Should You Get Your Mastering Done by a Professional?

If you are reading this then hopefully the question of "Should I get my Sound Mastered" has been answered. If not, then this article will briefly discuss this issue. If you are asking this question to begin with, then your answer is more than likely "yes". Mastering is just as important as your recording and mixing process. Here is a question? Your music is recorded, did you mix it yet? If yes, why? Is it because you wanted it to sound better? Well, what if I told you that the improvement you made from the recording to the mixing is the same type of improvement you will hear from the mixing to the mastering process. Yes, you heard it correct. Your sound will be so much harder and crisper you and your buddies will all be amazed.

Now, you are convinced to get your music mastered, but the professional part has not been talked about. Well, let us discuss that issue right now. Let me paint a picture for you. You are 55 years old and worked on a great job all your life. You have 2 beautiful grown kids and 4 grandkids. You and your spouse are making a huge decision today about the rest of your lives. You are deciding to retire after 30 years service from your company. Now, your goal is to live off your 1 Million dollar nest egg you have built up over the past 30 years. That may seem like a lot of money, but consider the fact that you are used to living off of $60,000 per year. Being as smart as you are, you calculate the math and realize if you put that money in your bank or try to play the stock market, your savings may only last for 16 years. That means when you are 55 years young, you are out of money. Not to mention, inflation. So, is this picture clear enough for you? My question to you is, would you rather gamble with your life savings and be a do it yourself member in the market, or would you rather give this problem to a professional and have them fix it? Do you know anything about beta, dollar cost averaging, rebalancing? Can you see the importance of getting a professional? If you answered yes for a professional, then you are on the right track. If not, then best of luck in your musical journey.

Think about your music in the same way. If you do not get it mastered by a professional and you are as serious about it as you think you are, then you are potentially flushing your money down the toilet. You are an artist and are probably good at what you do or you would not be reading this. Mastering engineers are just like you, good at what they do. They would not pick up an instrument and try to show you how to play your song. Their expertise is in the studio making your music sound even more hard and crispclear. Use them, that is what they do and that is what makes them so valuable. Have I made my point yet?

Not many people are fortunate enough to have an audio engineer that can mix and master at the same time, but if you are, then a straight transfer might do fine. If not, you need to consider getting your audio mastered by a professional. Some facilities do their mastering in house and some studios have to send it off.

Usually a lot can be done to improve the mixes. There is a huge demand in this market. Now, if you're reading this, then you are probably wanting your disc to be competitive in-store play, homes of consumers, and in radio markets, it has to be perfect sonically. Think of it like a brand new car -without a good wash and wax, few people will appreciate how great it looks. Also, since the mixes were recorded at different times of day over a week or more, you end up with differences in level and tone. Mastering creates a seamless whole out of a collection of individual tracks.

The mastering studio has ultra-clean processors that are made to handle stereo signals. Obvious as this may be - it is one thing to run a guitar through a limiter and equalizer, and another thing to run your whole mix through it. A finished mix is an intense balance that can be made worse as easily as it can be improved. It's worth using the best equipment available.

About Author:
Get your crystal clear audio mastering done by a professional and at an affordable price at Future Sounds Studios. Future Sounds Music Mastering Studio

Article Source: Articles Universe

What Microphones Should You Use For Home Recording Guitar

A microphone is a device made to capture waves in air, water or hard material and translate them to an electrical signal. The most common method is via a thin membrane producing some proportional electrical signal.

Most microphones in use today for audio use electromagnetic generation (dynamic microphones), capacitance change (condenser microphones) or piezoelectric generation to produce the signal from mechanical vibration.

What are the differences between the types of microphones available? Well, that’s what we’ll be looking at in this article.

There are a lot of things to consider when it comes to the sound you get from your microphone, not only in terms of price and quality, but also where you actually place the mic in relation to your amplifier.

Whilst the chances of getting a great recording are consistently better with a high quality microphone, price and quality do not always match. However, with that said, when it comes to high quality recording, the most important part of the entire process is the original sound source. If you’re original sound from the microphone is good to begin with it will generally have fewer problems at later stages when you are mixing.

Dynamic Microphones -

Most people's first microphone is a dynamic one. They're simple, versatile and they generally sound quite good on everything from voices to guitar amps and brass instruments. Also, dynamic microphones are usually cheaper than condenser microphones (which we will look at next¬)

Dynamic mics are usually cardioid or hyper cardioid in their polar pattern, which means that they only pick up the sound that's coming at them from the direction in which they're pointing.

Dynamic microphones can be great for use at home as they tend to reject a lot of background sounds like the noise of traffic outside your house. Once you start using a quality microphone, you won't believe how noisy your home studio room can be. Dynamic microphones also have a high SPL, which stand for sound pressure level, this means they are perfect for pointing at loud amplifiers.

Condenser Microphones -

Condenser mics are generally more expensive than dynamic microphones; however they do share a lot of the same characteristics.

You’ll find that a lot of condenser microphones are used when recording vocals. Most artists record vocals through a large diaphragm condenser microphone because they are a little less harsh than a dynamic mic, can be smoother sounding and have a broader frequency range.

Condenser microphones may not be entirely suitable for use in an ordinary house as they could well receive sound from televisions, neighbors or sounds from the streets.

Some condenser mics have a cardioid polar response while others have an omni-directional pattern. This means that they pick up sound equally from all directions. What’s great about some condenser microphones is that they have switch-able polar patterns. This means they can be cardioid, hyper-cardioid or super cardioid like a dynamic microphone, but can also be figure 8, which means it’ll accept sound from the front and back, or omni, meaning it will accept sound from all round.

You can find some great condenser mics for $150 - $250, which will serve most home recording needs. There are absolutely tons on the market, even at the lower end of the price range.

Another factor to take into consideration is that condenser mics require power to operate. Some will take an internal battery but others need to be powered remotely from the mixing desk. This is done through a power source called Phantom Power.

About Author:
Ian Marples has been playing guitar for over 10 years, and now runs the website www.uncleslinky.co.uk to help other guitarists learn how to successfully record music at home. For similar information to this article subscribe to his FREE Newsletter by sending a blank email to homerecording@uncleslinky.co.uk

Article Source: http://www.article-buzz.com

Make The Most Of Your Talent And Build A Career

Hope you have been practicing singing in the past week and are now prepared to take on the nuances of getting on with the real thing- the actual recording.

Moving on from where we left off the last time around – here are the rest of the gadgets you will need to set up your very own recording studio.

