Preamp Microphone
Preamp Microphone
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 Telefunken V72 V 72 Siemens Preamp PowerXLRs ready PERFECT WORKING  US $1,295.00
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 MXL 990s Condenser Cable Professional Microphone US $86.95
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 PreSonus ADL 600 Dual Channel Mic Preamp ADL600 US $1,850.00
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 Universal Audio SOLO 610 TUBE Microphone Preamplifier warm vintage tone US $500.00
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 Samson C01U USB Studio Condenser Microphone US $18.50
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 YPA A65P In Line Microphone Preamplifier for SHURE MIC Pre for Beta Series US $39.95
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 DOD VoTec Vocal Multi Effects Processor Microphone Pre Amp US $52.00
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 MXL 990 Condenser Cable Professional Microphone US $54.99
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 ART DPS II Preamp System with Dual Tube Mic Preamps US $130.00
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 MXL USB006 Condenser Cable Professional Microphone US $22.80
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 Beyerdynamic drums microphones 3x Opus 88 TG D58c 1x Opus 99 TG D70d US $310.00
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 NEW YPA M613 XLR Cardioid Instrument drum Condenser Mic US $99.95
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 Rolls Microphone Preamp Mic Power I 1 48 Volt Phantom Power Supply PB23 US $38.99
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 YPA MM3 HEADWORN MIC FOR SENNHEISER RADIO MICROPHONES US $34.99
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 Earthworks TC30K Professional Microphone Earthworks LAB 101 Preamp US $1,000.00
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 ART TPS ii Mic Tube Pre Amp US $95.00
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 MXL 990 Condenser Professional Microphone NEW US $75.00
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 ART TUBE MP PROJECT SERIES INSTRUMENT MICROPHONE PREAMP MIC PREAMPLIFIER US $59.99
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 MXL V67 US $130.00
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 NEW AKG PERCEPTION 220 PROFESSIONAL CONDENSER MIC 4834 US $169.99
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 SM Pro Audio PR8E Multichannel Microphone Preamplifier US $150.00
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 MXL 990 USB CONDENSER MIC NR 14 DAY RETURN US $109.00
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 Symetrix 528E Voice Processor Compressor Limiter Pre Amp US $215.00
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 AUDIO TECHNICA OMNIDIRECTIONAL MICROPHONE AT865 VM 50 units available US $13.95
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 Behringer MIC200 TUBE ULTRAGAIN Tube Preamp w Modeling US $45.00
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 Elation KM 202 1 km 202 true condenser mic MDC Bass drums Kick mic US $669.00
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 Elation KM 201 km201 true condenser mic SDC new cheap US $669.00
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 Elation KM 901 km901 KM 901 true condenser mic LDC made in Russia mic NICE US $1,199.00
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 Nady Audio TMP 1 Tube Mic Preamp US $48.99
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 Shure WL93 Omnidirectional Condenser Miniature Lavalier Microphone Black US $69.99
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 Shure KSM137 SL Cardioid Studio Condenser Microphone Champagne US $229.99
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 YPA A65P In Line Microphone Preamplifier for SHURE BETA US $34.99
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 YPA M606 Condenser Vocal Instrument Microphone 2pcs NEW US $49.99
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 Art Tube MP Project Series Tube Preamp US $20.50
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 Art Studio MP Microphone Preamp Preamplifier for Ham Radio Microphone US $15.00
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 PRESONUS BLUE TUBE DP 2 CHANNEL MICROPHONE INSTRUMENT TUBE PREAMPLIFIER US $81.00
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 Brent Averill 1272 Mic Preamps 2 channels with DI US $1,365.00
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 Universal Audio 2 610 mic pre amp US $1,300.00
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 True Audio 8 Channel Mic Pre Amp US $521.00
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 Realistic Pressure Zone Microphones PZM US $12.50
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 Universal Audio Solo 610 Pre Amp Near Mint Excellent with packaging US $699.00
