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:
:
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:
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)
:
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.
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.
(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.
– 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.
– 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.
– 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.
) 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.
– 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. \
– 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.
, 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.
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