Gadget 2 - Your Microphone:

Be aware that your standard windows microphone is not adequate. You’ll need one that will record your music perfectly. Microphones are the most important feature in recording your music because their quality varies widely and they are what you hear. The most famous and best budget microphone ever is the Shure SM58 Microphone. For its cost it sure beats many of the several times more expensive ones, like the thousand dollar Neumann, hollow.

There is a wide range of microphones available such as condensers, dynamics, tubes and many more .It has been observed that live mics are not always great for the studio. Generally, wide diagram condensers are what you want for vocals. That again you have to decide seeing your pocket. Remember that if you are going to record in groups, or different types of instruments, you'll require more than one microphone.

Gadget 3 - Audio Interface Recording Sound Card:

Much as we have seemingly maligned the computer, it is still required even if you'll be recording externally as you'll still need to get the sound into the computer for audio mastering, burning, MP3 upload or whatever else. If you want to get it in a high quality, some of the factors to look for are types of input, quality and connectivity.

Before pursuing this further, let me tell you what is the difference between digital and analog. Analog is the actual sound transmitted in wave form, while digital translates the sounds into a numeric code for transmission that is then re-converted to analog at the listener’s end. What ever you sing, the analog signal of your actual sound has to be translated into the digital format so the computer can record it. The sound card does that translation.

The advantage of using a digital multitrack is that it doesn’t lose music recording quality when copied to another device. Your digital multitrack can send it's music out digitally, so its better to have a sound card that can accept digital data as well.

Gadget 4 - Studio Headphones, Playback Gear:

As you’ll be playing the new vocals with the backing tracks you have to make sure your backing tracks are synchronized to the device you will be recording your vocals to.

A computer program generally does this automatically. If, however, you are using a multitrack with a computer, your synchronization may need to be tweaked a wee little bit. While doing your home recording, all you will be required to do is connect the computer and multitrack via a MIDI cable and then specifying on each (the program and the multitrack) which sync signal (MMC, MTC, SMPTE) is sent/received. Besides, you also need to check the frame rate, which device is the master (the one that when you press play on it, the other plays as well), and whether pressing ‘Play’ on the master starts playback at the beginning or at the song position of the master (depending on what you want).

I do hope the tips provided in this article have been useful to the cause. So do keep me informed whenever you come out with your first digital sound track!

About Author:
Rika
The author loves mixing music. You can make your own music by setting up a home recording studio and using a good music production software. Learn all the music terms with the help of an online music dictionary.

Article Source: http://www.article-hangout.com

Improve Your Computer Performance For Audio Recording

Audio is hard on your computer taxing its resources. Although this is not as big a problem as it was when we were recording on a Pentium 400 it still makes sense to practice good habits when it comes to your computer hard drive. Here are some tips to speed your audio up.

Separate Audio Hard Drive: If you can afford it a drive reserved just for audio will make things much easier on you. Only audio files are to be stored on this second drive.

Keep Your Drives Clean: Keep the junk off of your hard drive. Any excess programs will slow your system resources that could be used for things like plug ins and more tracks. Check your task bar and see what programs are running in the background such as your anti-virus or messenger service.

Minimize: Turn off as many things as you can although make sure you are not connected to the Internet when disabling your anti-virus.

Back Up: Always back your computer up on a regular basis. Make this a habit like clockwork or else your hard drive will crash at the worst time possible. Don't ask me how I know this.

Defrag: Defragging your computer once a week will speed everything up. Your files tend to get jumbled up when stored on your hard drive and defragging tends to sort things out for you.

Format: I like to format my hard drives a least once a year although I probably do so a couple times a year. Things slow down as time goes by and formatting is on e of the best speed recovers I have found. A new clean drive always seems to speed up a lot.

Number Of Plugins: Plugins are one of the most taxing things you can do to your computer. When you are recording always use as few as possible turning off anything that is not vital. Add them back in during playback if you need them.

Number Of Tracks: Likewise watch the number of tracks you are using. The more tracks you use the harder your computer has to work. Only use as many as you have to have. You probably do not need 17 back up harmony parts.

Recording your own audio on your personal computer is one of the most rewarding things I have ever used my personal computer for. It is an exciting time when for a few hundred dollars you can rival the sound of the major studios of old. If you follow these tips and use your head you will be recording audio better than ever before.

About The Author
Ripsaw
Download your free 16 page special report Mastering Streaming Audio Visit http://www.create-streaming-audio.com/csa_ezine.html for streaming audio tips.

Article Source: http://www.Articlesisland.com/profile/ripsaw-1282.html

Music Producer Pro – Music Production

It used to be that you had to go to college or a music production school to find a decent music production course. Now nearly every music school offers one. This should be no surprise due to the amount of time and money that people are now spending on entertainment.

So, the question is: Where can I find a great music production school?

And, who is going to provide me with the music skills, knowledge and experience that will really make a difference, without charging an enormous fee?

Music production schools are offering basic music production programs and even Community Colleges have jumped on the bandwagon. Does this mean that they are all good? NO!

Firstly, I doubt that you can get even minimal training at a music production school without paying at least hundreds of dollars in fees. And is that a risk worth taking? For some, maybe, but for most of us, probably not!

If you’re like most people looking for an advantage with music production learning, you are not going to be able to afford a major fee at a music production school.

Maybe you are one of the smart ones and have looked to the internet for a better solution. Online music production lessons and courses are now becoming popular as they are much cheaper and more convenient; while at the same time still provide a solid foundation for learning the latest music production techniques.

An excellent example of an online music production course is http://www.MusicProducerPro.com

Check out this site and see the kind of music production skills you can start learning in the next hour.

Music Producer Pro offers courses that consist of a series of online music production lessons delivered via downloadable videos in an easy step-by-step style. You gain access to dozens of lessons for a single once off joining fee and are guided through a series of activities designed to enhance your learning experience.

And… it offers you unlimited access 7 days a week.

With every production video you learn something new and different that’s designed to open your mind to interesting and cool music techniques. It is one of the most happening interactive online music production schools in the world.

The flexibility of an online course allows you to focus on the skills you want to master, rather than being tied to a rigid, out-of-date curriculum. And the teaching at http://www.musicproducerpro.com is very professional. If you are a beginner, they will help you formalize your knowledge and get the terms explained. If you are advanced, Jay’s techniques will get you producing music at a much higher level.

But let’s keep this very simple…. If you want to produce music, Music Producer Pro will show you how.

They offer a full range of video lessons to suit everyone from the beginner to those looking to refine and broaden their skills, whether you want to play for your own enjoyment or to make a career as a DJ or producer. With Music Producer Pro you will experience a broad range of practical based lessons prepared by experienced and highly skilled masters of beats.

