn't have the computers ability to mangle
audio. Where do you draw the line between a silly trick and a creative possibility to enhance
your music? Good recording software is designed to give you total control over your music
regardless of the situation.

Do You Have Automation?

I'm guessing that there are some standalone recorders out there that have the ability to
automate volume levels. When I say “automate volume levels” I'm referring to the ability to
boost the volume of a syllable in a word and then drop the volume down on the next. This
may seem crazy to you now, but I consider it to be the single most important mixing tool
available. I would never purchase a standalone recorder that didn't have the ability to
automate.

Benefits of Computers For Recording

Computers Are Reliable

Today at RecordingReview.com, I was asked if computers are reliable enough for recording. I

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imagine for older generations it's common to assume a computer is held together by duct
tape. Computers today are a reliable and efficient medium for recording music. However, if a
computer is being pushed really hard, it may buckle under the pressure and require a restart.
They aren't perfect, but if properly set up, you shouldn't have too much difficulty. We'll get
more into this as properly setting up a recording computer is a big deal!

With that said, if I had to use my girlfriend's computer for recording, I'd probably just quit and
get into motorcycles or fishing. The agony of using a disgustingly dirty operating system
would be tougher than climbing Everest.

Recording Software Is Easy To Use

While there is always a learning curve using anything, (a toilet, a car, Internet Explorer) once
a person understands their recording software, they find that it is very easy to use.

Some people get it into their head that operating recording software requires the type of
jargon they use in the control room of Apollo 13. You don't need Ed Harris physics equations
to select the input for a track, arm it, and hit the red button (the “record” button, not the
“destroy Earth” button)!

However, to a person who doesn't understand what “select input” or “arm the track” means,
these may appear to be complicated. All of this stuff is clearly explained in the "getting
started" guide of your favorite recording software and if you don't understand the computer's
lingo, just ask at the RecordingReview.com forum or check out the glossary here.

There can be aspects of learning your recording software that may not be obvious simply by
playing around. To some, this makes the recording software complicated. To me, this makes
the recording software powerful! This means they have a system in place to tackle some of
my crazy, creative ideas and all I have to do is take 3 seconds to read a paragraph in a
manual to understand how the software company has chosen to make my life easier.

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Note: This is not limited to “crazy” ideas. This means they have a well thought out system for
handling common tasks as well that improve the efficiency of your workflow.

If a person tells you that a certain recording software is complicated, all they are really saying
is they never took the time to actually learn how to use the program as it was intended. We
have tens of thousands of members at RecordingReview.com who are better at using their
recording software than they are at cooking mac & cheese or driving a stick shift. So you can
do it!

Computer Recording Systems Are Modular

While there are more links in the chain that can go wrong, if something breaks or you decide
that you want to upgrade, you simply replace that one component. If you decide you need
more RAM, installing memory is a snap, literally. If your audio interface malfunctions, you can
simply send it back to the manufacturer or get a new one. If you need to upgrade from a 2
input to a 40 input audio interface, it's no big deal. In fact, upgrading to a full blown new
system isn't that big of a deal.

For example, just last night I ordered a brand new computer. I plan on using the exact same
audio interface, recording software, plugins, etc. Nothing should change other than the
performance of my system. All my projects should open up the same as they did before. I'm
not aware of any standalone recorder upgrades that can make this claim.

Expansion Is Easy

Expansion with a computer system is simple. If you decide that you need to put together a 40
input setup, it's possible to do if you get your hands on the right audio interfaces. I know of no
standalone, all-in-one recorder that allows for the recording of 40 simultaneous tracks.

Huge Assortment of Plugins

There are tons of plugins out there in a variety of formats and many of them are free. This
gives you quite a bit of flexibility in finding the right compressor or reverb for the job. Of
course, this only applies to people who find it necessary to use specific effects for specific

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tasks. I definitely use certain plugins for specific tasks. I'd be lost if I was stuck with the stock
reverb in a standalone unit.

Laptops Are Portable

The ability to record music anywhere is very possible with a laptop recording rig. With a bus
powered audio interface you can make music on the beach.

Total Creative Control For Weird Stuff

• Reversing a track, putting delay on it, and then flipping it back takes seconds.

• Reducing the “ess” in a vocal track by a few dB without using a de-esser.

• Turning a plugin off and on quickly and automatically.

• Using the same plugin 8 times on the same track is an option. You are not limited to
using one compressor and one EQ in recording software. In my software of choice, I
can easily use 8 distortions in a row without a problem. Granted, I've never actually
used 8 distortions in a row, but can your standalone recorder do this?