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 TC Helicon Voicetone Correct Pedal US $130.00
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 Focusrite ISA 220 Session Pack Mic Preamp US $1,200.00
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 Groovetube GT55 Pro Studio Condensor Microphone US $350.00
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 Rode D Power Plug A Turbo Charger for Dynamic Microphones barely used A pair US $149.99
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 Shure EZB O Easyflex Series Omnidirectional Boundary Microphone US $49.00
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 MXL 550 551 Condenser Cable Microphone US $100.00
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 Audix MicroBoom MB5050 HC 50 Small Hypercardioid Mic US $179.00
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 Oktava MK 219 Large Diaphram Condenser Mic US $78.00
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 Universal Audio 610 Solo US $850.00
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Avalon V5 Microphone Preamp $1080 The Avalon V5 follows the tradition of the U5 DI box, which has been in continuous production since 1995 and is used by leading music professionals in both studio and live sound reinforcement applications.The Avalon V5 introduces a new generation of this tried and true idea, loaded with professional features including a low noise, high-gain, Pure Class A, microphone preamplifier, and a 10 mega ohm instrument DI input with zero impedance loading and a +36dB maximum input capability for active preamp-line sources like acoustic and electric guitars, bass, keyboards and synthesizers.A transformer-isolated reamping output offers multiple input-output configurations with all inputs available, including polarity reverse. Sealed silver relays provide transparent signal path routing while custom, ultra-high performance rotary switches deliver smooth gain control in accurate 2dB steps.A unique passive tone selector allows ten contours (six from the U5 tone bank) including two passive high pass filters and two vocal-instrument enhanced passive air-lift low frequency curves.Additional features include a passive low pass hiss & buzz filter, a wide range, professional analog VU meter with expanded scale -30dB to +18dB with twin peak LEDs for fast signal capture.The Avalon V5 has a truly unique feature set utilizing 100% discrete, DC coupled, Pure Class A amplifiers for Deep and Controlled Bass together with a Musical Midrange for enhanced Vocal and Instrument resolution. With reamping options, the passive TONESHAPING network and multiple output choices the Avalon V5 will continues Avalons passion and commitment to sonic excellence.Pure Class A, 100% discrete designSmooth musical detail and sonic excellenceVariable gain preamp to +30dB.Dual microphone and line outputsHi-Z 3,000,000 ohm input impedanceVery low noise -100dBHigh headroom +30dBSix tone bank selections.DC coupled Class A output for superior bassHigh cut switch eliminates noiseLED active signal indicatorHeadphone monitor output jackLow distortion less than 0.5% THD and IMDHigh level 400 watt speaker inputActive to thru selector - ground isolation switch100% discrete power supplies for audio pathInternal toroidal power supply for low noiseLong lasting, stainless steel hardware |
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Blue ROBBIE Tube Microphone Preamp $799 Elegance and simplicity are the driving forces behind Blue's design philosophy, and the ROBBIE tube premap is no exception. This Class-A discrete tube microphone and instrument preamp features the same technical build quality and commitment to excellence for which Blue is known. Yields excellent detail with extremely low noise and ultrahigh gain. The warm, robust tube gain stage is the perfect enhancement for condenser microphones. Frequency response is 10Hz to 100kHz, ±2dB. |
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Blue Robbie Tube Microphone Preamp $799 Elegance and simplicity are the driving forces behind Blue's design philosophy, and the ROBBIE tube premap is no exception. This Class-A discrete tube microphone and instrument preamp features the same technical build quality and commitment to excellence for which Blue is known. Yields excellent detail with extremely low noise and ultrahigh gain. The warm, robust tube gain stage is the perfect enhancement for condenser microphones. Frequency response is 10Hz to 100kHz, 2dB. Class-A single-channel discrete tube microphone and instrument preamplifierDiscrete, balanced components from input to outputSimple designFront panel features a large backlit gain knob and Hi-Z 1/4" instrument input Inputs: one XLR microphone, one 1/4" TS phone instrumentOutput: one XLR linePhantom power |