Whether it’s studio recording, concert sound, movie sound, radio or television broadcasting, or working with a record label or artist management, it’s all about music! If you want to work as a music producer, or any other audio career, you will need a cost effective education.

If you have ever asked or tried to learn how to produce music from the traditional music production schools then you will know that it is not cheap. A lot of people interested in music production don’t think about the cost of six months of college lessons. But it adds up to hundreds of dollars. I know a lot of people have joined this site because it offers access to a whole lot of learning material online for a small once-off fee.

I've posted this link www.musicproducerpro.com for every musician/DJ interested in finding out more about online music production tuition, whether you are beginning to learn or simply wanting to expand your musical production skills.

Online music production lessons are very worthwhile, so if you are looking for a music production course then this is definitely worth joining, so check it out here:

http://www.musicproducerpro.com

Enjoy!

Author:
Zack Hager
Article Source: Article-Hut.com- Article Submission Service

Top 10 things to watch for when replicating your CD or DVD

You hear about it all the time. You are throwing your first ever CD release party, at which you’re planning on selling the first available copies of your debut album. You’ve worked for years for this night – your dream is finally coming true. Everything is all set: the venue is booked, the invites have been sent, the dj is ready to go, and the drinks and décor are all exactly how you imagined.

But there’s one problem. Your replicator hasn’t delivered on time, and you’ve just been told that your CD’s won’t arrive until the day after the party.

Believe it or not, this happens more often than you might think! Here are the top ten surefire ways to avoid this and other similar nightmares:

1) Provide the replicator with clean artwork. All replicators’ turn times depend on receiving flawless files. If you have any questions, don’t be afraid to call on customer support for help;

2) Plan ahead of time. Plan for your delivery date to be at least a week before your absolute deadline; this gives you and the replicator enough time to make sure everything goes smoothly;

3) Dealing directly with the manufacturer can reduce the lag time (and often also the price!), versus dealing with a broker;

4) Choose a replicator who is accessible. Are they always there when you need them? Can you trust your project in their hands? Do they care about your project?

5) Test and re-test your master for errors. There’s nothing more time-consuming and frustrating than sending a replicator a faulty master. Always supply a back-up disc;

6) Make sure you own the rights to the content. Replicators are legally obligated to ensure that you are the rightful owner of what’s being replicated;

7) Know exactly what it is that you are paying for before you choose your supplier. Understand the costs and the jargon behind your quotation;

8) Choose a replicator that has a team in place to deal with problems and frustrations as they occur;

9) Choose a replication partner who has interest in growing with you as you grow;

10) Is there a hidden agenda? Is the sales rep more interested in his or her quota than working as your partner?

Choosing the right replicator can make all the difference. Choose smart and let the journey to your success be a whole lot easier!

About Author:
Rashi Singh is with Duplium Corporation, a CD Duplication company based in Dallas and Toronto. Duplium provides top quality CD and DVD Replication, customized printing and packaging, and full-scale fulfillment solutions. Visit www.duplium.com for more information or to receive a quote.

Article Source: http://www.a1-articledirectory.com

How To Get Your Music Professionally Recorded For Free

Generally, the first thing that springs to mind when you need to record a song, is to make inquiries with local recording studios. However, studio charges are generally based on an hourly rate that is often more than your day job pays you.

Once you've saved enough money for this excursion, there are then further worries. Unless you are a regular visitor to recording studios, you may not quite know what to expect. You may not be able to communicate your ideas for your sound clearly to the engineer, who really only understands technical jargon.

As the hours tick by, you will be under the stress of wondering if you'll be able to complete your project before your money runs out. Artists under stress don't generally perform well, but you won't hear this because you'll be out there performing, instead of listening to the performance.

If you have also hired musicians in for the session, you'd also better be a good personnel manager. The longer they have to sit around waiting to be told what to play and how to play it, the more it is going to cost you!

It is in your best interest to use a studio that is the best you can afford. But have you taken the above problems into consideration? Have you planned out your time in the studio in the fullest detail? Do you know enough about the multi-track recording process to know exactly what tracks your song needs? Are you, or your band rehearsed enough to play every track on its own, and in perfect time with all the others in the arrangement? Can your drummer play to a click track? Or do you have detailed drum parts already programmed for your songs? Have you written detailed score sheets for all the session musicians? Do you know what kind of sound they need, and what style to play in? Have you already tried out various mix ideas and sound effects at home, and know how to explain these ideas to the engineer?

If not, you will most likely end up with a recording that isn't quite what you expected. And it will have cost you a small fortune! At best, you will get a good recording that sounds something like you thought it would. But does it sound original to you? Has it captured your unique sound, and conveyed the essence of what you are as an original artist? Does it convey the emotion of the song correctly to the listener?

There is another way to approach the recording process that will solve all the above problems, and could even get you a professional recording for FREE!

All the above jobs are part of the work that is generally done by a PRODUCER.

A producer is someone who has the experience to hear, not just the music, but the essence of what you are as an original artist.

A producer will know instinctively when you have made the perfect take, and will get you onto the next stage of the process without having to waste studio time playing back every take first.

A producer will have your whole sound in glorious 3D in their head before a single note is played.

A producer will have the technical knowledge to know how to translate every part of the process to something the engineer can understand.

A producer has a long list of business contacts who he can call upon at short notice to add whatever is necessary to make the sound you need ... session musicians, arrangers, writers, synth programmers, track editors, equipment rental companies.

Sounds expensive, doesn't it?

Not necessarily!

Although some producers will charge a flat rate for the job of perhaps several thousand pounds (or dollars!). Many work from their own studios, with their own "in-house" session musicians for a royalty plus expenses. Therefore, they become somewhat like a "record company". They will produce a recording for any artist they see potential in, in the hope that their recording will eventually be signed to a major label and make money. Of course, in these instances, you will still have to pay the studio and session musician costs.

Sometimes they will even do the whole job for FREE, or for a minimal flat rate to cover expenses. How can they do this? Well instead of taking a royalty from your advance or sales, they take ownership of the copyright in the sound recording they make. This is fair, because, after all, they put a lot of their own money and special skills into the making of it. So what do you get in return? Of course, you get full use of the recording for your promotional needs!

Furthermore, many producers with their own studios, now also have their own record label. Wobbly Music is one such producer. Whilst you are looking for a recording or publishing deal elsewhere, or whilst promoting your record as an independent artist, your producer will have the right to sell the recording (from which you, as the artist or composer, will be paid royalties) in order to try and recoup their losses or even profit from this mutual deal.

