Hammer

 

Current Recording Studio Setup

It seems like a good week to talk about recording gear. Six years ago this last Monday I bought a used USB interface at Deseret Industries, which jumpstarted my ability to record music. Here’s a post to celebrate.

Over the past couple of months, I’ve had several friends ask me what I use to record. I’ve been tinkering with recording for years now, and while I’m certainly no expert, I enjoy it and have gradually put together a setup that works well for me, and which didn’t cost all that much. It’s worked for recording my own projects, as well as those of friends. So, for the benefit of those who have asked, here’s my current setup, with links. 

Full disclosure: The Amazon links below are Amazon Affiliate links. If you access Amazon through one of these links, ANYTHING you buy through Amazon during that session results in Amazon paying me a small advertising fee. It’s a cool program: It doesn’t cost you anything extra, and it helps support the Mind of Brian, (read: helps me buy more music gear…) for those so inclined. That said, I don’t post links for anything I haven’t bought, or at least used, and which I wouldn’t recommend.

Computer:

                Custom Desktop:

I bought this used from a friend, who built it as a gaming rig. I call it the Jet - It’s powerful, but the fans are loud. This would be a problem if I were recording with my microphones in the same room, instead of in the walk in closet I use as a sound booth. If I were building a new computer with recording specifically in mind, I’d look long and hard at making it as quiet as possible. The best part of this machine, from a recording standpoint, is the solid state hard drive, where I installed the operating system, Microsoft Office, and other frequently used programs, especially those which take a while to load, like Reaper and EZ Drummer.

                               

                Backup: Lenovo Thinkpad 410

It’s not nearly as fast as the desktop I bought to replace it, but it still works when I need to record in another location, and has all the same programs and plugins installed. Honestly, this 5 year old laptop still does about everything I need, recording-wise. If you have a decent laptop and are just starting out, use it.

Interface:

                Focusrite Scarlett 2i2 :

I bought this in 2012 as a replacement for my aging Tascam US-122 (which I bought for $2 at Deseret Industries and wrote about here). The Scarlett has two instrument/microphone inputs and 48v phantom power for microphones that require it. It’s a good unit, reasonably priced, and the included EQ, Reverb, and Compression plugins sound good. I highly recommend it unless you need to record more than two sources simultaneously. For those applications, Focusrite also has versions with more inputs.

DAW:

                Cockos Reaper:

This is a great multitrack recording program, which I’ve used for years. I don’t use all of the available features, but it works well for what I do, and it has a very active user community with plenty of tutorials available for when I get stuck. It’s also open source, and can be customized with user-designed patches, or used as is. One of the best parts though- it’s free to download and demo, and Cockos doesn’t cripple the functionality of the demo version, even after the 60 day demo period expires. If you decide you want to buy the software, the individual license is only $60, a full $40 less than the Lite version of Cubase. It also seems to run well on older systems like my venerable ThinkPad.

Software Plugins/VSTi: (to be used in DAW)

Toontrack EZdrummer 2 :

My setup has a LOT of plugins and virtual instruments, most of which I got for free, and most of which I don’t use all that often. (As much as I like tinkering with new sounds, most of my music remains pretty simple.) This one though, I use on almost everything I record. If the song calls for drums, and I’m not recording a live drummer, I’m using EZD2. With EZD2, I can create drum tracks using either the provided drum loops, which are in MIDI format, or create my own, either by entering them with the mouse or a MIDI device like a keyboard or electronic drumset. The sky is really the limit with this program. If you want to see this program put to the test, I recommend Cloudkicker’s album The Discovery, which showcases the power of the previous version of EZ Drummer in all its odd-time signature glory.

One of my favorite aspects of EZD2 is the expansion packs that are available. These add more drum sounds and MIDI drum loops that make the program even more versatile. They go on sale periodically, and I've gotten really good deals just for the minor inconvenience of staying on Toontrack's email list. 

