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 6 goes into much greater detail on this subject, but for now you can get an idea of how people work.

For Working Alone

If you work alone, you are almost definitely going to want a multitrack recorder. The ability to layer track upon track affords you the ability to create complex arrangements on your own. On the low end, a cassette tape — based recorder can get you started for a very low price. Many people who are new to recording opt for this method to get used to working. You can choose a standalone, all-in-one studio, such as the Roland VS series or one of the many systems available from Tascam, Fostex, Roland, and Yamaha. These studios contain everything you need to get started: multitrack capability, internal effects, faders for mixing, EQ, and, in many cases, built-in CD burners.

On the computer side, many people find that the editing power of computer software makes the computer a very attractive choice. Recording technology is headed toward the computer at this point. Standalone units will always be around, but as the years go on, they are starting to resemble computers more and more. You can even get a standalone recorder with a monitor, mouse, and keyboard jack in the back. So what's the difference? A studio-in-a-box comes with some guarantees. If the box states that it can record eight tracks at the same time and play back sixty-four, then it's going to do that without a glitch. If you use a computer, the number of tracks you can create is limited by the power of your machine. The more powerful your machine, and the faster your disk, the more you can do. Check out Chapter 5 to learn how to make your computer a fire-breathing digital audio monster.

Many “solo” engineers/players own just a few microphones, usually one all-purpose and one specialized microphone. A lot depends on what instruments you plan to record. Many studios involve MIDI to control drum machines and keyboards. If MIDI is involved, you'll find a computer in the studio for sure. While there are standalone sequencers, they are rarely used anymore. The computer is far more prevalent. 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 so popular, many home studios are found around computer workstations and desks.

For Working in Groups

If you're in a group, or just plan to record a lot at once, 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 stereo recorder, such as a professional cassette tape recorder, a digital audio tape recorder (DAT), or a standalone audio CD recorder, can do a great job. Some groups even use a minidisc recorder with a stereo microphone placed in the center of the group to get above-average results. With the exception of the minidisc setup, all these scenarios require a mixer. FIGURE 2-1 illustrates what a typical mixer looks like.

FIGURE 2-1

Mixing board

A mixer allows several sources of sound to come together and be mixed together into one stereo output. You can take eight or more microphones and mix them together into one stereo sound. The stereo output is then attached to one of the recorders — cassette tape, digital audio tape, or standalone audio CD. The nice part about this system is that it's not all that expensive; however, there are some serious drawbacks to it. First of all, the balance of the group has to be set in the mixer before the recording takes place. Since you're not multitrack recording, what you get on the final tape is all you have. Also, you have very little ability to add individual effects, except again through the mixer at the time of recording. If you mix well and set up the effects well you can get a good sound this way, but it's very difficult. If, after you're done, you realize the snare drum is too loud, there's little you can do. Even so, you'd be surprised to know how many albums have been recorded this way, especially jazz records.

Those who step up to multitrack recording do so in much the same way that the solo artist does. However, there are specific concerns that need to be addressed. How many instruments are going to recorded at once? In the case of the standalone, all-in-one studios and computer setups, the number of simultaneous inputs is crucial to achieve the ability to mix the sounds after the fact. By placing individual instruments on individual tracks, you have greater control over their relative sound and volume levels. When you are limited to a few inputs, you have no choice but to place multiple instruments on the same track, 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 easily mobile. Minidisc, DAT, and the standalone, self-contained studios are great for this. If your live gig has a soundperson, you can benefit from his or her gear as well. You can get a stereo mix from the soundperson and plug into a DAT or CD recorder and you are good to go. (That is, of course, assuming that the mix off the board sounds good.)

Until recently, good computers haven't been very portable. This fact is changing. In recent years, laptop computers have become extremely powerful and can handle live recordings and even many simultaneous tracks. These computer setups come at a hefty price tag, however. The combination of state-of-the-art computers and interfaces to get audio into the computer put this setup out of the reach of many. But hardware manufacturers are addressing this concern. Home studio gear is getting smaller and more powerful and will most likely continue to do so.

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, from a $100 4-track, to the most decked-out computer rig with all the fixings, if you don't bring your creativity into play, nothing happens. We've all experienced good players playing cheap instruments and still sounding 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.