There are now a great number of producers doing deals similar to this. It means you can have a demo made, or release your own recordings for little or no money up front, whilst still retaining the freedom to sign with whoever you wish, or remain as an independent artist. So in effect, you will have a record deal working for you to earn extra royalties in the background, whilst you concentrate on doing what you do best, which is writing and/or performing great songs!

Since this kind of arrangement may not be costing you anything, it is worthwhile trying a few different producers to see whose ideas and style of production gel best with your own view of yourself and your sound.

All producers have their own unique style, just as you, as an original artist, have yours. This "sound" can be heard throughout all their productions with various artists. Look for a style that seems complimentary to your own. In other words, don't use a Hip-hop producer to make your records if you are a Country artist!

Many good producers have a wide range of musical skills, and may also be able to write lyrics, compose melodies, write arrangements, or even play various instruments, such as guitar, piano or drums. All these extra skills could be utilized to give your recordings an extra edge at minimal, or no extra cost.

Finally, now that you are off to find your own producer, here are some things to avoid...

Don't rely on pictures of their studio, and lists of top quality recording equipment to tell you how good they are as a producer. Any piece of specialist equipment can be hired if necessary. A good producer can produce radio-ready recordings on even the most basic equipment, whereas a poor producer, will not achieve such good results on even the best and most expensive equipment.

Don't sign with a producer who doesn't make samples of their previous work available to you. You need to know what experience they have, and get an idea of the audio quality and styles that they can produce.

Don't sign with a producer who comes solely from a DJ background. These producers specialize in remixes of existing records, or "beats". Not in the creation of a new artist's unique sound, or a recording from scratch.

Don't sign with a producer who specializes in a genre of music that is totally different to yours ... Unless you want to change your style to that new genre!

Don't sign with a producer who has no creativity or commercial flair of their own. You don't want a producer who is just going to record everything exactly as you already have it, just to please you. A good producer will see things that you have missed, and will add hooks and sounds to your songs that will attract new listeners, and interest from music industry professionals.

Don't sign with a producer who is asking you to assign publishing rights to your songs. You want to be free to sign your songs to record companies or publishers who may be able to do more for you in the marketing or promotion of them. Once you assign the copyright of your songs to someone, they have exclusive rights to them for the duration of your contract, or even for perpetuity! All a producer needs from you, is your written permission to record your songs, and perhaps sell their recordings or release them on their own label. If so, make sure you get at least the statutory mechanical royalties (currently 6.5%) from these sales!

Don't sign with a producer who only works with one set of musicians. Although many have their own preferred set of "in-house" session musicians, there will be times when your music wont be suited to the way these musicians play. Make sure that your producer has a wide range of musical contacts to draw from.

Don't sign to a producer who promises to make your song into a hit record. Even if the producer has already produced several hits, there is no guarantee that your song will be a hit. Marketing gurus and sales teams make hit records, not artists and producers!

Finally, some producers may ask you to sign an exclusive contract for a certain time period (perhaps 1-5 years). These producers must also be "song-pluggers" or "promoters" who need to protect their interest in you whilst they are working to get you a deal with a major label, using the recordings they have produced. Before signing any exclusive deal, always have the contracts looked over by a lawyer specializing in the music business. Make sure, by examining the production company's track record, that their promise of a major deal looks likely to happen within that time period. You don't want to be wasting five years of your life whilst your best songs are sitting on someone else's shelf, doing nothing!

If you are a Country music writer, you can go to a Nashville demo studio and get amazing sounding recordings using top Country music session musicians. If you are only pitching songs to that specific market, that is great, but every recording they produce sounds like the last.

If, on the other hand, you think your music has wider appeal, or you are a performing artist yourself, you will want to be noticed in the crowd across a wider marketplace. You need to accentuate the part of your sound that is unique to YOU. A good producer will be able to recognize that which is unique to you, and will make sure that your recordings take advantage of that.

About Author:
Lynn Monk has experienced over 30 years in the music business as a musician, concert sound & lighting engineer, DJ and record producer; and is now the proprietor of Wobbly Music. An indie record company dedicated to supporting the "Mature Independent Artist". Lynn can be contacted at lynn at wobblymusic dot net

Find out more about our artist services & recording contracts, at http://www.WobblyMusic.net

Learn all the Internet marketing techniques that will help you to be successful as a recording artist, at http://www.DoThisToWin.com

Learn how to achieve a residual income as an affiliate to support you whilst you are building your music business, at http://www.Music45.com

The Perfect Home Recording Studio

Home computer music recording has become extremely popular, both as a hobby and as a legitimate means of live recording and mixing. For the serious musician or recording technician, the computer/software combination offers ease of use and lower cost, and it requires less space than traditional methods of recording.

Recording can be accomplished by using a "mixing board" to pre-mix multiple signals with their corresponding analog effects (if desired) before sending them to the computer, or each "plain" signal can be recorded independently to its own track through a computer audio interface, software effects applied, and the individual tracks then mixed together.

Using a mixer and analog effects, one could conceivably record without the benefit of multiple tracks, resulting in the need for less expensive, more simplistic software. For much greater control and a more polished sound, a quality multitrack software with effects is preferred.

Although more difficult to learn and use, multitrack software provides many more options for the user. The cost for quality multitrack recording software can range from $40 to several hundred dollars. Don't let the low prices fool you though, many a great recording has been made with shareware recording software.

If you aren't experienced in multitrack recording, purchasing at the low end of the spectrum makes sense. It's best to choose a product that will accept plug-ins, though. Plug-ins are small pieces of software that provide various functions (typically effects) that can be installed into the multitrack software, providing greater flexibility to the sound engineer. Several companies produce audio software plug-ins of the vst or directx variety that will work with even low cost software. A number of the plug-ins are actually offered free of charge.

For the more serious enthusiast, the computer (pc) should contain at least a Pentium 4 or Athlon 64 processor, 200gb, 7200 rpm IDE or Serial ATA hard drive, 1 gigabyte of dram, a good video card, and a high quality sound card. Any on-board video should be disabled in the cmos setup and a quality graphics card with at least 64mb ram installed.

A flat panel monitor with a 19" screen is preferred over a crt. With the large viewing area, the video resolution can be set at 1280 x 1024, enabling more of the audio recording software to be viewed on the screen at one time.

On-board audio (if available) should also be disabled and a high quality sound card installed into the computer. Also, invest in a pair of quality, amplified, near-field monitors. These speakers are designed specifically for music recording. Remember, if you're serious about your recordings, you'll want the music to be reproduced as realistically as possible.