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Nady DMP-2 Dual Microphone Preamp $69.99 The Nady DMP-2 dual channel mic preamp works with any professional microphone and provides ultralow noise, superb transient response and transparent, distortion-free performance that is substantially better than that of stock console preamps. Includes XLR I/O jacks, Power OFF/ON/+48V Phantom Power 3-way switch, selectable integrated limiter, dual Gain controls, Power ON and dual Peak LED indicators. Rugged, lightweight, all-metal enclosure designed for maximum long life and optimum portability. Powered by 9V alkaline or NiMH battery. |
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Used Presonus Tubepre Microphone Preamp $71.89 The PreSonus TubePRE Microphone Preamp lets you add character to your signal by varying the amount of gain and tube drive. A 12AX7 tube in this single-channel mic preamp fattens your signal while dual-servo gain stages let you simultaneously output to your amp and console. Sterling specs include 10Hz-80kHz frequency response, a 94dB noise floor, and >90dB S/N ratio. Capacitor-free circuitry and wide dynamic control give you a big boost without noise. Includes 48V phantom power, phase reverse, 20dB pad, and 80Hz rumble filter. A large VU meter with a cool blue backlight keeps you informed. Balanced/unbalanced and XLR I/O give the PreSonus TubePRE flexibility. Great as a studio direct box.12AX7 and dual-servo gain stagesCapacitor-free gain stage for maximum fidelity and low noiseXLR mic and high-Z instrument inputs on back panelXLR (balanced) and 1/4" (unbalanced) outputs on back panelSupports dual output of signal10Hz-80kHz frequency response>90dB S/N ratio94dB noise floorVariable gain and tube driveGain: 3dB to +48dBTube drive: 0dB to +20dB48V phantom power-20dB pad and polarity reverse80Hz rumble filterLarge VU meter with blue backlightExternal wallmount power transformerRackmountable with optional adapter |
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Applied Microphone Technology Z1 Clip On Condenser Flute Microphone with Preamp - Regular $569 The AMT Z1 is a hardwired single microphone made for flute. The Z1 mic is the perfect choice from soft to louder playing applications. It can be used for featured soloist to miking a section of flutes. The AMT Z1 single microphone gets the most gain before feedback. The system comes with the microphone, special low mass flute clamp and preamp. The preamp uses the chip technology which contours the microphone for the most natural reproduction of sound possible. Perfect for all situations.Requires phantom power. |
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Nady Dmp-2 Dual Microphone Preamp $69.99 The Nady DMP-2 dual channel mic preamp works with any professional microphone and provides ultralow noise, superb transient response and transparent, distortion-free performance that is substantially better than that of stock console preamps. Includes XLR I/O jacks, Power OFF/ON/+48V Phantom Power 3-way switch, selectable integrated limiter, dual Gain controls, Power ON and dual Peak LED indicators. Rugged, lightweight, all-metal enclosure designed for maximum long life and optimum portability. Powered by 9V alkaline or NiMH battery. Ultra low-noise performance XLR I/O jacks, +48V phantom power 3-way switch Selectable integrated limiter Dual Gain controls Power ON and dual Peak LED indicators 9V alkaline or NiMH battery powered |
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Grace Design M201 Microphone Preamp $2375 The Grace Design m201 Microphone Preamp delivers unmatched audio performance, with massive headroom, ultra-wide bandwidth and a very open, musical character. The signal path has been hot-rodded to be fully balanced from start to finish, resulting in a wider dynamic range, while high-current output drivers enable even longer cable runs without signal loss. The rackmountable m201 mic preamp translates a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.A ribbon mic mode is now included, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. Each channel has an 'input mode' rotary switch which selects between a standard 48V phantom input, ribbon mic mode, a front panel DI input or optional DPA high voltage inputs (130V or 190V). Included is a M + S (mid side) decoder circuitry with a built-in width control. The front panel width control is wired with a precision 12 position rotary switch which provides a range from 100% mid (mono) to 30% mid / 70% side. The ultra-precision summing and difference amplifiers feed a set of dedicated outputs, which allows simultaneous recording of discrete mid and side signals as well as the stereo matrix.The front panel mounted HI-Z inputs are designed to accommodate a wide variety of high impedance input sources, making the m201 preamplifier an excellent choice as a DI box which will flawlessly preserve the sound of any plugged-in instrument. Imagine the same resolution and detail as Grace Design microphone preamplifiers available for DI recording situations. Additionally, Grace Design will be offering the m201 with a state-of-the-art 24-bit/192kHz A/D converter option (retrofitable), rounding the m201 off as the ultimate transparent input solution for any recording facility.