Some of these are gimmicky tricks that may not interest you for more organic styles of music.
However, many of these features are used in every genre of music from folk to death metal.
An example of this is volume automation. You can automate just about anything with most
recording programs. We'll discuss that in great detail in Killer Home Recording: Murderous
Mixing.

Better Routing Than A Real Console

Advanced mixing techniques often require advanced routing. For example, it's common for
me to send the snare and kick drum to a bus where I aggressively compress. This technique,

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known as parallel compression, allows me blend in a slammed-all-to-hell kick and snare drum
without affecting the original source. When I send a vocal to a delay, I often want that delay
to be fed to a reverb. In Cubase, I can route a delay on one bus into a reverb on an aux send
allowing me to create effects that wouldn't be possible otherwise. These kinds of advanced
mixing tricks aren't possible in most standalone recorders.

You Don't Need To Understand Computers To Record With A Computer

I don't think a strong understanding of computers is necessary to record music just as it is not
necessary to understand what is really going on in a standalone box. You definitely do not
need a computer science or electrical engineering degree to make great music at home!!

Later on I will walk you through the basics of the computer guts because I think it's very
important for a person recording music in the modern era to feel a little more comfortable
opening the lid to their computer.

Backing Up Data Is Easy

If I want to make a backup of a project I'm working on, it's as simple as copying and pasting
that project's folder onto a second hard drive. Done. If the band decides they want to keep
an archive of all tracks for use down the road, I simply drag that folder into my DVD burning
software and hit burn.

Easier To Get Help Online

If I encounter a problem with Windows and Cubase, the number of people online who use
both Windows and Cubase is huge. The same can be said for just about every recording
software and major operating system. Getting help for a specific hardware box from one
manufacturer puts you into a much smaller group and getting help for that one specific unit
can be very difficult.

Note: I've run the forum at RecordingReview.com for a long time now. The odds of
standalone recording questions to go unanswered is much greater than that of recording
software. This is just the nature of the beast. There are so many proprietary standalone

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recorders out there that forces tend to get divided on a general recording website.

Drawbacks of Computers For Recording

More links in the chain

It can be a pain getting the audio interface, computer, and recording software all to work
together as a team. I've torn my hair out in agony several times over the years with this one.
If you follow the “Avoid The Problem In The First Place” section later on, your chances of
having problems are tremendously reduced. Once you get the problems weeded out, you'll
probably have a reliable system for years and years. In fact, you'll forget that you are
recording on a computer at all. You'll just sit down, and record.

Unfortunately, pretty much everyone has to go through a few mega-headaches before they
get their system working well. Once it's setup, life is good, but getting there can be a real
chore.

Desktops Are Not Exactly Portable

It is a pain to carry a desktop recording system to another location. The keyboard, monitor,
mouse and tower make setting up for location recording a real hassle. It's certainly not
impossible, but you are probably underestimating how time consuming it really is.

Relies On The Eyes

Unfortunately using a computer puts your brain into “visual” mode. This takes power away
from your ears and gives it to your eyes. This is handy when dealing with a member of the
opposite sex, but it's not so handy with mixing. When I think a mix is complete, I turn off the
computer monitors before I listen.

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User Must Be Comfortable On A Computer

There are people who get nervous just sitting in front of a computer screen. I'm the exact
opposite, I get anxious when I'm not in front of a computer screen! (See “Revenge of the
Nerds”) I think that people who panic around computers are simply scared they are going to
break them: it's the same reason why I'm uneasy holding babies. A person has to go out of
their way to “break" a recording computer. I once dumped hot coffee on my computer's
motherboard, while it was running, and lived to tell about it without any damage (don't try this
one at home).

As much as I wish I could say "get over your fear already", if anyone said to me “Here, hold
my snake”, I'd have to punch them with a really long arm. Then again, computers don't have
venom.

Computers Can Have A Mind Of Their Own

Even when you have a strong understanding of how computers work, they sometimes get into
moods that makes them very hard to work with. I've had recording computers that have
worked extremely well for over two years that suddenly ran incredibly slow. This sort of thing
can happen. It's common for problems to occur while recording and editing audio because
the process is so damn demanding on a computer.

While I do feel that computers are a reliable tool in recording land, don't be surprised if some
day you find yourself needing more RAM and storage space to keep up with ever evolving
demands.