A computer audio interface of some sort is a real necessity. It should have 1/4" inputs for instruments such as electric guitars or keyboards, as well as XLR inputs for microphones. 48v phantom power should be avaiable for condensor mics, as well. A mixer could even be plugged into the audio interface if more flexibility is needed.

More and more, musicians are realizing the high quality and low costs associated with producing their own recordings, while those interested in the technical side of recording can see the increased benefits of digital recording, mixing and mastering.

About The Author:
Steve Leedy is a local government computer IT and webmaster with a keen interest in home music recording. His website, http://www.pcmusicstuff.com/ contains a variety of software and information for anyone interested in learning digital audio recording.

How to Record Your First Demo CD

Recording a first demo CD is a big step in the direction of being a professional musician. It is not every day that an artist steps up and decides to present themselves professionally to the world, which in effect is what a demo CD really is. For an artist, a demo CD is very much like a resume, a portfolio of the highest quality, and a calling card. Getting it right is important, and presenting it well is equally as important.

Recording your first demo CD will take time and money, something that most musicians have precious little, and the steps taken in preparation will enable you to make the most of your time in the studio. When choosing your studio setting, you have two options. You can pay the higher costs (which typically results in higher quality) for the use of a pre-existing high name studio or you can find local garage talent. In many cases, local garage talent will be more patient, will be more willing to offer suggestions and help you through the process, and will charge you less. The quality of the demo will be acceptable, sometimes even very high, if you find the right garage talent. This requires asking around ... a lot ... and listening to some previously recorded demo CDs.

Technology has advanced far enough ahead and has become cost effective enough that many professionals can now build their own recording studios right in their own garage, sound proofed spare room, or somewhere on their property. So can amateurs. This is actually good for the industry and many musicians are even beginning to learn how to build their own recording studios to create their own demo CDs. However, having your own recording equipment and having all the qualities of a good recording studio are two very different animals. You can find affordable, high quality amateur/professional recording without breaking the bank that will be of admirable quality if you look hard enough.

Once you are sure of the direction you want to head and have either found your garage talent or have booked yourself with a professional high end sound studio, the key to your success lies in your talent as well as your preparation. No matter how cool you are, you're going to be stoked and getting your foot in the door is going to feel very powerful to you. You must prepare so that your emotions don't take you out of your element and ruin your time allotted.

Preparation means organization, it means knowing exactly what you're going to do from the moment you step into the sound booth until the moment you step out. Ironically, it also means being a little bit flexible in case there's an issue out of your control that might delay or offset your intentions. Preparation means, aside from the obvious of knowing the music so well you could record it backwards while eating a peanut butter and jelly sandwich, having your equipment tuned, ready, in top working order and being emotionally ready to do what you do best.

If you are using live musicians, each of them needs to meet the same standard of organization that you are aiming to achieve. There is nothing more frustrating than having to wait on, cater to, and continuously replay for the benefit of one musician out of the bunch who can't seem to get his or her goodies in gear. Have a little meeting the night before and go over a written checklist as well as a little "pep" talk to help the musicians around you live up to their potential. Hours will be spent on each individual recording, so you are going to want you and your crew well rested, and relaxed so everyone can do the one thing that will make a higher quality demo CD. Have some fun.

Every musician knows, and this applies to recording your first demo CD, that the instant a musician is wound up, nervous, and focused on everything but the music, something will sound off no matter how well they are able to cover their emotions. There is a fantastic quality that comes through when a musician is relaxed and enjoying him or herself in the process. This is vital to creating the best demo CD possible.

From start to finish, recording your first demo CD should be an experience that you learn from, enjoy, and of course, create the perfect CD for you and your goals. This can be done with preparation, practice, a little guidance from those who "know a great who can help you out," and enough faith in yourself to have fun while performing.

Source: Submit Articles at ArticlesBase.com

About the Author:
Kevin Sinclair is the publisher and editor of musicianhome.com, a site that provides information and articles for musicians at all stages of their development.

Demo Production and Distribution - A Producer Perspective

Here is a checklist that will maximize your chances of getting heard and respect the listener's time.

1. Never send more than three songs unless specifically requested otherwise. Demo listeners like watching the "in" pile diminish and the "out" pile grow as quickly as possible. If the listener has a limited time to listen, which is usually the case, the tendency is to listen to a tape/CD they know they can complete. So if you send a demo with ten songs on it and someone else's demo has one song, you can bet that the "out" pile will grow quickly with one-song demos. There's also the psychology that implies, "I've sent you the song you need!" This is particularly true in pitching songs to producers for a specific artist. Along those same lines, most people resent getting tapes/CDs with 20 songs and a letter that says, "I know you'll like at least one of these, so just pick out what you want." They want you to do that and send them three songs or less. Songs you totally believe in. If you're not far enough along to be able to decide, you're not ready. When sending CDs with more than three songs, highlight three you want the listener to focus on first, and include the numbers of the cuts in your cover letter and lyric sheets (so they have a reference while the CD is on their player and they can't see the label). If they like those, they'll listen to the others. And please, remove the shrink-wrap!

2. Place your best and most commercial song first. If you have a strong up-tempo song it's a good bet to start with that. If they don't like the first one, it may be the only shot you get. If you're sending a cassette, put all the songs on the same side and put the label only on the "play" side.

3. Never send your original master tape or CD. You may never see it again and it's not fair to saddle its recipient with responsibility for it.

4. Always cue your tape to the beginning of the first song. You don't want the person to start listening in a bad mood because you just wasted his time making him rewind your tape. When you make your copies, leave four seconds between songs. Most cassette decks have an automatic search feature, which finds the silence between songs stops the fast-forward and automatically starts playing the next song. Obviously, this isn't a problem with CDs. If your CD contains more than the first four you want heard, clearly mark on the on the CD and printed insert, which ones you want them to hear.

5. Send a lyric sheet neatly typed or printed. Letterhead is impressive. It says "This is my business and I take it seriously." Some don't like to look at lyrics while they listen, but most do. It's a time saver to be able to see it all at once and to see the structure of the song graphically laid out on the page. Lead sheets (with melody and lyric together) are not sent out with demos. They're good to have at the point where a producer wants to record your song and you wanted to be sure he/she has the correct melody, but since the current copyright law permits tapes/CDs to be sent for copyright registration, their importance has diminished. Lead sheets are bulky to mail, it's too difficult to follow the lyric and visualize the song's form, and many industry pros don't read music anyway. It also pegs you as a songwriter over 50 who have no experience in submitting demos since this practice went out of style about 25 years ago. Separate the sections of the songs with a space when you type out your lyric sheet. Label each one (verse, chorus, bridge etc.) at the upper left side of the section. Do not type your lyrics in prose fashion. Lay them out with the rhymes at the ends of the lines so the structure and rhyme schemes of the song can be seen immediately.