(Sold separately)Redesigned, fully balanced, transformerless designDual parallel XLR outputs for each channelRibbon mic modeFront panel DI / instrument inputsDPA microphones 130V (190V) phantom power optionBuilt in M+S decoder with dedicated outputs and front panel width controlOptional reference quality 24-bit/192 kHz A/D converter section available late 2007Precision 24 position gold contact rotary switch gain controlsHigher current outputs drive even longer cable runsNo electrolytic capacitors in the signal pathSealed gold contact relays for all signal switchingLarge two color, bi-phase LED peak indicatorRegulated linear power supply with custom wound toroidal transformerHighest quality components used throughoutFive year warranty on parts and labor |
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Grace Design M101 Microphone Preamp $685 In 2000, the Grace Design model 101 microphone preamp helped fuel a revolution. When people took professional recording into their own hands, it was there with all of the quality and performance of a high-end mic preamplifier, but with a price that made it available to the masses. Eight years later, and the cause moves forward with the newly redesigned m101 preamp.Maintaining Grace Design pedigree throughout, the m101 employs balanced, transformerless, transimpedance circuit topology. With incredible bandwidth and headroom, the m101 is natural, musical and detailed, allowing engineers and musicians to consistently record vibrant, amazing tracks.The m101 is equipped with a redesigned universal switching power supply that's dead quiet and accepts input voltages from 100 to 240V AC. The front panel is a tough black anodized/laser etched black, which ensures legibility and usability in varying light conditions. And all preamp functions have a dedicated indicator LED, including the 48V phantom power and HPF switch.Built in as standard is Grace's unique Ribbon Mic Mode, which bypasses the input decoupling capacitors, raises the input impedance from 8.1k to 20k, and defeats the 48V phantom power, preventing damage to delicate ribbon mic elements. Ribbon mics, you're welcome.The gain range is 10-75dB, including the additional +10dB of gain available with the output trim control. This provides ample gain for use of any type of microphone in any recording situation. The gain control is a precision gold-plated, 12-position switch, and the circuit path is built with 0.5% metal film resistors.Included is a HI-Z input on the front panel. Rear panel I/O options include both balanced TRS and unbalanced TS 1/4" outputs, along with the standard XLR balanced out and XLR microphone in.Equally at home amplifying a vintage condenser mic or a plugged-in acoustic guitar, the m101 delivers the kind of high fidelity performance previously available only to big budget recording studios and Grammy winning musicians. Add it all up while considering that the price is unmatched and the picture becomes pretty clear the m101 is one little hot rod piece of pro audio gear for everyone from home recording enthusiast to top professional.Note: For a truly outstanding sound and value, we suggest using the Grace m1011 with the CAD e300 condenser mic (see (#271261) for amazingly clear and detailed, yet warm-sounding vocals.Fast and musical transimpedance architectureUpdated audio path with 0.5% precision metal film resistorsNew 12 position gold-plated rotary gain switchHigh performance output line driver amplifier and HPF amplifierRibbon mic mode (also great for dynamic mics)- Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockoutWider 10-75dB gain rangeEnhanced RFI interference suppressionThree output connectors: XLR balanced, TRS balanced and 1/4" unbalancedBombproof laser-etched black anodized front panelSealed gold contact relay for Hi-Z i |
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Applied Microphone Technology Z1 Clip On Condenser Flute Microphone With Preamp - Regular $569 The AMT Z1 is a hardwired single microphone made for flute. The Z1 mic is the perfect choice from soft to louder playing applications. It can be used for featured soloist to miking a section of flutes. The AMT Z1 single microphone gets the most gain before feedback. The system comes with the microphone, special low mass flute clamp and preamp. The preamp uses the chip technology which contours the microphone for the most natural reproduction of sound possible. Perfect for all situations.Requires phantom power.AMT Z1 MicrophoneBelt-pack Preamp1/4 to XLR CableHard shell Blo-mold protective case |