Which sounds better? A standalone box or a
properly setup computer recording rig?

To a person who doesn't need any of the added features and functionality of a computer
recording system, they sound the same. Plugging a microphone into the input of a
standalone box or computer audio interface should end up sounding identical.

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However, this question can depends on how far you want to take it. Features definitely
impact sound. We've talked about the advantages of using specific plugins for specific tasks.
I love to layer drum samples beneath recorded drum tracks. I've never heard of any
standalone machines that are capable of this.

We could take it even further. In my recording software, it's no big deal for me to fire up a
software sampler and select super high quality samples of a string section. You can't get
samples like this in a hardware sampler and you certainly won't find them included in any
standalone recorder I am aware of.

Hardware samplers do not have enough RAM. (We'll discuss this later.) So if I wanted to use
my standalone recorder with a built in sequencer, I would not have access to the quality of
string sounds that I have available on a computer rig.

So, overall sound quality is the same in for standalone recorders and computer recording, but
the potential for enhancement is much greater in computer recordings.

Which is better for me? A standalone box or a
properly setup computer recording rig?

I can't answer that without lots of info and a strong understanding of your personal needs.
Generally speaking, as illustrated above, standalone boxes do not dig as deep into the
recording process as computers do. Standalone boxes are not nearly as useful for advanced
tactics that experienced engineers may need. A person who records strictly audio may do
fine with a standalone box.

For all practical purposes, one can compare recording on a standalone box to recording on a
tape machine. The big difference is in the mixing hardware. Mid-level and up recording
software can do pretty much anything the most expensive mixing consoles in the world can
do. You can't expect a $400 standalone recorder to have all the mixing features found on an
SSL J9000. It ain't gonna happen.

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I can't recall anyone who switched to a computer for recording that ever went back to a
standalone rig. It's very easy to say “my needs are basic”, until you wish you could do this or
do that. The second you cross that imaginary line, you are officially limited. I only
recommend standalone recorders to people that have a incredible phobia of computers, or to
people who know their needs exactly and are 100% sure they will never step outside of that
box. (You know that guy who still drives his 1977 Ford pickup because there “ain't nothin'
wrong with it”? He will probably be quite content with his standalone recorder from here until
eternity.)

As for the “phobia”, if you pee your pants when you see a computer, I'd recommend a
standalone recorder. Other than that, you'll grow into it.

I've recorded quite a bit of music. I've worked with musicians who are very “organic” and
wouldn't be caught dead using synths, samples, and MIDI. Even when working with die-hard
purist musicians, there is always a point where they take advantage of some modern
computer feature that doesn't work on a linear recording method. For example, just the other
day I was mixing a band that recorded their entire album live in the studio with very few
overdubs. The singer came in a bit early on one part. He asked me if I could slide this note
back just a hair. It made all the difference in the world. This would not be realistic in the tape
machine world without pulling out the razor blade and it certainly would take more than the
2.5 seconds it took to achieve this. Will a standalone recorder be able to do this? Not sure.
I'd guess that some can, but which ones? Good luck figuring that out. I can't imagine even
the cheapest recording software out there not being able to do this.

In the end, without knowing your needs, it is difficult to guess which method is right for you.
Because computer recording is naturally more flexible, it's easier for me to recommend a
computer recording rig.

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Why I Consider Standalone Recorders To Be More
Complicated

Simply put, I hate when I'm at a buddy's house and he brings out his standalone digital
recorder. I'm completely lost on these things. When I watch a person work on one of them,
it's clear to me just how much effort has to go into learning a proprietary system that simply
won't be of any use the second a person upgrades to the new model in a few years.

Seriously, just learn to fly a helicopter. It would be easier than some of the gadgets I've dealt
with!

It upsets me that a person has to work so hard to learn things that are second nature to me in
my recording software. They could have used that time to focus on improving their audio
engineering skills or writing better songs. I'm going to list a few reasons why I believe
standalone recorders are more complicated for me. You may not feel the same way and it's
very possible that I've only dealt with the most complicated of them all. I'm simply trying to
illustrate why I wouldn't want to go this route and warn you of what to watch out for.

Not Enough Buttons

I remember the big trend where remote controls for the home stereo, TV, etc, were using a
fraction of the buttons. I'm sure this made manufacturing the remote control easier and less
expensive, but it required the use of a 2nd and even 3rd button. In other words, one button
would actually have three different functions depending on if you hit the 2nd key, 3rd key, or
nothing before hitting that button. To me this is a total nightmare. I consider products like this
to be totally unfriendly to the user and a complete distraction when attempting to excite the
creative part of the brain.

