Typical Setups by Marc Schonbrun

Let's take a look at some typical setups for various types of recording systems so you can get an idea of what equipment is commonly used. Chapter 4 goes into much greater detail on this subject, but for now you can get an idea of how some people work.

For Working Alone

Many “solo” engineers and players own just a few microphones, usually one all-purpose and one specialized microphone. They focus on quality purchases over quantity. For example, it wouldn't make sense to have eight average-sounding channels in an audio interface when two great ones cost about the same and will be enough for your needs. A lot depends on what instruments you plan to record. Many studios use MIDI to control drum machines and keyboards. While standalone sequencers and standalone recorders do exist, they are rarely used anymore as computers have all but replaced their functionality at a lower cost with added flexibility. The solo home studio owner doesn't require huge amounts of space, and usually a corner of a room or a desk area is enough to get anyone started. Since the computer is the modern recording standard, many home studios are built around computer workstations and desks.

For Working in Groups

If you're in a group or you plan to record a lot at one time, you have some choices on how to proceed. For live groups, multitrack recording isn't a necessity, although it's nice to have. A good-quality portable digital recorder can do a great job. If the recorder includes a stereo microphone, you can place the unit in the center of the group and get above-average results. If the portable digital recorder doesn't include a stereo microphone, you'll need a mixer. Figure 2-1 illustrates what a compact mixer looks like.

A mixer allows several sources of sound to be mixed together into one stereo output. You can connect eight or more microphones to the mixer, which will output one stereo sound to your recorder. The nice part about this system is that it's not all that expensive; however, there are some serious drawbacks to it.

Figure 2-1: Compact mixing board Courtesy of Avid Technology, Inc.

First, the balance of the group has to be set in the mixer before the recording takes place. Since you're not multitrack recording, you can only record the single output of the mixer. Also, you have very little opportunity to add individual effects, except again through the mixer at the time of recording. If you set up the microphones, digital interfaces, and effects carefully, you can get a good sound, but it's very difficult. If, after you're done, you realize the snare drum is too loud, for example, there's little you can do. Even so, you'd be surprised to know how many albums—especially jazz records—have been recorded this way.

Those who step up to multitrack recording do so in much the same way the solo artist does. However, there are specific concerns that need to be addressed, such as the number of instruments that are going to be recorded at once. Having the right number of simultaneous inputs is crucial to be able to mix the sounds after the fact. By placing individual instruments on individual tracks, you have greater control over their relative timbre and volume levels. When you are limited to a few inputs, you have no choice but to place multiple instruments on the same track, thereby losing the ability to balance them after you record. Typically these setups use a lot of microphones. You'll need one input for every microphone you use. Your needs as a multitracker really depend on what you're recording and how much control you want.

Portable Setups

If you are doing a lot of your recording at gigs, you'll need a setup that is portable and easy to move. Portable stereo recorders are great for this. If your live gig has a soundperson, you can benefit from her gear as well. You can get a stereo mix from the soundperson and plug into your portable stereo recorder and you are good to go. (That is, of course, assuming that the mix off the board sounds good.)

If you have a laptop and an audio interface, you can take this setup with you to record gigs. With this kind of setup, you could record the stereo mix from the soundperson, or set up your own microphones and direct boxes and multitrack record the gig; if you have enough inputs on your audio interface, you can do both.

What's been missing in all this discussion about gear, options, and budgets is the creative spark. That is the spark that only you can provide. Recordings can't make things magically appear. No matter what kind of gear you have, if you don't bring your creativity into play, nothing happens. We've all heard good players playing cheap instruments who still sound great. We've also experienced amateurs playing expensive gear and sounding terrible. Keep that in mind as you go through this book. You make it happen.