18

I don't know where you read about USB interfaces needing to "compress the sound", but it's nonsense. For your application two channels will do; at 96 kHz and 24 Bit that's less than 5 MBit/s: even USB-1.0 can handle that without compression. and USB-2.0 is already more than ten times faster, so even in multichannel applications it's often plenty good enough. ...


11

If you're not using any aftermarket audio hardware, and just recording from the line-in on the computer, you already have the bare minimum to record two channels at once. That line-in is likely stereo, i.e., a left channel and a right channel. Or, more appropriately for your purposes, a 2-channel input. Microphones are all mono (save a few specialty ...


10

Well, it depends! The first important consideration: what style do you play / wish to record? For a classical performance, you need quite a different sound than for a folky dance tune, a jazzy improvisation or even a rock or metal lead role. The main part of the differences in sound is the room component. For a classical recording, you want a good-sounding ...


8

I think your client wants the original wav-file, instead of the mp3 you sent, for the final product. I only sent mp3's when sharing demo's. If the client is happy, I sent the wav files, because you don't want the final product to have another conversion to mp3.


7

The purpose of a direct box is simply to take a quarter inch guitar line signal and convert it to a balanced signal that won't degrade over the longer run to the sound system. A DI doesn't do anything that can't be done with a decent recording interface since you aren't going a long distance with the signal. You are best off to get an audio interface that ...


7

There are 5 stages/phases in a Album production: Recording > Editing > Mixing > Mastering > Printing. It's worth naming "Pre-production", which is before the 5 steps and can be very important to make things go better. Pre-production can be a wide variety of things. All from making the music arrangements, defining artist identity, vision, and intention; to ...


7

The response curves are for each of the three selectable roll-off switch positions... Flat –6 dB/octave below 100 Hz –18 dB/octave below 80 Hz From the spec sheet - Low Frequency Response Switch Positions Flat; –6 dB/octave below 100 Hz; –18 dB/octave below 80 Hz


6

It's true that LDCMs are more sensitive, but that's in practise not such a big concern – good SDCMs already have plenty of headroom, usually the noise floor is well below any ambient noise even for chamber music room applications. Of course, the diaphragm mustn't be too small, cheap mics with less than a centimetre usually won't do. But they still beat ...


6

I wouldn't record using FX unless I was very sure about the end result I wanted and how it would sit in the mix, just to leave my options open since you can't go back and remove the FX. On the other hand, if the FX are an integral part of the performance then it might be a good idea to record after the FX. Sometimes the performer might hit a 'sweet spot'that'...


5

The main difference is Sensitivity (and Noise accordingly). An LDC(Large Diaphragm Condenser) is more sensitive than an SDC(Small Diaphragm Condenser), and also tends to generate a higher output voltage, given the same input SPL. Why the LDC is more sensitive? Remember that a condenser mic is made of a conductive diaphragm next to a conductive backplate. ...


5

Two things that can easily ruin quality, which you should avoid. First is room acoustics. Even the best microphone won't get you a good sound if it's placed in a room with strong echo resonances. If you can't record in a professionally treated studio, you should do it in a room with as neutral sound as possible – avoid exposed parallel walls. Record the ...


5

shorts and a t shirt, to minimize clothing noise when doing a foot pass. clothing moves can be added separately. pants swishing noise can build up when doing multiple passes of feet.


5

A lot of Foley artists use sweat pants, soft clothes that don't make sound when rubbing together. Also take off any jewely, belts, etc.


5

Drum tuning is largely dependent on the style of music being played. A jazz kit will usually be tuned to exact pitches in a scale, such as the snare being tuned to the root, one tom tuned to the fifth, one to the third, one to the root an octave lower, etc. A jazz kit will also usually be tuned such that the top and bottom heads are in tune with each other....


