Recording - March 2010 - 12

Another way to get to know what you should buy is to look over the shoulder of someone who has already committed. Offer to help out, collaborate, and watch—if it looks like the other person gets it done on their system, and it’s affordable to you, get the same, and you just may have help at hand when the need arises. Microphones Unless the music you make is purely electronic, you will want to purchase a microphone to record vocals and acoustic instruments. A quick glance online reveals an intimidating fact: there are a kajillion microphones available, and no easy way to know which model is best for you. Worry not, as many of today’s inexpensive mics are virtually the same, with multiple manufacturers even sharing the same factories in China! I suggest you start with any inexpensive large-diaphragm condenser microphone. You’ll be up and running for as little as $100, and odds are, you’ll like the sound of the mic. To the neophyte there is surprisingly small purchased. If you are a planning to record vocals, you should consider buying a pop filter as well, as it will minimize loud Ps and Bs. If you are really broke, a poor man’s pop filter can be fashioned with a coat hanger and a nylon stocking. Headphones As with microphones, many headphone choices exist. If you are on a budget, or just starting out, then don’t worry about the expensive models. Purchase something good enough to get you going, and plan on spending more money in the future. Cheap headphones run as little as $20, with industry-standard pairs pricing around $100. Note that if you want to record another musician, you may need to buy a second pair as well. Check your DAW or audio interface to see how many headphone outputs it has. You may need to acquire a small headphone amp in order to drive a second set of cans. If you or somebody else will wear the headphones close to mics being recorded you want to choose the closed headphone type that doesn’t let much sound out, or the mics will pick up what comes out of the headphones. Speakers If purchasing your first pair of studio monitors, I suggest you buy active speakers. They include built-in power amplifiers, which eliminate the need for a separate purchase and ensure that the amplifier and speakers are perfectly matched. The better active monitors are “biamped,” meaning they include two built-in amplifiers: one for the woofer, and one for the tweeter. Go for a biamped pair if possible, as they usually sound quite good. If you are shopping for monitors, be sure to listen before you buy. Burn a CD of your favorite songs, choosing tunes you think sound great, and then use the CD to compare different speakers at the music store. You will be surprised at how quickly you develop an opinion. Look for speakers that reproduce all frequencies, yet are pleasurable to listen to. Remember that you will be listening to the chosen speakers for hours on end, so the less fatiguing the sound, the better. Oh yes, don’t feel pressured to buy “studio” monitors if you already have a working pair of speakers. The goal is to start recording your own songs, not buy a bunch of gear. If you have a pair of speakers, regardless of whether they are passive or active, small or Another thing to note about software-based DAWs—you may need to purchase an audio interface in addition to the software and computer. Interfaces vary greatly in price but may be bundled together with the workstation software. While I acknowledge the ease and affordability of standalone DAWs, I suggest songwriters challenge themselves and purchase a computer-based workstation. Not only does software offer more bells and whistles, but it “grows” with you, expanding through future upgrades. In this manner a songwriter can invest in his or her future creativity. Any DAW will require time spent tackling the learning curve. While effort put in with a standalone unit helps the user learn existing features, time spent with computer software can open the user to new features when the program is upgraded. Besides, you are never alone with a software DAW. Thousands of other users, found in Internet user groups or locally through your music store, can help you overcome hurdles and master the program. Software-based workstations also offer additional features ideal for modern music creation. These might include bundled virtual instruments that specialize in keyboard, synth, and drum sounds. Loops are also usually present, as are a variety of plugins for special effects. Since the list of available DAWs is too long to discuss in this article, I will not attempt to voice my preferences. Take your time and do the research. This magazine, its past issues, and some articles available in the extensive Resources section of www.recordingmag.com offer great and unbiased resources on the topic. Be cautious of the suggestions made by commissioned salespeople, and be sure to double-check your friends’ opinions at online forums such as www.recforums.prosoundweb.com and www.gearslutz.com.RECORDING MARCH 2010 Become a recording songwriter— it will open your life to a new, music-supporting creative outlet. sonic difference between cheap and expensive microphones. As you develop your craft and learn to hear the difference between mics, you may eventually want to invest in a more costly mic built by a legendary brand, but you’ll always keep your first microphone around as a backup. If you are planning to record an electric guitar or drums, you’ll also want to pick up a dynamic mic. Dynamic mics are more rugged than condensers, and are often preferred on louder sound sources. A litany of good choices exists on the market, but you can’t go wrong with the old standby, the Shure SM57. For less than $100 you can have the world’s most popular mic, used on thousands of snare drums, guitar amps, and vocalists every day. A few mic accessories are also required. You’ll want to get a mic stand with a boom, and I suggest you avoid the really cheap options. Dropping an extra $30 on a good stand will ensure it will last years longer. You’ll also need a mic cable, if one was not included with the mic you

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Recording - March 2010

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