Home recording has been
of interest to acoustic guitarists ever since portable tape recorders
became widely available. Whether for fun, practice, or profit, getting
music onto tape or CD is a goal many players aspire to soon after learning
their first G chord. Until just a few years ago, recording digital audio
onto a hard disk was reserved for those with access to high-dollar studios,
but it has now become one of the most common and economical means of
capturing music. If you're not the sort of home recordist who delights
in staying abreast of the latest technology, you may be intimidated
at the thought of placing a computer at the heart of your recording
setup. But you don't need to be a computer whiz to operate and appreciate
some of the new systems now available.
It's true, with dedicated
cassette, MiniDisc, or hard disk recorders, you only have hardware to
worry about, and recording to a computer does add many different concepts
and configurations to think about: hardware and software, audio interfaces,
RAM, gigabytes, Mac versus PC, USB, FireWire, SCSI, and more. However,
whether you're thinking about adding digital recording capabilities
to the computer you already own or you're starting to assemble a dedicated
workstation from scratch, you can be recording soon after loading some
software and plugging in a few boxes.
Computer Recording Benefits
Recording direct to a computer
has a lot of advantages over tape-based recording. First and foremost
is "point-and-click" editing. Using a mouse and working with a visual
representation of your music on the computer screen, you can cut and
paste audio the same way you cut and paste words and sentences in a
word processor. If your song is too short and you wish you'd repeated
the chorus at the end, a quick cut and paste will make it happen. Or
say you've recorded multiple takes of a song and you like the guitar
solo from take 3, but take 1 is best overall. On an analog tape recording,
you could only combine the pieces you wanted through tedious and careful
cutting and splicing, and on a digital tape recording, doing so would
have been next to impossible. But with a computer, a few clicks of the
mouse and it's done.
Punch-ins and overdubs are
also much easier on a computer. When recording to tape, you have to
spend time searching for the perfect punch-in point, rehearse the punch,
and then record the section, hoping that you haven't screwed up the
original track. But if you make a bad punch with a computer recording
system, selecting the Undo command will restore your track to its original
state. You can adjust the punch-in and -out points of your track by
clicking and dragging and also cross-fade tracks (a process that covers
up audio glitches with a quick fade-out and fade-in) for seamless and
inaudible edits.
For purists who prefer to
capture a recording in one take without punches, overdubs, or edits,
there are still many benefits. There's no rewinding or fast-forwarding—one
click immediately takes you to the beginning of the song or any point
within it. When laying down tracks on tape, musicians often have to
choose between keeping a particular take or recording over it to save
tape. But most audio recording software allows you to record over sections,
delete sections, and record entirely new takes without erasing previously
recorded material—known as nondestructive editing in computer recording
parlance. Recording time is cheap (you can buy a 15-GB hard drive—enough
for 1,500 minutes of stereo recording time—for less than the price
of a 20-minute length of 1-inch reel-to-reel tape), and you can easily
delete unused recordings to get more recording space, so there's no
reason not to always hit the Record button and increase the odds that
you'll capture a perfect take.
Hardware
Digital audio recording
does require a bit of computer horsepower, but the demands aren't outrageous
by today's standards. On the Mac, you can use any G3 or G4 (including
iMacs and PowerBooks/ iBooks), and some programs will even run on older
604-based Power Macs. With a Windows-based system, you'll need at least
a 300-mHz Pentium II or similar processor. And any new computer system
will provide enough power for basic audio recording. There is no such
thing as having too much RAM, and while some programs will run on as
little as 64 MB, for a reliable setup, you'll want at least 128 MB.
The hard disk is the part of your computer system that's challenged
the most by digital audio. CD-quality audio takes up at least 5.1 MB
per minute and track, which means you'll need a fairly large hard drive.
But with gigabytes and prices moving in opposite directions, storage
size is now much less of an issue than it has been. You may be able
to get away with less power (we have successfully recorded and edited
audio using only the 5400-rpm drive on a 366-mHz iBook), but a 7200-rpm
drive is the minimum you'll want to ensure smooth performance. If you
plan to go beyond the basics, get a dedicated hard drive (separate from
the one that stores your system and application files).