I can't say that all standalone recorders have this 2nd and 3rd key problem, but enough have it
for me to make a point about it. I realize that there may be limited physical space on a
recorder for the layout of features and functions. It just so happens that my recording
software can cram in two zillion features, all hiding behind a menu or two. Even my budget

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17” CRT screens are capable of offering plenty of visual real estate. Simply put, physical
space is not limited in a computer because we can simply open and close a window. I find
that this method of working is faster to learn and easier to use in the long run.

Not Enough Visual When Visual Is Important

I want to start by saying that it's easy to get sucked into putting way too much emphasis on
what you are seeing and not nearly enough on what you are hearing. Then again, there are
times when editing with your eyes can make the job easier. For example, let's say we
punched in a bass part and it sounds a little funny. In just about any recording software, I can
zoom in and quickly adjust the point in time where the new chunk of audio fade begins.
There are often cases where this is easier to accomplish using your eyes.

High gain electric guitars are always noisy. It's the nature of the beast that there is going to
be a little hiss when the guitar isn't playing. I like to go in and simply cut out all the parts in an
electric guitar track where no guitar is being played to avoid the distraction that this noise can
bring. It takes seconds when you can see it on a screen. A person could use a gate for this
same application, but there are a number of possible drawbacks. Being able to see the noise
makes it very easy to delete the bad stuff and keep the good stuff.

Again, not all standalone recorders will suffer from this problem. I know some standalone
recorders can use VGA computer monitors or even have detailed LCD screens themselves.
However, enough standalone recorders do have problems handling the visual from time to
time to make it an issue. Once again, this is the kind of feature that you won't think to ask
about until you have shelled out the big bucks for a standalone recorder. Hopefully, it's not
too late.

Simple Stuff Might Be A Pain

It's very common for the band to request an echo on specific words. Of course, this is easily
done by automating the level of an aux send feeding a delay. On an analog console, you'd
simply have to do the automation yourself by twisting a knob at a specific time. In Cubase,
it's as simple as clicking a button that says “read”, selecting the parameter that needs to be

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automated (volume, effects on/off, aux sends, panning, and just about anything else you can
think of), and start drawing lines. I can also manually control the level real time with a mouse
on the fader and record this as an “automation performance” or I can use a hardware control
surface. This process is robo simple and can be accomplished in seconds.

Although I haven't used Logic, Digital Performer, or Pro Tools enough to be considered
anywhere near proficient, I'm confident that popping open the manual for 60 seconds will give
me all the info I need to effectively utilize automation in a mix. In my experience, some
standalone recorders don't even have this kind of functionality (AHHHH!). Again, there are
probably some standalone boxes that do hit the nail on the head, but which ones? While
automation is a big deal for just about every mixing engineer I know, it's not something that
you intuitively think of when you are trying to make sure that you don't waste a grand or three.

Frankly, I'm spoiled from using recording software for so long. Even the cheapest recording
software out there has made concessions things I am never going to need to do. In most
cases, recording software is complete overkill and way more powerful than anyone recording
at home really needs. However, there is a peace of mind knowing that those features are
there if or when I need them. I don't have that same confidence when working on a
standalone box.

After You Know How

A much bigger issue involves the workflow of the unit after you know how to use it. I'm sure
there are standalone recorders that are very fast and easy to use in the middle of an intense
session. Then again, I've seen the most simple things take way too long. You can't afford to
kill the vibe when the artists is firing on all cylinders.

Q: Does it require more money to get great results out a computer?

A: Hmm. This depends on what "good results" mean to you. Generally speaking, I'd say the
results are the same, your tracking requirements will dictate the price. If you need to record a

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live band with 20 individual inputs, it's going to be expensive no matter what you do. If you
program drums and then overdub everything, a person could do it with a single channel audio
interface and a cheap (or even free) audio recording program. It just depends on your
individual needs.

I've encountered guys who have done “guerrilla” style recording on a ridiculously low budget
using computers, and have cranked out some amazing recordings. With that said, it's easy to
throw a bunch of money into the computer, recording software and audio interface. I think
people tend to purchase fancy toys they don't really need and this often leads to spending a
fortune on gear that doesn't offer any substantial improvements to their recordings.

So, I stick with my original claim that there are little fidelity differences between the two
regardless of price.