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Shadow SH EC22 Preamp with Undersaddle Pickup and Microphone $215.2 The Shadow SH EC22 Preamp is designed for sonic clarity, ease of installation and preservation of your acoustic guitar. The Shadow Preamp only touches your guitar in two spots: the rubber coated clip which slides over the edge of the sound hole and a Velcro pad under the soundboard. |
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Electro-Harmonix 12AY7 Tube Microphone Preamp 886830181436 $146.03 With the Electro-Harmonix 12AY7 Tube Microphone Preamp, Electro-Harmonix offers an affordable tube micrphone preamp that won't disappoint. Equipped with a 12AY7 EH tube and a 12AU7 EH driver, it gives microphones the widest dynamic range with the warmest possible tone and accuracy. The 12AY7 Mic Pre uses an actual 200V supply instead of the "faked out" 12 or 48 volts you'd get with common models and delivers 50dB of gain into a high impedance load or 40dB gain into 600 ohms. The 12AY7 Mic Preamp's special FET current-balancing circuit allows the tubes to amplify the microphone signal to line level while eliminating noise and protecting against hum and hostile electrical environments. It has an extra TRS output for separate line control, which can be used as a splitter or an aux send for monitoring. Input connections are balanced in and out (XLR) with a 1/4" TRS balanced buffer out. The Electro-Harmonix mic pre unit also boasts a phase reverse switch and a +4dBm indicator light for setting optimal mic level. The 48V phantom power is soft starting and pop-free. |
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Electro-Harmonix 12AY7 Tube Microphone Preamp 889406756632 $97.35 With the Electro-Harmonix 12AY7 Tube Microphone Preamp, Electro-Harmonix offers an affordable tube micrphone preamp that won't disappoint. Equipped with a 12AY7 EH tube and a 12AU7 EH driver, it gives microphones the widest dynamic range with the warmest possible tone and accuracy. The 12AY7 Mic Pre uses an actual 200V supply instead of the "faked out" 12 or 48 volts you'd get with common models and delivers 50dB of gain into a high impedance load or 40dB gain into 600 ohms. The 12AY7 Mic Preamp's special FET current-balancing circuit allows the tubes to amplify the microphone signal to line level while eliminating noise and protecting against hum and hostile electrical environments. It has an extra TRS output for separate line control, which can be used as a splitter or an aux send for monitoring. Input connections are balanced in and out (XLR) with a 1/4" TRS balanced buffer out. The Electro-Harmonix mic pre unit also boasts a phase reverse switch and a +4dBm indicator light for setting optimal mic level. The 48V phantom power is soft starting and pop-free. |
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Electro-Harmonix 12AY7 Tube Microphone Preamp $194.7 With the Electro-Harmonix 12AY7 Tube Microphone Preamp, Electro-Harmonix offers an affordable tube micrphone preamp that won't disappoint. Equipped with a 12AY7 EH tube and a 12AU7 EH driver, it gives microphones the widest dynamic range with the warmest possible tone and accuracy. The 12AY7 Mic Pre uses an actual 200V supply instead of the "faked out" 12 or 48 volts you'd get with common models and delivers 50dB of gain into a high impedance load or 40dB gain into 600 ohms. The 12AY7 Mic Preamp's special FET current-balancing circuit allows the tubes to amplify the microphone signal to line level while eliminating noise and protecting against hum and hostile electrical environments. It has an extra TRS output for separate line control, which can be used as a splitter or an aux send for monitoring. Input connections are balanced in and out (XLR) with a 1/4" TRS balanced buffer out. The Electro-Harmonix mic pre unit also boasts a phase reverse switch and a +4dBm indicator light for setting optimal mic level. The 48V phantom power is soft starting and pop-free. |
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Blue Microphones Icicle XLR to USB Mic Converter/Mic Preamp List Price: $59.00 Sale Price: Too low to display Used From: $47.89  |
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The Icicle is Blue's new stylish USB converter and mic preamp combo that allows you to connect any XLR microphone directly into your computer via USB. The Icicle features a studio quality microphone preamp, 48V phantom power, fully balanced low noise front end, analog gain control, and driverless operation... |
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VideoSecu High Sensitive Preamp Microphone Kit for Security Audio Sound Voice Monitoring Recording Free 50 Feet Cable, Power Supply and Warning Decal WE6 List Price: $79.00 Sale Price: $24.99 |