Getting sound in and out
of the computer is where some of the most significant changes have occurred
in the past couple of years. It used to be necessary to open the CPU,
install third-party sound cards (making sure they were compliant with
the software you planned to use), and then troubleshoot the whole mess,
but the advent of USB (Universal Serial Bus) and FireWire ports has
made it possible to simply connect a box to the computer, load some
software, and start recording. On some Macs, you can even get started
by using the stock minijack audio input, and many Windows machines come
with basic audio cards such as the Sound Blaster for similar audio input.
Before choosing an audio
interface and software, you should think about what you hope to accomplish.
Are you planning to produce a commercial CD or do you just want to cut
a basic demo? Will you record solo guitar or a band playing live in
the studio? How much overdubbing do you plan to do? Each of these questions
will have an impact on your decision, and it pays to be realistic about
your goals.
Two of the most basic things
to consider are the number of inputs you'll need and whether you want
24-bit audio or can get away with the lower-resolution 16-bit. Although
CDs are still mastered at 16-bit, when it comes to digital workstations,
16-bit technology is now relegated to stock computer sound capabilities
and entry-level USB interfaces. However, there are a few software packages
that don't yet allow you to record in 24-bit. While it's true that 24-bit
is now the professional standard, offering greater headroom and definition,
there is no reason that great recordings can't be made at 16-bit. In
addition, 16-bit audio takes up less space on your hard disk (5.1 MB
as opposed to 7.6 MB per track-minute), something to keep in mind if
disk space is tight or your system is slow. And if you're doing things
like transferring material from 16-bit DAT tapes, there are no benefits
to the 24-bit format.
USB Interfaces
The most bare-bones way
to get sound into your computer via its USB port is with simple adapters
like the Griffin iMic ($35) or the Edirol UA-1A ($79), which are comparable
to basic built-in sound. The iMic uses 1/8-inch stereo minijack ins
and outs, while the Edirol uses stereo RCA connectors. If your computer
already has a sound input, there's no reason to bother with these, but
if it doesn't, this is a great inexpensive way to add basic ins and
outs. These adapters are truly plug-and-play on the Mac and run in the
system software's Sound Manager. A Windows system will need the Windows
MME driver.
A step up from these basic
adapters can be had with products like the Edirol UA-3 ($179) and Aardvark's
Direct Mix USB3 ($299, including Cakewalk audio software). Both units
include high-impedance mono guitar inputs, headphone outputs, and controls
for input and output levels. The Direct Mix USB3 has 24-bit converters
(although you may be limited to 16-bit operation by your computer's
USB sound driver), while the UA-3 has optical connectors for interfacing
with other digital equipment. Both are powered through the USB port,
making them great choices for portable setups.
Yamaha UW500:
USB interface with MIDI capabilities.
If you need more inputs,
MIDI support, or XLR connectivity, there are several boxes that take
USB audio to a professional level. The Yamaha UW500 ($399.95) is a complete
package for Windows users (a Mac driver is available at www.yamahasynth.com,
but the included software and manual is for Windows only). With two
1/4-inch inputs (with individual gain controls), optical ins and outs,
20-bit recording, and MIDI control, the UW500 is of particular interest
to those who use MIDI sound sources as part of their setup. The package
includes sequences for backup tracks that can easily be integrated into
the included Wave Editor TWE audio program. If you want to record more
than two tracks at once or do more traditional mixing with an external
mixer, M-Audio's Quattro ($349.95) is worth a look. The unit has four
1/4-inch ins and outs; switchable line- and instrument-level inputs;
latency-free hardware monitoring, which allows you to bypass potential
audio delays introduced by the computer; and it is also a MIDI interface.
If you need phantom-powered XLR mic inputs, higher-quality preamps,
and digital outs (but unfortunately no inputs), the Quattro can be expanded
with M-Audio's Omni I/O ($699.95).