All Drum “Machines” Are Not Created Equal

I've noticed recently that many users have been disappointed by the drum sounds in their
standalone recorders. While I certainly haven't heard all standalone recorders, the ones that
I've come in direct contact with have been of the early 90's persuasion. CORNY!!!!

So if it is important to you to have a method for creating drums, you may want to take a
serious listen to the modern drum samples that are only available on the computer side of the
fence. The difference is staggering. I consider the “drum machines” I've heard in standalone
recorders to be 1/millionth as powerful when natural drum sounds are required. Most people
will be 10,000 times happier purchasing some of the modern samples out there.

Check them out here: http://forum.recordingreview.com/f21/realistic-drum-samples-891/

Reasons I Use Recording Software

This is a list of reasons that I prefer using computers to record. In no way am I claiming that

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any one method is superior or that any of these features are necessary for you. I'm simply
giving reasons why computer based recording is the only method to meet my needs and
maybe this will help give some insight as to which direction you should go.

• I like being able to record three (or more) tracks of vocals and then quickly edit
together the best parts. I'm sure this can be done on most standalone recorders, but I
can't imagine doing it as quickly and easily as I do it in my recording software.

• I like being able to download new plugins and add them to a new mix. Different flavors
of reverb, delay, distortion, compression, etc, add to the possibilities.

• I like samplers:
◦ I always have access to pro sounding drums using samples from Superior
Drummer, Steven Slate Drums, or BFD.
◦ If I really need an orchestra, I've got it.
◦ If there is something I don't have, I could order it in five minutes.

• I like 3rd party synths – Just like with plugins, the expandability of a computer is pretty
much infinite.

• I like that I didn't learn a proprietary system on a standalone box – One could argue
that I did have to learn proprietary software, but I'm confident that when I finally get
around to upgrading, Cubase will not have changed that much. As far as that goes, I
can upgrade my entire computer and stick with my current software for years to come.

• I like that I rarely have trouble getting my questions answered in regard to my
recording software. The user base for the major software manufacturers is so large
that I feel like I'm much more likely to get my questions answered than with standalone
recorders.

• I like that I can record MIDI triggers and mics on drums at the same time. Not all
standalone recorders have a MIDI sequencer.

• I like the fact that if one component breaks my entire recording rig isn't dead.
• I like how easy it is to backup files on a PC.
• I like the fact that I can easily burn all individual tracks of an album to a DVD or two so

I can mix later.

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• I like how much computer power I can get for a very low price.
• I like knowing that in three years I will have dramatically more recording power than I

do now.
• I like unlimited track counts.
• I like having excellent routing possibilities. With my current setup I can give out 5

individual stereo mixes with zero latency. With a few upgrades, I could get that number
up to 9.

I answer way too many threads at the RecordingReview.com where users of standalone
recorders can't figure out how to get their tracks into their computer! Way too many people
who own standalone recorders try to come up with some kind of hybrid method to mix
computers and standalone recorders.

Q: What About Digital Recorders That Function Like

Tape Machines?

Here's an ADAT Recorder A: I had this section mostly wrapped up until I was
asked a fairly unique question on the forum recently.
The dude had been using the old school ADATs (that
record digital data on VCR tapes), had plenty of analog
gear and really had no need for the additional features
offered by recording software. He didn't need fancy
editing. He didn't use MIDI. He simply wanted to be
able to record his music in a natural way.

He was under the impression that computer recording somehow sounded better than straight
to hard disk type recording (without the computer). His situation was unique in that his music
simply did not need the fancy editing features, fancy MIDI features, or any of the modern
features we often debate about and he had already purchased the expensive analog

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hardware for mixing.

Some people live in fear of being “left behind” in the technological revolution. I read in a
recent issue of Tape Op that a band recorded an album on the old wax cylinders invented by
Thomas Edison. If an album can be made on wax cylinders after the year 2000, I'm confident
that analog tape and non-computer recording methods will be around for a long time.

You may wonder what the difference is between a standalone digital recorder box and the
tape style digital recorders I'm referring to now. The tape style digital recorders do nothing
but record and play back audio on individual tracks just like tape machines. They look very
similar to the old ADATs but now use hard drives. They have very few other features other
than stop, rewind, and record. You arm a given track for recording by pressing a button. It
records when you hit the red button. That's pretty much it.

In order to use these types of recorders you need a mixer, plenty of hardware EQ's,
compressors, reverbs, and any other effects you plan to use must also be outboard. Tape-
style recorders have zero effects, zero processing ability, and do not even offer a way to
control volume. There is no “saving” a mix for complete recall later unless you have a
retardedly expensive high-end console that is equipped with such a feature.