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Collect audio evidence as important as capturing video evidence, this preamp microphone kit is a perfect addition to any video security camera system. This high gain mini preamp and microphone is the best for CCTV professionals, with Preamplifier IC built on board, it increase a microphone's low output voltage to a stronger, more usable level, it features low noise, high gain and auto level adjustment on-board preamp circuit... |
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ART Tube MP Studio V3 Microphone Preamp and Limiter with Presets List Price: $119.00 Sale Price: $69.95 Used From: $64.99 |
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The Tube MP Studio V3 features ART's V3 (variable Valve Voicing) technology - found only in ART microphone preamplification systems. Provides superior preamplification for microphones, instruments, and line level sources... |
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VideoSecu High Sensitive Preamp Mini Microphone with Power Bypass for Security Audio Sound Voice Monitoring Recording and Free Warning Decal WD4 List Price: $29.99 Sale Price: $11.99 |
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This high gain mini preamp microphone is the best for CCTV professionals. Line level out put: 6-15 VDC. Power in and Power out design allows the microphone to share the same power source with the camera... |
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DMP-2 Dual Microphone Pre-amp List Price: $89.99 Sale Price: $53.75 Used From: $45.01 |
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Excellent stereo imaging, ultra low noise, distortion-free soundRugged lightweight all-metal enclosure Powered by 9V alkaline or NiMH batteryPower On and dual peak LED indicatorsIncludes XLR I/O jacks, phantom power 3-way switch, selectable integrated limiter and dual gain controls. |
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MXL MICMATEC XLR To USB Preamp for Condenser Microphones List Price: $79.95 Sale Price: Too low to display Used From: $24.00 |
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This pocket-sized device features a 16-bit Delta Sigma A/D converter with a sampling rate of 44.1 and 48.0 kHz. The Mic Mate™ also provides 48V Phantom power to condenser mics directly from your computer's USB port. |
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ART Tube MP Project Series Microphone Preamp List Price: $89.00 Sale Price: $56.99 Used From: $45.44 |
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The Tube MP Project Series is a professional quality audio interface that lets you connect microphone, instrument, and line level signals to a mixer or other audio input. This hybrid design is the latest in a long line of ART tube preamps... |
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VideoSecu High Sensitive Pre-amp Microphone for CCTV Security Camera Surveillance System Audio Sound Monitoring with Free Warning Decal A90 List Price: $39.99 Sale Price: $9.99 |
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Collect audio evidence as important as capturing video evidence, this preamp microphone is a perfect addition to any video security camera system. This high sensitive mini preamp microphone is the best for CCTV professionals, with Preamplifier IC built on board, it increases a microphone's low output voltage to a stronger, more usable level, and it features low noise, high sensitive and auto level adjustment on-board preamp circuit. |
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ART Tube MP USB Project Series Tube Microphone Preamp With USB List Price: $129.00 Sale Price: $83.99 Used From: $74.95 |
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The Tube MP Project Series is a professional quality audio interface that lets you connect microphone, instrument, and line level signals to audio inputs to digital audio workstations as well as standard analog devices... |
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ART Tube MP Studio Mic Preamp List Price: $86.00 Sale Price: $29.99 Used From: $29.00 |
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The original Tube MP made pro-caliber tube preamping available to ordinary musicians and home studios. The MP Studio goes a step further by adding a VU meter for better level control and ART's OPL (Output Protection Limiter), which controls and maintains the output peak signal to protect hard-disk recording systems and soundcards... |
The Four Principles of Recording Music
The Four Principles of Recording Music
by Clay Butler
The recording industry is a very dynamic and ever-changing realm. In today’s fast-paced culture, which is so focused on the “flavor of the week”, it is often difficult (if not impossible) to maintain a grasp on the fluctuations of the music market and the recording industry. While styles, trends, equipment, and even techniques may vary drastically, there are certain principles that remain constant when producing a quality recording.