6. Make sure there's a copyright notice (© 2003 I.B. Cool, All Rights Reserved) on the bottom of the lyric sheet and on the tape or CD label. Technically, this isn't necessary but it alerts everyone that your song is protected, whether it's registered or not.

7. Cover letters should be short and to the point. Let the music speak for itself and avoid hype. A professional presentation will do more to impress someone than "I know these are hit songs because they're better than anything I've ever heard on the radio," or "I just know that we can both make a lot of money if you'll publish these songs." Avoid the temptation to tell your life story, and don't explain how you have a terminal disease, you're the sole support of your 10 children and if these songs don't get recorded they'll all be homeless or worse. In fact, don't plead, apologize or show any hint of desperation. It only gives the message that you have no confidence in the ability of the songs to stand on their own.

Here's what should be in your cover letter:
a. It should be addressed to a specific person in the company.
b. It should state your purpose in sending the demo. Are you looking for a publisher, a producer, a record deal for you as an artist? Do you want the listener to pay special attention to your production, your singing, your band, or just the song? Is it targeted for a specific artist?
c. List any significant professional credits that apply to the purpose of your submission. If you want your song published, list other published or recorded songs, contests won, etc. If you're a performer submitting an artist demo, resist the temptation to grab at weak credits: "I played at the same club that (famous star) played." Tell them what drives you, what inspires you. Keep it short. List real sales figure. Don't lie.
d. Include any casting ideas you might have if you're pitching to other artists.
e. Ask for feedback if you want it. Odds are you won't get it but give it a shot.
f. List the songs enclosed and writers' names in the order they appear on the tape/CD. (Lyric sheets should also be enclosed in the same order the songs appear on the demo.)
g. Thank them for their time and attention.
h. Include your address, phone number, Web site URL and e-mail address (if you have one).

8. Send a self-addressed stamped envelope (SASE) if you want your tape or CD back. There are two schools of thought about this. On the pro SASE side, if you don't want to lose all those tapes/CDs, you can't expect to get them back without it. There's another school of thought, though, that if you say you want it back, and you’re assuming they won't like it. There's no guarantee that you'll get them back even if you do send a SASE, in which case you're gambling even more money, and worse could happen than your tape or CD sitting around a producer's office.

9. Your name, address and phone number should be on every lyric sheet. It seems like such a common sense request. In fact it would be embarrassing to even suggest that you might forget to do it if I didn't see it happen constantly. The problem on this end is that, between listening sessions at the office, the car, and home, it's so easy to separate the tape from the box or lyric sheet. Once they've gone to the trouble to find your hit song, not finding you are a fate they don't deserve.

10. Be sure you have adequate postage. Also, don't send your tape in an ordinary stationery envelope. It's risky because rough postal handling could force the edge of the tape box through the envelope. Use a special envelope with an insulated lining. Some people also prefer the soft "bubble" tape box because it doesn't have sharp edges and it's lighter to mail. CDs have an obvious advantage in this respect as there are very lightweight sleeves available for them. Jewel boxes are preferred because, hopefully, they can stack it on a shelf and read the label on the edge if they decide to keep it.

The main thing to remember is to make your demo submission as easy as possible to deal with.

Using the Internet:
Your Demo as Audio File
An increasingly popular strategy is sending your demo as an audio file. It's rare these days that a record company, producer or manager doesn't have a high-speed Internet access line. Obviously, many of the above suggestions don't apply to sound files.

Giant Records A&R Executive, Craig Coburn says (footnote: Music Connection Magazine Vol. XXV #1 01/01/01): "In the future, I would love to see people soliciting the record labels — whether it's artists, managers or lawyers - using the Internet. I'd like them to send me a letter asking me to check out their web site rather than sending me the music.

We're not getting that many electronic submissions yet and I'd like to. When I'm talking to people, I encourage them to send MP3's The Quality of MP3 is not exactly up to the quality of a CD, but it's absolutely close enough for an A&R person to hear the music and to know if it's something that excites us or not."

The most popular formats are MP3 and RealAudio. The fidelity is not quite CD quality but still adequate to show them what you do. There are a couple different procedures for this: Send an E-mail with the audio file attached. Follow the suggestions listed above for cover letter. Include phone number(s). Also include your Web site address so they can click it and go directly to it. When they get to your site, they'll hopefully find additional bio material, photos and lyrics. Just send them an e-mail intriguing enough to get them to go to your site and hear your music there.

Indie marketing guru Tim Sweeney suggests that because of the limited amount of time someone may want to spend at any site and the degree of difficulty their online access speeds may present, it's important to help them decide quickly which of your songs may be of most interest to them. You can help by providing a short description like this one provided on the site of Franklin Spicer and Valerie Ford's Pegasus Project, a soft jazz, world music group.

One People
"The first song Franklin ever heard from Val was a reggae tune she had recorded called One People. He really liked the positive message and the infectious chorus. Franklin talked her into doing a rewrite and making it a Pegasus Project tune. They wanted to share a positive message of how we all are part of one global family. This song was shaped from a number of African musical influences, including the Tuku style. The huge chorus backup vocals were done in two days of recording using seven different singers."

Note that the description includes information on the style, what it's about, why it was written and how it was recorded. Their site also includes lyrics to all the songs.

Your demo will introduce you to the eyes and ears of many music industry professionals. Take this introduction very seriously. It's your job interview. It should look good, have something important to say, and say it well, there are a lot of other applicants for the job. The pros are looking for the best. Be it!

http://www.tune97.com/Ask_Producers_Answers/Demo_Recording_Thom_Mcguire.html

Tune97.com---Producer/Singer Matching and Online Singing Contest site

About the author:
By T Mcguire Mcguire
www.mimusicconnection.com

Music Production and Mixing Tips & Tricks

What makes a pro recording pro? What is the "sound" that the pros get and how can you make your recordings sound more professional?

The simple answer is - there's no simple answer. But with careful listening and a little experience you can create excellent results with modest equipment.

Good mixing starts ear

The first and most important item of equipment is - who knows? Anyone? It's your ears! Sorry to tell you this, but listening to ten hours of Rave at 110dB will do nothing for them and you might as well give your mix to a turtle as try to mix with misused ears.

Listen to commercial recordings of mixes you like, analyse them, listen for the effects and get to know what constitutes the sort of sound you're after.