The benefits of working with this kind of system are more an issue of
philosophy:

• Some people are happier working on a real mixer / console with real faders. (Of
course, you can drop a grand to get a control surface that does this with computer
recording).

• Some people hate the computer mouse with a passion. A tape-style digital recorder
uses no conventional computer and therefore requires no mouse.

• There are some big benefits to not using your eyes to record music.
• Some people actually consider being limited to X number of tracks beneficial (I

generally agree)

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• All ins and outs can be used at the same time.

There are some disadvantages of tape style recording.

Price

While a tape style digital recorder doesn't seem to cost much more than a high end audio
interface and recording software, you must factor in the power of all the EQs, delays, reverbs,
compressors, and other plugins within a computer recording rig. Purchasing outboard gear
can get extremely expensive compared to how a $1,000 plugin package could handle all your
needs for years to come. If you buy a compressor plugin for $200, you can use it on every
track in your mix if you feel like it (as long as your computer can handle it). However, you can
only use a hardware compressor ($500-5,000) on one single track during mixing.

You can do the math. For a 24 channel mixer, 10-15 compressors, 10-15 outboard EQ
channels, 4 reverbs, 2 delays, a patchbay, and a ton of cabling you are going to be blowing
your kid's college money on something that is only marginally better than strippers and coke.
Software can do all of this for a geometrically smaller price.

Recall

Recalling a mix is often impossible for any mixing console a typical home recording human
can afford (digital consoles are an exception). This means you must finish the mix of one
song before moving to the next one. I personally prefer a few “first drafts” for a handful of
songs before committing to a mix. It's very rare that I get a mix exactly how I want it without
going back and making changes. This is huge for home recording dudes/chicks who may not
have accurate monitoring conditions. I would have been completely lost for years and years
of recording if I didn't have the ability to quickly and easily open up a mix to make subtle
changes.

It's also nice to be able to switch to programming some techno or orchestra thing and take a

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break from a bluegrass mix. Being able to switch gears is virtually impossible with the tape
machine method.

Backups

Believe it or not, Windows does make some things easier in our lives. Backing up is as
simple as copying a folder from one hard drive to another. It takes seconds to initiate the
process. I'm not sure how long it would take on a tape style digital recorder or if all of them
can backup their data.

Sampling

A person would need some kind of external MIDI sequencer that was synced up to the tape
style digital recorder in order to use synths and samplers. In this case, hardware samplers are
often limited when compared to software samplers of today. So if a person needed powerful
sampling, they'd have to use a computer for that. While a person could certainly use a
computer sampler in a tape machine style studio, it would require a computer and mouse (in
addition the audio interface). This kind of nullifies the benefits of avoiding the computer.

Destructive Punch-Ins

I'm sure this has been taken care on most modern tape-style digital recorders, but the
Vietnam War killed my infatuation with blind faith. In the old days of tape, if a singer decided
they wanted to fix a word, they either had to record over it or record it to another track. If you
are considering going this route, make sure to ask about destructive punch-ins before
purchasing a tape-style recorder. Then again, some purists may even want this. I can see it
having its advantages.

Conclusion

Overall, the computer is just more effective and efficient for me. Because I build computers

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frequently and have recorded with them for years, I'm very comfortable working with them. If I
purchased a Mackie or Alesis tape style digital recorder and I had a technical problem, I'm not
sure where I would even start. I have a feeling it would get scary and expensive. Though the
tape machine style of recorder isn't right for me, it is almost right for me. I'd love to make a
recording with my ears only. I like the idea of having a real console in addition to the mouse.
I don't like the idea of paying for it.

The price of hardware and lack of instant recall would have a very negative effect on the way
I work. Many bands would miss the advanced editing features that I employ with my Cubase
rig.

If I had $100k to throw away, I would consider going the tape machine route. Then again, I
would still need a rig for programming my dumb techno tunes. There would be times when I
would want to take advantage of specific features that are only possible within the computer.
This is when things get unnecessarily complicated. So maybe I'm better off just sticking to
what I have!

Before You Buy

If you've decided that a standalone recorder is right for you, there are specific features that
you need to look out for when selecting one. Make sure to ask around and do the research
ahead of time. Here are a few keywords to look for:

Simultaneous Inputs

A recorder may have 32 tracks, but you may only get to record on 8 or 10 of them at the same
time.