I’m currently using the following EZX expansions:

                                                DFH

                                                Metalheads

                                                Rock!

                                                Electronic

                               

                Synth Plugins:

I don’t use synths very often, as I’m not a keyboard player, but I have a few on hand to play around with. These include:

Tweakbench Bundle – For $5, this bundle of synth instruments is great for those wanting the sound of old Nintendo games. Good fun, and worth the price.

                                    Kairatune – Free to download, with a bunch of spacy sounding synths.

DSK also has a number of free plugins worth exploring. They’re not the most realistic sounds I’ve ever heard, but they’re free and easy to use. 

I use an M-audio Keystation 49e (a $10 DI find!) to control the synths, but any MIDI-capable keyboard or electronic piano will work. Just make sure any interface you use is MIDI capable, or use one of these cables instead.

                               

Microphones:

Studio Projects B1 – I got this one when I thought my studio was totally incomplete without a large diaphragm condenser mic. It’s a good mic, but very sensitive. Scratch your leg or shift your weight on your chair, and this mic will pick it up. Whether this is good or bad is contingent on your style, and your ability and willingness to sound condition/soundproof your recording space. You’ll want to use the included shock mount to isolate it from handling noise. (For example, if you bump the mic stand while recording) The B1, like other large diaphragm condensers, is somewhat fragile, and requires 48v phantom power to function. I’ve used this mic on acoustic guitar, electric guitar amps, and vocals, and had good results.

AKG D790 – A good, solid dynamic mic. I’ve used this for several live gigs, studio vocals, guitar cabs, and a few other things. I wouldn’t hesitate to use it for podcasting, either. It's been discontinued, and I'm not sure what replaced it in AKG's product line.

Shure SM57 – I tend to use this for mic-ing my guitar cab, but I’ve also used it on acoustic guitar and vocals with good results. The SM57 has been around for decades and has a reputation for tank-like durability, so it's a good option if you expect it to get bumped around.

Nady RSM-4 – I bought this one used from Michael Dean of the Freedom Feens Podcast, back when they had a heavy music and audio gear focus. He used it for podcasting. I tend to use it in tandem with the SM57 for guitar cabs. I also used it for vocals on a demo for David from White Collar Caddy and got a good sound. If you buy one of these, be aware that they are somewhat fragile, and connecting them to phantom power can and likely will fry the elements inside. They can also be damaged by extremely loud sounds, but mine has handled the moderate volume of my 15 watt tube amp without a problem. You may also want an external preamp, as the output’s on the quiet side. Handled right, it’s a good sounding mic.

Audio Technica AT801 – I inherited these from my great-grandpa. They’re quality mics, but being as old as or older than I am, mine require an AA battery and don’t support phantom power. The version currently in production (AT8010) supports phantom power. I don’t use these much, as they are omnidirectional, but have used them a couple of times for gang vocals, and could see using them for a live recording at some point, or maybe ambient/environmental recordings.

Cables:

I like Monster Cables, be they for mics, instruments, or speakers. They last a very long time (I’ve had one of their guitar cables for 10 years, and the mic cables 7 or 8), and have a lifetime warranty, which to me justifies a little extra expense upfront. Most of mine are the entry-level Monster 100 series, which work fine. 

               

Stands/Clips/Misc:

Universal Microphone Clip – I keep these on most of my mic stands. I could use the clips that are made for my individual mics, but honestly, that’s a hassle. These hold all my mics securely despite variations in mic diameter, and they’re convenient, compared to having to screw on a new clip anytime I want to change mics.

Boom Microphone Stand – All my mic stands are pretty basic, and can be picked up cheap. They also seem to pop up on KSL.com and other online classified sites pretty frequently. \

For special applications, I’ve collected an assortment of bases, clamps, booms, and goosenecks that screw together, allowing me to make my own mic stands. Here you’re limited only by your imagination and budget. One of my favorites is a low profile, heavy stand I made for mic-ing guitar amps. I used a short locking boom arm , attached to a base I made by using epoxy and screws to attach a threaded flange mount to a weight I picked up at Deseret Industries.

