Frankly Audio

Figure 2

This flow chart shows a simple studio type signal path. Basically all of your audio runs into and out of the mixer. Your computer serves as what used to be the multitrack tape machine but it does much more. You will most likely apply effects and mix from within the computer. Some computer audio interface devices have XLR inputs that will accept microphone connections directly but unless your hardware has input equalization capabilities and phase reversal you really want a mixer, especially if your using multiple microphones simultaneously and want real-time monitoring of EQ and outboard effects. There are many, many different hardware combinations with their attendant feature sets, this post is designed just to get you started. If you have specific questions feel free to email me .

Here’s a selection of various computer audio interfaces to look over:

Lexicon Alpha USB Desktop Recording Studio

TASCAM FireOne FireWire Audio and Control Interface

The Presonus Firepod

As I stated in my initial post, I want to help get novices on their way to recording and mixing. Beside the fact that I love music and appreciate the bond that music creates between us all, I remember having been frustrated at the “teaching” style of others when I was trying to get some information and help. Right now you can use the comments section to contact me or click here. I will have a link on the right hand column shortly. I am looking to create a mailing list as well.

To help the novice as well as anyone looking to get into Quartz AudioMaster audio recording software, I have created a tutorial to get your feet wet. I’m sure there are things I’ve left out that you may want help with so feel free to email me or post a comment.

I  spent a an hour or so getting aquainted with Quartz AudioMaster (QAM) today and have to say I am very impressed. The interface is sleek and pleasing to the eye, the quality of performance is very good except for a lag between making manual adjustments to controls and the execution of the move by the program. You can use rubber band/envelopes to create value changes so in a worst case scenario, if you can’t execute and capture mix moves live, you’ll be able to input them manually.

You have a four track maximum with the freeware version of QAM. If you like it I strongly suggest paying for the program. It’s a great value. If you want to get something a little more ubiquitous, splurge on the Sony products. Those of you familiar with digital audio workstation (DAW) software probably noticed that I have nothing to say about ProTools. Here’s why; I’ve hardly ever used it. It’s expensive and has never offered anything that I couldn’t either do in ACID or VEGAS or live without. I understand it is the industry standard, but if you follow along here you will find concepts and information common to all audio recording environments. If someone wants to set me up with a free ProTools workstation… I’m all ears!

So here’s an introduction to Quartz AudioMaster software:

Quartz AudioMaster Tutorial-Introduction


Quartz AudioMaster User Guide

This step in the recording process can be very complicated or very simple, depending upon the objective. If I seem brief in covering this at this time it is not because I am trying to trivialize this step it is because I tend to have a different approach to learning and teaching this kind of material. I have noticed that several course syllabuses in audio engineering begin with the physics of sound and build from there. To me this puts the cart before the horse in a way. It is certainly a valid sequence to take but I think you will appreciate more in-depth topics and discussion once you are more familiar with the process. I want to get you going.

In tracking you want a good solid signal that will require as little manipulation as possible in the mix. Certainly, you can color the sound as much as you want if that is the effect you want and are sure that you won’t want to uncolor it later. If you can, take the time you need to get the track to sound the way you want it. Don’t rely on “fixing it in the mix”.

There are differing philosophies regarding weather or not to track with compression. In the digital domain if you have a low noise floor and can manage to be confident that you will not exceed acceptable input levels, you can do without it. If you happen to be using analogue tape and have access to a high quality compressor, maybe just a tad will help you maximize signal to noise. Generally speaking I recommend against it.

We’ll talk a little more about tracking and compression.

Before we mix we have to have something to mix. These initial posts are intended to get us all on somewhat the same page, so the next logical step is recording your performance or “tracking”. You may use different approaches to starting this process. If you are attempting a straight forward typical song arrangement without tempo changes you may want to use either the internal software metronome or a simple drum loop to preform with to maintain meter. You can program tempo changes but we’ll get into that later.

Again, if we use the paint-a-picture allegory for recording multitrack music, this is where you define your horizon and lay down the base color palette. You’ll use the instrument you are likely most comfortable with, guitar, bass, keys or just a pilot vocal, all of which you can eliminate after you build up your tracks so don’t worry so much about the quality at this point unless you are sure footed enough to record a “keeper” on your first track. One of the great things about working in the digital realm is that even if you have only four audio tracks to record with you can “bounce” them indefinitely without degradation (provided the source you record includes little or no noise). Bouncing tracks is a process that was also used decades ago with analogue tape recordings. What you are doing when you bounce tracks is combining multiple tracks together on to fewer tracks, even a single track. In the digital realm you can combine all four tracks in a four track application into one track and have three free. Something that could not be done in the analogue domain because the destination track would be wiped (recorded over) in the process. Also in the analogue domain the structure of audio tape itself along with noisy circuitry added a suffocating amount of noise and decreased dynamic range tremendously as the number of bounces increased.

In theory, as far as the actual recording parameters you have in your PC, you have the ability to record a signal technically better than almost every recording up to around the 1980’s. The magic is the music not so much the technical specs.

We’ll continue with more on tracking.

So, if things are moving along without incident:

1. You have the hardware you need
2. You have chosen some software to work with.
3. You have successfully connected your source to be recorded

Now, I’m going to share a trade secret with you.

Okay, well, maybe not a god but it sure as heck helps!

The manual is your friend. Now, I know that the inclination of most of us is to think we don’t need no stinkin’ manuals, but I have to tell you, you’re just shooting yourself in the foot if you don’t make peace with the evil document.

I feel your pain, I really do. Many manuals are poorly translated and even worse, poorly written as an after thought in the first place. Writing a cogent, human friendly manual is really an art and few there are who manage it. It takes time, money, talent and a company philosophy that really cares about the client to produce a really good manual. That said, you are generally better off squeezing what you can out of even some of the poorest manuals.

If you read my about page you know that when I started as a technician at Criteria Recording Studios I had little real hands on electronics experience. I had to rely heavily on my esoteric interpersonal strengths and on the documentation at hand (Manuals) to compensate for my exoteric weaknesses (not to mention having a great friend and chief engineer, Andy Pechenik ).

When I came to the Tampa Bay area I started working in television. It was a very exciting time in technological innovation. We were moving from analogue to digital technologies. We went from hardware specific utilities to multifunction computer hardware and software solutions.Taking the manuals home with me at night gave me a tremendous advantage in the workplace as well as the satisfaction of learning great new technologies and concepts.

Use your manuals.

Use the help file.