Know Your Environment
When producing a quality recording, you must be aware of your environment at every stage of the process. Do you understand the acoustics of the recording space? Are you comfortable with the equipment? Are you familiar with the style of music you are trying to record? These are all important questions you must ask yourself before, and during, your project. It is very easy to lose focus, especially during a high-pressure, fast-paced recording session. These questions will not only help you decide how to approach your project, but they will also help keep you on task. When producing your own music, deadlines may not be an issue. However, when you are engineering or producing someone else’s music, the old familiar adage still holds true: time is money. This is especially true if you are renting studio time.
Understanding the acoustics of your recording space is critical to the quality of your recording. A bad room can produce an ugly sound. Conversely, even a good sounding, well treated room can yield unsavory results when combined with improper placement of microphones or the performer(s). The key is in understanding basic acoustic principles in order to correct acoustic problems or to be able to work around the inadequacies of the room. Then, you can maximize the overall quality of your tracks. You can even use an ugly sounding room creatively to produce some interesting natural effects.
Being comfortable with your equipment is equally as important to any project. Recording sessions are not the time to introduce yourself to new equipment. If you know you can get a good sound while using as little gear as possible, by all means, do it! Resist the urge of using that cool new piece of gear just because you have it, especially when you are not familiar with it yet. If you are recording your own music with no time or budgetary constraints, only then do I advise experimenting with new gear. However, on a paid session, save experimentation for those times when you really know the gear and you are looking for a unique or fitting sound. Also (and I’m preaching to myself here too), read the manuals so you don’t get stuck in a rut of using only a small fraction of a piece of gear’s functionality.
Being familiar with the style of music you are trying to record almost goes without saying. Even if you are not well-versed in the given style (which often happens when you record someone else’s music), at least take the time to listen to similar music throughout the project in order to keep yourself focused. Especially if you would like your music to compete on a commercial level (i.e. if you want to make money from your music), you have to listen to your competition. Take notes on particular tricks and sounds that you would like to incorporate in your own music. In fact, almost all professional mixing engineers reference similar artists or songs during the mixing process. This technique is even more advisable to those engineers who are just getting started. Because it is so easy to get tunnel-vision when you are working on your own music, make yourself take a break and listen to those similar songs and artists.
Great Sound is All About the Front End
The old saying “garbage in, garbage out” is particularly true in audio recording. When engineers refer to “Front End”, they are referring to the sound source (the actual sound you are trying to record), and everything that happens to the audio signal (the gear it passes through) before it gets to the recorder. The key to getting a great recording, as imparted to me by Ronan Chris Murphy (whose credits include King Crimson, Steve Morse, and Terry Bozzio), is to “capture the best possible source, and don’t f--- it up!” Wise words. Unfortunately, though, many engineers often say, “we’ll fix it in the mix.” The problem with that approach is that the engineer will spend more time trying to make bad sounds sound better, rather than using that time for mixing. Remember, the more time you spend getting the sound right before it goes to tape (or disk), the less time you spend tweaking that sound later.
Obtaining the best possible source is a culmination of many factors. First of all, your instrument should be properly maintained and tuned (e.g. a guitar with good intonation and new strings, or a tuned drum kit with new heads). New strings or drum heads have “brightness” in the upper transient frequency range that cannot be recreated. If you record dead strings or drum heads, no amount of equalization will compensate. You cannot boost frequencies that were not recorded to begin with. Similarly, any equipment used should be functioning properly--no bad, crackly cables or noisy, humming guitar amps.