Preamps

A recorder may only contain mic preamps for a limited number of channels. It's easy to inflate
these numbers, similar to how some analog mixers have 16 channels but only 12 contain mic
preamps. The other four may be line-level only.

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MIDI

Not all standalone recorders have a MIDI sequencer. That's only part of it. You need to find
out if the standalone recorder has any synths or samples included. It may only be the
sequencer. What quality are those synths or samples? Are they going to sound like the worst
thing since 1984? Are they going to work for your music? Can you add 3rd party synths and
samples?

Computer Editing

Most people automatically assume that their standalone recorder will make computer
manipulation a breeze. I've encountered way too many people who have been entirely
unhappy with the computer integration. Do some homework on this one.

Third Party Processing

Do you require third party plugins and processing? You should look to see if your standalone
recorder will be able to handle it. Do you have a rackmount reverb? Can your recorder
accommodate that easily?

Multiple Headphone Mixes

Will you ever be in a situation where the drummer and bass player track simultaneously (or
any other musicians) and need different headphone mixes? Make sure your standalone can
handle it.

CD-Burner

Most standalone recorders are going to have this, but don't let your guard down. Some have
gone to mp3 player recording only. Don't let you guard down.

Popular Options

Here are some standalone recorders that are very popular and you may want to check out.
I've never used any of them so don't blame me if they catch fire and burn your house down.

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Zoom HD16CD
Reviews at Recording Review More details at Musician's Friend - Zzounds
Korg D3200
Reviews at Recording Review More details at Musician's Friend – Zzounds
TASCAM 2488neo
Reviews at Recording Review More details at Musician's Friend - Zzounds

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Overview Of The Computer Recording Process

Graphic provided by DT_Chris from http://www.darktownstudios.com
A) The sound is picked up by a microphone.
B) An analog signal is passed through an XLR cable to the audio interface.
C) In this case, the preamps and analog to digital converter are bundled within the
audio interface.
D) The digital signal is sent from the audio interface to the computer.
E) The signal is routed to the software within the computer. *
F) The recording software manipulates the signal.
G) The signal is routed through the outputs of the stereo bus in the recording software
and back out to the computer. *
H) The digital signal flows from the recording computer back to the audio interface.
I) The signal is converted from digital to analog and sent to the studio monitors.

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* These are the two areas that most beginners have problems with. You must select the
inputs and outputs within your recording software.

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Routing: Getting Started

A fundamental part of recording music is understanding how the audio signal flows through
the various components. Audio can seem like a complicated topic, but once you understand
how audio flows in and out of your system, the concept gets quite a bit easier to grasp. In a
lot of ways, this sort of thing is very simple, but as usual, it's tough when you don't know how.
It reminds of when my grandpa taught me how to tie my shoe...kinda.

Hardware Mixer Routing

While I haven't recommended a hardware mixer for home recording since 'Nam, (I was born
in 1980) I feel that they offer an easy way to understand what is going on in terms of routing
on just about any recording system. All recording software systems that I've encountered are
designed to emulate a hardware mixer and by covering the hardware stuff, I think it's safe to
avoid any software specific issues that may arise.
You'll notice that our mixer here has been shortened. This mixer, the Mackie 1604, normally
has 16 channels, but I just happen to be handy with a battle ax. Now it has two.
Fair warning: This section is going to suck. I've done my best to simplify it. If you hate this
section, email me and maybe I can improve it.

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Using a Mixer in Home Recording Land THIS YEAR

I realize that many of you are still using a mixer for home recording, but have no clue how to
hook it up. In this section, I'm going to give you the straight-to-the-point way I would hook it
up. Keep in mind that if you had a modern audio interface, hooking it up would consist of
running a Firewire or USB 2.0 cable to your computer, and there would be no need for this
mess. My point is not to belittle you guys stuck using mixers. My point is that we have flying
cars now, and the horses take a whole lot of feeding to get to the proper altitude.

This is MY way, so don't get wound up if you would do it differently. If you already have a
functional mixer setup, this section is not for you. This is for the guys who are tearing their
hair out.

A Few Guidelines

• I'm mixing in the box. Even though I have this doohickey called a “hardware mixer,” I
will not be using it for mixing. I do that in my recording software. A typical home-
recording mixer can not do what I want without $50,000 in hardware. Even then, most
still can't do what I want it to do.