M-Audio's Quattro
has four ins and outs.
Many solo guitarists won't
need more than two inputs for a stereo pair of phantom-powered XLR connections.
For those who essentially want mic preamps to do 24-bit recording through
the USB port, there are at least three interfaces: the M-Audio Duo ($349.95),
Edirol UA-5 ($299), and USBPre 1.5 ($695) from Sound Devices.
The Tascam US-428 ($625)
combines the feel and intuitiveness of an all-in-one system with the
editing power and expandability of a computer-based system. Designed
to emulate Tascam's groundbreaking Portastudio series, the US-428, which
comes bundled with a custom version of Cubasis multitrack recording
software, is a complete package for both Windows and Mac users. It's
not only a 24-bit audio interface capable of simultaneously recording
four inputs (stereo XLR, 1/4-inch, or coaxial-digital), the US-428 is
also a digital mixer and controller for many functions usually reserved
for the computer's mouse. Indeed, working with the unit is more like
using an old-school four-track than using a computer. The US-428's transport
buttons control Start, Stop, and Record functions; its faders move the
on-screen faders; and you can even solo or mute tracks and add EQ and
effects with the US-428's controls.
Tascam US-428
digital mixer and controller with 24-bit audio.
Tascam recently came out
with a smaller version of the US-428, and many acoustic guitarists will
probably find that the US-224 ($375) is all they need. Like its big
brother, the US-224 features complete on-screen control but has only
four faders and is limited to two simultaneous inputs. Laptop users
will like that the US-224 is powered through the computer's USB port
and therefore needs no additional power adapter.
Another new USB interface
that is powered through the USB port is Digidesign's Mbox ($495), a
collaboration between Digidesign—makers of the industry-standard
Pro Tools recording software—and the famed electronics manufacturer
Focusrite. Bundled with Pro Tools 5.2 LE software, the Mbox features
two phantom-powered analog inputs, S/PDIF digital ins and outs, and
a streamlined desktop design. It offers the opportunity to own a real
Pro Tools setup at an unprecedented low price.
Digidesign's Mbox
is bundled with Pro Tools.
While the USB audio interface
represents a giant leap forward for home-studio computer recording,
it does have some limitations. Because of its relatively slow data-transfer
rate of 12 megabits per second, USB is currently limited to about four
channels of simultaneous audio input and also has the potential to compromise
a system's overall performance. But for those acoustic musicians with
comparatively modest needs, these drawbacks may never be an issue.
FireWire and PCI
For those who feel that
USB might not be sufficient for their purposes, the much faster FireWire
port (up to 400 megabits per second) is a great alternative. Mark of
the Unicorn (MOTU) was the first manufacturer to come out with a FireWire
audio interface. The MOTU 828 ($795) has eight simultaneous ins and
outs, stereo phantom-powered XLR mic preamps, and comes bundled with
the powerful AudioDesk software for the Mac (Windows users can use any
ASIO-compatible recording software). The 828 is the most professional
setup we looked at, and while it is more expensive than most of the
USB solutions, its easy-to-use high-end features make it an attractive
option for anyone looking for a serious recording rig. MOTU has also
recently introduced what may be the ultimate in FireWire audio. The
new 896 ($1,295) fits eight XLR inputs, extended ADAT connectivity,
and front-panel audio meters, among other features, into two rack-spaces.
Mark of the Unicorn
828: eight ins and outs and ultrafast FireWire.
Another new FireWire audio
interface is the PreSonus Firestation ($699). It features two XLR-equipped
mic preamps on the front panel, six balanced outputs, and compatibility
with most current audio software applications.
The PreSonus Firestation
is compatible with most audio software.
If your computer has room
for a PCI card and you don't mind a few extra tweaks, there are several
PCI-based systems you might want to check out. The Digidesign Digi 001
($995), a Pro Tools LE–based system, and MOTU's 2408mkII ($995)
are popular options that are used by some professional studios. Event's
series of Mia, Gina, and Layla audio cards (starting at $199) and interfaces
offer solid performance for every budget.