Mixing secrets

There's no hidden secret to getting a good sound, but if we had to sum up the secret of mixing in two words it would be this - EQ and compression. Okay that’s three words.

These are probably the two most important tools used by professional producers. However, like any tools, if you don't know how to use them you'll be carving Habitat tables instead of Chippendale chairs.

That's where your ears and experience come in. Here we have assembled some production ideas, suggestions, tips and tricks but they can only be guidelines and need to be adapted to suit your material. There are no presets you can switch in to make a bad recording sound good. And if your original material has been poorly recorded not even Abbey Road could salvage your mix. But follow these suggestions and see how much your mixes improve.

Get the level right

You can't push the levels when recording digitally as you can when recording to tape but you still want to get as much signal into the system as possible. This means watching the levels very carefully for clipping, and recording at an even and constant level.

Some recording software lets you monitor and set the input level from within. Some expect you to use the soundcard’s mixer while others have no facility for internally adjusting the input level and expect you to set this at source.

Monitors

Your ears are only as good as the monitors they listen to. DO NOT expect to produce a good, pro mix on tiny computer speakers. It may sound fine on a computer system, but try it on a hi fi, in a disco and through a car stereo.

Oddly enough, you don't necessarily need the most expensive Mic. Many top artists use what some might call "average" Mics because they work well and get the job done. You can spend a wad on a large diaphragm capacitor Mic (yes, they're good for vocals) if you have the lolly but check out dynamic Mics which are much more affordable and can be turned to several tasks.

Mixing MIDI and audio

One of the great things about computer-based recording is that the parts can so easily be changed, edited and processed. It's also so easy to combine MIDI and audio tracks and many musicians use a combination of sample loops, MIDI parts and audio recording.

Audio recordings are generally guitar and acoustic instruments such as the sax and vocals. Incidentally, the best way to record guitars is by sticking a Mic in front of its speakers. You can DI them and process them later and this may be cleaner but for a natural guitar sound a Miced amp is hard to beat.

It's not necessary to record drums live and, in fact, it's difficult to do and retain a modern sound. You can buy off-the-shelf MIDI drum riffs and audio drum loops, or program your own. The quality of the gear which makes drum noises these days is such that anyone with a good riff can sound like a pro.

Mixing MIDI

As MIDI and audio parts appear on the same screen in modern sequencers, it's very easy to arrange them into a song. However, when you come to mix everything down there's another consideration. If you are recording to DAT you can simply route the audio and MIDI outputs through a mixer and into the DAT machine.

However, if you want to create a CD you must first convert the MIDI parts to audio data. The entire song can then be mixed to hard disk and burned to CD. Converting MIDI to audio can have another benefit and that's the ability to process the MIDI tracks using digital effects.

Effects

There are three positions for effects known as Master, Send and Insert. Use the Master for effects you want to apply to the entire mix. These will often be EQ, compression and reverb.

Although giving each channel its own Insert effects is kinda neat, each one uses a corresponding amount of CPU power. So if your computer is struggling and if you're using the same effect on more than one channel, make the effect a Send effect and route those channels to it.

Many pieces of software let you apply an effect Pre or Post fader. With Post fader, the amount of sound sent to the effect is controlled by the fader. With Pre fader, the total volume level of the signal is sent. Post fader is the usual default and the one you'll use the most.

EQ

EQ is the most popular and the most over-used effect. Yes, it can be used to try to "fix a mix" but you can't make a silk purse out of a sow's ear as me Gran used to say and what she didn't know about mixing could be written in the margin of the book of honest politicians.

But before you start messing with EQ - or any other effect for that matter - make sure you have a decent set of speakers. Have we said that already? Oh, must be important, then.

There are plug-in effects such as MaxxBass which can psychoacoustically enhance the bass frequencies to make it sound better on smaller speakers. However, this is by no means the same as getting a good bass sound in the first place by observing good recording principles.

EQ can enhance a mix to add gloss, fairy dust, shimmer, sheen, a sweetener or whatever you want to call it to the final production. It can be done with enhancers and spectralisers, too, although these tend to mess with the harmonics which some producers don't like. However, don't dismiss them out of hand.

General EQ lore says that you should cut rather than boost. If a sound is top-heavy, the temptation is to boost the mid and bass ranges. But then what usually happens is you start boosting the upper range to compensate and you simply end up boosting everything and you're back where you started - only louder!

The reason why cutting is preferred is that boosting also boosts the noise in the signal which is not what you want. Try it. Boost every frequency and listen to the result. If you think it sounds okay, fine. What do we know?

But when you're fiddling, do keep an eye on the output meter. Boosting EQ inevitably means increasing the gain and it's so-o-o-o easy to clip the output causing distortion which does not sound good.

Finally, check EQ changes to single tracks while playing back the entire piece. In other words, listen to the tracks in context with all the other tracks. It may sound fine in isolation but some frequencies may overlap onto other tracks making the piece frequency rich in some places and frequency poor in others.

Reverb

Reverb creates space. It gives the impression that a sound was recorded in a hall or canyon instead of the broom cupboard. Recording lore suggests that you record everything dry, with no reverb, so you can experiment with a choice later on. You can't un-reverb a track once it's been recorded.

The more reverb you apply, the further away sound will seem. To make a vocal up-front, use only enough reverb to take away the dryness. Vocals don't want to be mushy (lyrics can be mushy) so use a bright reverb.

A common novice error is to swamp everything with different types of reverb. Don't - it sounds horrible!

Mixing down

You've done all the recordings, done the edits, applied the effects and now it's time to mix everything into a Big Number One Hit! Before you do, go home and have a good night's sleep. Have two. In fact, sleep for a week.

Yes, we know you're hot and raring to go but your ears are tired. They're falling asleep. Listen carefully and you might hear then snore!

There is a phenomenon known as ear fatigue and consistent exposure to sound, especially the same frequencies, makes our ears less responsive to them. Goes back to the bit about spending your life in a Rave club - you'll never be a master producer. If you try to mix after spending a day arranging, your ears will not be as responsive, so do them and your mix a favour by waiting at least a day.

Now, go forth and mix! And don’t forget - you get better with practice. For more information about mixing, pick up a FREE copy of Creating The Perfect Mix at www.making-music.com.

About The Author
Ian Waugh is one of the UK's leading hi tech music writers and creator of www.making-music.com. He has written for most of the major - and not so major - hi tech music magazines in the UK and many general computing titles both offline and online.

His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.

Professional Studio Tips: Laying Down Studio Tracks Like a Pro

Today I would like to talk about a very powerful studio tracking technique, that isn’t well known, but if properly executed, will make you sound as tight as if the band was playing together.