                               

Resources:

Creamy Radio Audio – This site has some good information for podcasters, with some info on recording music as well. What I love about this site is Michael’s DIY attitude and ability to find inexpensive solutions that sound good. I’ve dealt with him a couple of times and he’s always been very helpful.

Ben Prunty – Ben’s site contains a wealth of information for the aspiring composer/musician. He’s got a great story and a humble attitude, as well as a willingness to help teach others his craft. His articles inspire me, and his music is excellent as well.

The Recording Revolution – Like Ben’s site, Graham’s is packed full of good articles. These mainly cover the technical aspects of recording and mixing, but there’s some great content to get you fired up about writing music, too. Like Michael, Graham tries to teach you how to get good recordings without spending a lot of money, and believes that technical limitations can actually help you make better music. Good stuff.

OK, that’s my somewhat wordy post about music gear. Now get out there and make some more music! Questions? You know where to find me.

Review: Elixir Premium Guitar Cable

A few months ago, Elixir sent me one of their new line of guitar cables for free, with the understanding that I write a review of it. Well, this may seem overdue but I'm finally getting around to it. The cable in question is one of their new premium instrument cables, specifically a 20-footer with straight jacks. (Normally $69.99)

In terms of construction, this is a very well made cable. Solid and substantial is how I would describe it, and yet it's not too thick or stiff, which would make it unwieldy when playing on stage. The cable is supposed to have a lifetime warranty, like Monster Cables, but I've had no need to test that, (and haven't with the Monsters either) and don't expect to. Still, it's nice to know the company stands behind its product.

Sound quality-wise, the Elixir is great. I've been using a Monster acoustic cable (one of the few free things I won while working for Musician's Friend...) for the past few years, and that's a cable I've learned to love for its clear sound, both on acoustic and electric guitars. The Elixir is basically on par with the Monster acoustic, although the Monster might have been a touch brighter.

Either cable would be a good choice in terms of sound, but the Elixir wins in my book for its flexibility as well as its lower price. A 20' Elixir runs $69.99 at Musician's Friend, while a Monster acoustic of similar length will set you back $99.95. Props to Elixir for making a solid, good sounding cable at a competitive price.

Of music and thrift stores.

Anyone who knows me knows quite well that I love music, and the gear involved in making it. Well, Monday I stopped by the Logan Deseret Industries on a whim. There wasn't anything all that interesting until I walked past the electronics section. Now, normally the electronics section is full of old TVs and stereos and a bunch of ancient computers that sketchy looking characters dig through. Well yesterday, lo and behold, what did my incredulous eyes find there? Oh, nothing much, just a Tascam US-122 USB audio interface sitting on the rack amidst a bunch of random computer parts. This does not happen, ever.

Now, given the condition of most of the computer gear found at the D.I., I was skeptical, but it looked undamaged, save for some scuffs and a missing knob, and at $2, it was a gamble I couldn't pass it up. I brought it home, and after a couple hours of reading tutorials, downloading drivers and fiddling with settings, I got Reaper to recognize the interface and made a couple of brief test recordings with my Seagull plugged straight into the guitar input.
The sound quality on this thing is actually really good! Noticeably better than just running into the mic jack on my laptop, which is what I had been doing to this point, and which had kept me from doing all that much recording because of the disappointing quality. Recording also seemed much smoother than before, although I also attribute this mostly to Reaper running much leaner than my old version of Cubase.

The verdict? It just doesn't get any better than this. Finding this little interface in a pile of junk saved me around $160, which is what I was planning to drop on a new M-audio interface. The sound quality and features are more than adequate for my current needs, and I got it all for less than I spent later that night at Carl's Jr. Best $2 I've ever spent.