• On the way in, the only function of the mixer is the preamp boosting. All those other
knobs are pretty much useless. We are going to hook our mic to channel one, boost its
gain with the preamp “trim” knob, and split out via the insert directly to the audio
interface.

• On the way out, our mixer can serve as a volume control for our studio monitors and
headphones. That's about it.

• I'm monitoring within my recording software. I have big reasons for this, which I'm
hiding from you now, because I'm trying to keep this simple. This means that if we are
recording a vocal, that vocal flows into Cubase (for me), to its own track all by itself,
and then I can compress it and add EQ/reverb/delay/etc. Then, that vocal will be
mixed with the other tracks and flow out the master stereo channel. This flows to the
mixer. Again, this makes the mixer little more than a preamp. If you are wondering

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why I'm monitoring in the mix, try playing guitar using an emulator or trigger a VST
instrument via MIDI. It'll be obvious.

Basic Assumptions

• Your mixer has inserts. Without inserts on each channel, we may have a headache. I
don't recommend buying mixers anymore, but I really don't recommend buying them if
they don't have inserts on every channel. Life is too short! Without inserts, we'll have
to use aux sends or busses to get the signal out of the mixer to the interface. This can
be problematic, because some cheapo mixers of this variety automatically route the
sound coming out of the computer with sound we are trying to record. Recording this
will mix the track we are recording with the mix in the computer and cause a
catastrohe. The workarounds are often a messy, complicated headache, which are too
easily avoided these days with a good ole $350 interface.

• You have a low-latency audio interface that's pretty stripped of features. (No preamps,
no DSP routing matrix, etc). Good examples of this are the M-Audio Delta 1010 or M-
Audio 2496. Both have ins, outs, and little else, but do it with low latency. If you are
using a stock soundcard incapable of low-latency operating, this method won't work.

• The buffer on the audio interface cannot be any higher than 192 samples. If so,
latency will be distracting. If you get clicks and pops, you've got bigger issues (which
we deal with elsewhere in this book). For now, just get it working, and we'll go from
there.

• You read this section at ¼ speed. If you try to read this like you would the newspaper,
it's going to sound way too complicated. Take your time and take huge breaths
between sentences and bulleted items.

• You promise to relax!? I'm not sure what it is about adults, but if someone were to
teach us how to tie our shoe for the first time, many of us would freak out. Calm down.
Relax. Accept that you don't know this stuff, so you can actually learn it!

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The Setup

I'm recording a vocal on top of tracks I've already recorded.

• Vocal mic is plugged into channel #1 via XLR.
• We crank up to the preamp a little bit.
• I toss a 1/4” cable into the insert of channel #1. I push it all the way in. This means the

vocal leaves the mixer and does not come back. This makes routing and such
irrelevant. (Not everyone will do this, yet this is how I would do it. I have my reasons.)
• I plug that cable into Channel #1 Input on the audio interface.
• I create a new track in Cubase and select Channel #1 (from the busses I already set
up).
• When our singer talks/sings, we should see a signal coming in.

The singer will not be able to hear themselves just yet.

The signal must flow out of Cubase and out of the audio interface via outputs 1 and 2. Those
signals should then flow to the last 2 channels of the mixer (I do this to keep things simple).
I'll pan #1 to the left and #2 to the right. This will be routed so it flows through the master
fader on the mixer and flows out to our studio monitors.

When we hit play in Cubase, we should hear our previously-recorded tracks on our monitors.
Also, we'll want to route out our stereo-mix signal to the headphones for our singer.

Assuming we have the monitor button engaged in Cubase (to allow the incoming signal to
come in....as opposed to the track we may have already recorded), the singer should hear
themselves. Again, this signal is 1) flowing through Channel #1 on the mixer, 2) quickly
diverted to the interface, 3) ran through Cubase and its internal mixer, and 4) ran back out
into the stereo channel of the mixer.

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Recording 2 Tracks At Once

If I want to record a singer in one room and an acoustic guitar player in the other, I'll toss a
mic on the acoustic guitar, run that to channel #2 of the mixer, through the insert of channel
#2, to channel #2 on the interface, to a new track in Cubase routed to get signal from the
Channel #2 bus, and through the Cubase mixer. We've already got our output figured out
from before. (The multiple headphones issue could be problematic, but we can feed a
headphone amp a single headphone mix, and it can power 2, 4, 6, etc. headphones in the
same mix. For this application, this should be fine. See more when I cover headphone
amps.)
The same process works whether we are recording 2 tracks over 40 tracks
simultaneously.

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