What I am referring to is a guide track. A guide track can be thought of as the template of the song. Usually it is performed by the rhythm guitar—sometimes the keyboards, and all subsequent tracks follow this musical tour guide. The vocals should be on the guide track as well.

The easiest way to begin a guide track is simply to play and sing along using a single microphone. If you only have a few tracks (4 to 8) always leave your guide track as your last track. There are a few things that should be noted about the guide track. First you should always start the guide track with a count. Even if a single instrument will begin the song in production. A count gives all musicians that are waiting for their point to begin the starting gun for the song.

The guide track can be quickly laid down. There is no need to reach for sonic perfection on this track since it will eventually be deleted. It’s more important that the track keep the rhythm, tempo, and dynamics of the song on task. If you drift tempo on the guide track, all subsequent tracks will follow suit.

The guide track gives you the unique ability to give direction to the players waiting down the line. For example if there is a pause, or a blank spot in the song, COUNT aloud until the music starts. All players in the queue will hit that re-start point with ease and precision. You can also give verbal directions such as “play more dynamically here”, “the song slows down here”, or “there is a key change coming up”. Also if the guide track is played and sung with feeling, the future players will respond to that as well.

Once the guide track is done, begin laying the foundations of the music—that is the rhythm, bass, and drums. All other instruments, vocals, and “sweetening” sits on top of this foundation. When the foundation is complete, begin your overdubs. This will be solos, musical hooks, and sounds that will give the song interest.

Record your vocals last. At this point, it is a matter of personal preference if you want to take down the guide track to record your vocals. Some singers do not want the distraction of the chatter that sometimes goes with a guide track. Other times the count will still be necessary because the vocals begin with or before the music.

A good guide track gives everyone who follows a well-lit pathway. It cues and gives direction, it establishes the tempo, and the attitude of the song. When you are riding atop a guide track, it is easy to hang onto the handles.

Gary "g-man" Wesselhoff is an acoustic blues writer/performer working the Chicago Metro area. You can contact him at: gman@gmanblues.com

Please Visit his site: http://www.gmanblues.com

The Role Of CD Mastering Engineers

If a recording artist has any hopes of their songs being played on the radio, it is vital that their rough mix is mastered well. Often the best way to do this is to hire a CD mastering engineer. Professional CD mastering engineers can make a decent mix sound good and a good mix sound amazing. There are several things that CD mastering engineers do. Engineers work with the artist to decide what order the songs will appear on the CD, and they equalize the volume of the different instruments in each song and across the whole CD. CD mastering engineers can also add more definition and clarity to the instruments on a song. They then adjust the intros and ends of songs, choosing length of time between songs and adding crossfades or other effects if need be.

The order in which songs appear on a CD can greatly affect the way the CD progresses when played. If similar sounding songs are placed consecutively on a CD it can suggest shortcomings in the songwriting or make listeners believe the artist has a limited range. Also, some CDs can tell a narrative if sequenced correctly. Ultimately, it is up to the CD mastering engineers to work with the recording artists and choose the song order on the CD.

It is important that the instruments within a song and the songs on the CD are at an appropriate volume level. Within a particular song, the different elements must be mixed appropriately in order for the song to sound good. The mastering engineer can give clarity and definition to the different instruments in a song. The engineer also has the task of assuring that volume levels across all of the songs are similar, to help the CD sound more cohesive while still leaving room for dynamics.

CD mastering engineers also determine how much time there should be between songs on the CD. They fade and crossfade the intros and endings of songs to make them flow better.

CD mastering engineers have the task of making a rough mix of a CD ready for public consumption by adjusting audio levels and pacing the tracks in a way that brings out the best in the material.


About the Author:
by Thomas Morva
CD Mastering provides detailed information on CD mastering engineers, facilities, and software, as well as online and free CD mastering. For more information go to http://www.e-cdmastering.com and/or visit our affiliate site at http://www.original-content.net.

Add Zing To Your Music At Recording Studios

Music - often called the soul of life and gateway to eternal bliss, is transformed completely with all that high-tech, well-equipped and hip recording studio, giving a new meaning to the whole concept of good music. The beautiful and catchy numbers we love and appreciate today are a result of endless and painstaking efforts in these studios and are well supported by the most modern and ultra tech recording studio equipment. It also adds that extra zing and pep to the simple songs and mundane music. So those who are initiated into music and want to make a beginning, it is a good idea to straight away make a booking in a recording studio. You can make the best use of all the studio equipment lying there to give your voice and music that extra vim and verve and make it sound more professional. Remember, even the most professional singers make use of these equipments to add support to their velvety voice and if you are just a kid of the block, it is all the more important for you to make best use of the services offered by recording studios.

Whether you are planning to cut your private album, create a profile for work or simply want to indulge in a hobby, recording studios will come to your rescue. With their services, even ordinary bathroom singers would sound like stars and stars, well, like super stars. Of course you need to have that basic thing called talent to survive and grow in this highly competitive field, but what a recording studio can do for you is to add quality, depth and balance to your voice. A variety of recording studio equipment plays its part in this. This studio equipment is mainly used for making, recording and mixing music in an ambient and classy manner.

The basic recording equipments include consoles, which may be solid state logic or newer mixing ones, multi tracks, monitors, hard disks system, patch-bays, cables and accessories, adapters and speakers, lighting equipments, synthesizers and samplers all working in tandem to make your voice crispier and sexier. Most modern studios are equipped with this equipment. As costs of recording and cutting a CD for private album are plummeting nowadays, you too can join the party at a very nominal cost.

The other alternative for you is to convert your pad into a home recording studio if you are more serious and want to have more than just a little fun. Of course there are some basic tidbits you need to remember while making a dream studio at home.

First and foremost, you need to plan and budget your expenditure well in advance as choices are plenty, and options unlimited. Decide whether you want to go for new equipment or a pre-owned one, which are also available at reasonable costs.

Some of the basic requirements of home recording studios are keyboards, synthesizers, patch-bays, adapters, at least 2 sets of speakers, computer monitors, mikes and lighting equipments. It is a good idea to make sure that you have your music keyboard and computer key board near each other to have perfect harmony. You also need to put in place a bass trap and sound absorbers to diffuse the irritating and uneven bass frequencies and to add to the acoustics of your studio.

Remember- what a recording studio can do is to package and polish and shape and sharpen your voice and make you more confident and comfortable with your singing abilities. So don’t worry about the audience reaction any more – go ahead and Sing!

By Sarika Kabra
The author loves music. Learn about the free music software available today. You can learn new music terms here. Here is some valuable information on music production software.