Some of the interfaces mentioned
come bundled with software, while others are compatible with the ASIO
(Audio Stream Input/Output) standard. Those that do include software
often give you the choice of running other ASIO programs. ASIO was developed
by Steinberg, the creators of Cubase and the VST effects format. ASIO
allows you to play back multiple tracks of audio through a sound card
or audio interface that would normally allow only two tracks of playback.
It's essentially an internal, software-based audio patch bay for routing
an audio card's various inputs and outputs and consolidating multiple
tracks of audio into a single output.
Software
The software landscape is
nearly as crowded and confusing as the audio interface world, but it's
hard to go wrong with any of the available options. There are essentially
two kinds of professional audio recording software: stereo recording/mastering
programs and multitrack recording applications. Stereo recording/mastering
programs are generally used for ultraprecise audio editing and cleanup
and assembling CDs rather than live tracking of music, although they
can be used for that purpose. The most popular stereo recording/mastering
program for the Mac is Peak VST 3.0 ($499), from Bias, Inc. (Peak LE
3.0, a basic version of the program, is also available for $99.) Cool
Edit 2000 ($69), from Syntrillium, is one of the most popular, inexpensive
two-track audio mastering applications for the PC, and the latest version
is expandable to multitrack recording via plug-ins. Cool Edit Pro ($399)
has more features, such as standard multitrack capabilities and multiple
I/O interfaces, than the basic version and allows the use of DirectX
effects and 32-bit, 64-track audio recording, as long as you have hardware
that can handle it.
If you're making the leap
to computer-based recording, you should certainly get multitrack recording
software. You may think you'll never want to record more than a pair
of stereo tracks, but there may come a day when you're dying to hear
what a theremin overdub will sound like on your solo guitar tune. With
a software-based multitrack recording application, you will undoubtedly
run out of ideas before you ever run out of recording tracks. Even some
entry-level recording applications will provide up to 48 recording tracks,
and pro-level applications allow you to record on an unlimited number
of tracks, restricted only by what your hardware can support. But, keep
in mind that the more tracks you use, the faster disk drive and more
memory you'll need.
There are many different
multitrack recording software packages available, but a few stand out
from the crowd. There are some obvious differences in features, but
you'll probably want to audition some of the choices yourself to see
what feels the most natural to you. All of the multitrack applications
have a virtual mixer—a graphic representation of a real, hands-on
mixing board—that includes faders and panning knobs, which can
be adjusted with a mouse or by moving actual faders on an external controller
such as the Tascam US-428. This allows you to record and play back your
fader movements, resulting in fully automated mixing, a feature that
was previously available only on ultra-expensive studio mixing consoles.
All of the recording applications
feature some form of software-based effects and processing tools, including
chorus, flange, graphic/parametric EQ, reverb, delay, etc. Most of these
are as good as or better than the hardware-based equivalents. Reverb,
however, requires a great deal of processing power to produce a lush
effect and is the only effect that doesn't quite match up, although
software-based reverbs are fine in many situations.
Effects come in real-time
versions (where the effect is heard immediately as the track is played
back) or non-real-time versions, which need to be processed and applied
to an audio file and can't be edited or adjusted after they're applied.
VST is the most common software-based effects format. Applications like
Peak, Cubase, and Digital Performer all include VST effects. On the
PC, DirectX is one of the most popular effects formats and is included
with most PC-based audio applications. High-end Pro Tools systems use
TDM effects, which need a special audio-processing card, although there
are also effects available that require no additional hardware.
Steinberg's Cubasis (starting
at $99 and available in both Mac and Windows formats) is an excellent
entry-level multitrack recording package that includes 48 tracks of
audio, several VST effects, and virtual sound modules, which allow you
to play back MIDI information without an external synthesizer. Cubase
VST is the big brother of Cubasis with additional features like 24-bit
audio, 72 audio tracks, and additional VST effects. If you're likely
to work on both Mac and Windows platforms, then the fact that the versions
are practically identical could be a big plus.