Microphone technique is another important factor, which we will discuss in more depth in the section entitled “The Tracking Engineer.” Choosing the right microphone and finding what position sounds the best is crucial to capturing the best possible sound coming from your audio source. If you are recording using multiple microphones, pay careful attention to any phase problems. Much like those dead guitar strings, no amount of processing can fix an audio signal that is out of phase.
From an equipment standpoint, try to use the highest quality equipment you can afford on the front end. Use a good quality microphone with good preamps. If you are recording digital audio, try to get the best A/D (Analog-to-Digital) converters that you can afford. Also, try to use the shortest signal path possible. For example, the sound source goes to the microphone, then to the preamp, and finally to the recorder, with nothing (or very little) in between. That is not to say that only expensive, top-of-the-line equipment will make your recording sound great--you can get good sounds with less expensive gear. Just know that the cleaner your signal is, and the less equipment it passes through, the better your sound will be when it gets recorded.
Good Music Begins With a Good Song
Most people who are interested in recording are at least somewhat interested in recording his or her own music. As a general rule, a good production begins with a good song. I know that, due to politics in the music business, there is a lot of junk on the radio. However, for those competing in the commercial music market (i.e. those who are trying to make a living from his or her music), the song is the most important element of the production. A well-crafted song, both musically and lyrically, increases the chances of the song becoming a hit, not the swirling keyboard sound or the trippy effect on the vocal. When you put loads of work into recording a poorly written song, you still result in a well-produced bad song, and people will notice. As I tell my clients, “Sure, you can put a nice, shiny bow on a pile of dog poo. It might make it prettier, but it’s still dog poo!” All of the production and recording elements support the song, not vice versa.
That being said, it really behooves anyone who is interested in recording to learn basic music theory and songwriting techniques. Consider taking some courses at a local college, purchasing some books, or even checking some out from your local library. The more you know about music, the better equipped you are to record it. Remember (and I can’t stress this enough), all of the production elements support the song, not vice versa!
Capture the Performance, Don’t Manufacture It
This principle refers a great deal to the editing process. With today’s technology, primarily the Digital Audio Workstation, it is becoming ever easier to construct songs. Although this is a viable method of creating music (especially in electronic music), this approach has put so much emphasis on editing that some claim it makes music sound more sterile and robotic. With technology such as Antares’ Auto Tune pitch correction software, synchronization software such as Vocalign, beat mapping, and the ability to easily slice, dice, and splice audio files, it is also entirely possible to produce music that is perfectly in time and in perfect tune. Editing products such as these are wonderful tools which are widely used in professional music production, but it is tempting to go too far. The feel of a live performance, which is really the human nuance of the players, is often what really gives a particular track its magic. If the performance needs tightening, it is always best to rehearse the band or players a little more in order to get a more solid take. Then, once the performance is tighter, correct any blatant problems with these handy editing tools.
As far as overdubs are concerned, the more players you can have playing as a band, the better. Obviously, getting everyone together may not be feasible due to schedules, budget concerns, or even available space. However, a good, well-rehearsed band playing together will almost invariably produce a better track than individuals laying down tracks at different times. The players feed off of each other and play with a kind of energy that is often hard to coax out of players in overdub sessions. Most rock and country records, primarily in Nashville, almost always record the basic tracks together as a band.
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About the Author
Clay Butler is the lead instructor for the Recording Studio Technology program at West Georgia Technical College as well as the owner and chief engineer of Butler Productions Multimedia. Butler Productions is an audio production facility which specializes in music production, on-hold messaging, voiceover, jingle production, and royalty-free music. Butler Productions’ live credits include supplying sound reinforcement for acts as notable as John Mayer, John Waller, The Tams, and After Edmund. As a composer and producer, Clay has produced numerous tracks for use in television and film. For more information about Clay or Butler Productions, visit http://www.claybutlermusic.com.