5

Virtually all modern audio interfaces for computer use have clock-synchronized sampling across all inputs. This is a prime requirement for most ordinary multi-track recording. It would be difficult to find a modern, multi-track (>2) audio interface that did NOT meet this requirement.


5

Lower bit depths are not easily available simply because they are not looked for commercially, not because of some intrinsic technical difficulty. Audio interfaces or other capturing devices have their ADCs (Analog do Digital converters) based on integrated chips optimized for the features that are most requested commercially. In principle it would not be ...


5

less tracks per project. less plugins opened. if you use your factory soundcard (the one on your motherboard) you'll probably suffer from latency and a bad signal/noise ratio. But you still can definitely work with it (music, mixing, and even small movie project(s)). FYI : when a computer is too limitated for your work, don't forget you can always render ...


5

If you're specifically after something that's versatile, the Shure SM57 is the best microphone you'll find for that budget. It can be used for pretty much anything, it sounds good live and in the studio. Even big budget studios and concerts still use them for snare drums, guitar cabs, and vocals. The more important factor you should be considering is ...


5

The short & realistic, if somewhat cynical, answer would be... Do it like they did in the 50's - find a good-sounding room, keep moving the mic around the room until you get the best sound. Without knowing the room [with one mic, the room is far more important than the mic], no-one's going to get a better answer.


4

Your options are either a dual mono to stereo adapter like JoshP mentions, using an area mic that could pick up you and your friend at the same time, or if you want the best possible quality, get a cheap USB Audio Interface (~$100 or so) and a couple of lapel mics or even just simple mics like SM58s (~$100 each or less if you go used). It's a bit more of an ...


4

You won't get quality for cheap... None of those options are really going to have the best audio quality. Options 1 and 3 both involve converting your guitar's output to 3.5mm and presumably using your computer's onboard line-in, which is, in all likelihood, not that great-sounding of an input. That leaves option 2, but super-inexpensive audio interfaces ...


4

Focusrite Scarlett and an SM57 should be just fine. Combine it with a DAW like Ableton, Pro Tools, Cubase, Reason, Logic, etc, and you'll have a good setup. leftaroundabout mentioned many of the main reasons so I won't repeat them all, but the main reason is that USB2 is often not the bottleneck for recording applications unless you're doing extremely ...


4

Hardware wise, you might end up with some differences in latency that could result in slight differences in the timing of the recordings, but you could probably adjust for that if it is an issue, so I wouldn't expect it to be too major since you are using such similar hardware. (Note, I don't have direct experience on that, but I don't see a technical ...


4

Simple split I didn't think the guitar signal would be strong enough to try this Splitting in itself does not "take away" anything from the signal. It's no problem at all to use a Y-cable and feed the guitar to two guitar input (not a signal problem, at least – you will probably get ground-loop hum, however). The only relevant thing is the total ...


4

It depends. If I know for sure there are no way anyone would see me, and I'm in my own studio - tee and boxers. In extreme cases also a thick Palestinian scarf (textured with skulls and crossbones for that extra audio push!) covering my mouth and nose to further reduce the risk of accidental breaths or such. But mostly I use a tee washed with a lot of ...


4

As others have rightly said, the problem you are experiencing is called clipping. Clipping occurs when the signal input to a step of sound processing (such as the mic capturing the sound, the computer recording it, or any hardware in between touching it) can't handle the level of the signal in whatever form it is in. The end result of clipping is that the ...


4

I would definitely use a dynamic microphone like everyone else is mentioning, but I would also use a pad. I've done a few vocal recording for hardcore bands and a lot of times they are clipping even with the preamp gain at the lowest. A 50db pad would be great and you won't have to back away from the mic all that much and introduce the room into the ...


4

Software with a spectrogram would be my choice because the sounds would probably be more noticable at a glance. e.g. Izotope RX (it has useful options to customise the spectrogram rendering parameters) Otherwise you could use a 'detect silence' funtion which most DAWs have, they can split the audio when they detect the signal level going above a threshold ...


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