Another entry-level program
with an easy-to-use interface is Cakewalk Guitar Tracks 2 ($49). If
you're a Windows user and just want to give computer-based recording
a try without spending a lot of money, Guitar Tracks 2 is a good choice.
It only has eight tracks, but it allows you to cut-and-paste audio,
apply effects, and burn tracks to a CD just like high-end applications.
Its interface mimics an analog tape recorder, so if you've used a four-track
tape deck, you should be able to find your way around Guitar Tracks
easily and quickly. It comes with several unique features: a chromatic
tuner, an amp simulator, built-in drum loops, and a phrase sampler,
which allows you to loop and slow down audio, a handy tool for learning
riffs from CDs. Guitar Tracks also requires only 32–64 MB of RAM,
so it can run on a modest computer system. And when you're ready to
upgrade to 32 tracks and 24-bit audio, Guitar Tracks Pro ($139) is available
in a similar format.
For an easy-to-use full-featured
multitrack recording application, it's hard to beat Deck ($399, Mac
only) from Bias, Inc. Deck allows you to record and edit up to 64 tracks
of 16-bit audio using familiar controls that mimic analog recording
decks. The current version 3.5 also contains VST effects and can be
used with any SoundManager- or ASIO-compatible Mac sound interface.
Deck can also be used with the Mac's built-in audio hardware, so you
can lay down tracks at home with a high-end sound card and copy them
to a PowerBook to edit tracks on the go with no additional hardware.
For entry-level users, Deck LE ($99) offers many of the same features,
but it's limited to eight audio tracks. Bias also offers several software
bundles that package Deck or Deck LE with Peak editing and mastering
software.
MOTU's Digital Performer
($795, Mac only) has become one of the most popular audio recording
applications. It allows you to record an unlimited number of tracks,
depending on the capabilities of your hardware, and can be used with
VST and MOTU's own proprietary effects format.
MOTU Digital
Performer software.
Digidesign's Pro Tools is
preferred by many top studios for audio recording, mastering, and editing
of commercials, CDs, and films. While the high-end HD and 24 Mix systems
are primarily reserved for big-budget studios, and Pro Tools LE software
is not available separately from Digidesign's audio interfaces, Pro
Tools FREE is an option for home recordists on the smallest of budgets.
Available for a free download from Digidesign's website (as well as
on CD as part of Berklee Press' excellent book Producing in the Home
Studio with Pro Tools), Pro Tools FREE offers the same basic look and
interface as the full versions but is limited to eight tracks.
Pro Tools
FREE: pro feature at the right price.
Sonic Foundry's Vegas Audio
($399.95) allows for full multitrack recording with unlimited tracks
and comes with several DirectX effects, but it doesn't allow you to
use VST effects. It also has several unique features, including unlimited
Undo and Redo functions and a protected work environment that allows
you to recover all of your work if the computer crashes or the power
goes out.
Logic Audio from Emagic
($949 for the Platinum edition, Mac and Win-dows) is one of the most
powerful and complex multitrack recording and sequencing applications
available and is used in many top studios for complex sequencing and
creative song construction. But if you're just looking to lay down pure,
unaltered acoustic tracks, Emagic's MicroLogic AV ($99) is a better
option. Its streamlined interface includes a maximum of 16 tracks of
audio, many of Emagic's high-quality proprietary effects, and virtual
instruments.
Cutting Tracks
No matter what kind of system
you decide to assemble, it's important to remember that virtually all
tried-and-true recording techniques still apply to the new technology.
To get great results, you'll still need to use good mics and preamps,
experiment with mic placement, work in an acoustically sound room, etc.
But today's computer-based recording systems are sure to let you step
up to a new level of expertise and creative freedom.
Excerpted from
Acoustic
Guitar magazine, June 2002,
No. 114.
