₦airaland Forum

for what purpose I wonder?

wow, from lifeless to falz! what a transformation.




your sister or who ever that person is that cared for you is a real life hero.

not all food are good for a man's body.

Studio subwoofers

Adding subwoofers for studio monitoring is not always a necessity for recording beginners. However, by adding a more accurate response at low frequencies, subwoofers can enhance the results of your mixes, no matter what type of music you are recording. Of course, if you are planning to record bass-heavy music, such as hip-hop, a subwoofer might be a more essential consideration

Studio Monitors

The best way to get accurate playback is through speakers specifically designed for the job. These speakers, referred to as studio monitors, come in different designs for different listening environments. In large studios—where the monitors might be positioned some distance from the recording engineer—mid-field or far-field monitors would be most appropriate, as they are designed to produce an accurate sound at a distance.

Near-field monitors, on the other hand, are designed to be positioned directly in front of a listener, so they are the best kind to use in small home studios.

For a beginning recording engineer, a small set of near-field monitors designed for desktop use are a good option, as they fit take up little space while delivering a fair representation of your recording. M-Audio AV42 and AV32 are both good options in this category.


The Mackie CR3 multimedia monitors aren’t much larger than standard computer speakers, but they are built for great sound.







Note: article is courtesy of musicianfriend, edited and posted by Audiozilla

Headphones for recording

When you listen back to your recordings, you want the sound to be as accurate as possible so you know what you want to change in your mixes. A good pair of studio headphones is often the most cost-effective option for beginners. Closed-back headphones are essential when you’re recording vocal or instrumental parts over existing music tracks. Their sealed design prevents pre-recorded sound from leaking into the microphone as you monitor the backing track(s) while overdubbing new parts of the music.


Studio headphones vary greatly in price. When you’re just starting out, there’s no need to break the bank. Plenty of good, accurate models are available within an affordable price range. The Numark 125, AKG 52 and Behringer HPS5000 are highly rated products that deliver good accuracy at a beginner-friendly price.







Note: article is courtesy of musicianfriend, edited and posted by Audiozilla

Microphones

A good microphone is one of the most important items in the beginner’s recording setup, as it makes a big impact on how a recorded voice or instrument will sound. To get started, you likely only need one quality microphone that you can put to use recording lots of different sound sources. So you will want to pick a versatile model that sounds good recording a wide range of frequencies.

There are two types of microphones you’ll work with most often: dynamic mics and condenser mics. While dynamic mics are more rugged and often preferred for live performances, condenser mics usually have a better frequency response range and sensitivity, so they’re often the go-to for studio recordings. Many condenser mics require what’s called phantom power, supplied by an external preamp or interface. Be sure to read specs carefully to make sure your rig will provide any necessary power. For on-the-go recording, USB microphones get their juice from the host computer or interface, making them plug and play. Similarly, if you¹re using a tablet or smartphone for audio capture, then an iOS-friendly mic is the way to go.


Condenser microphones tend to be more costly than dynamics, but in recent years, many good-quality, lower-cost models have become available. The Newer NW800, for example, is a great, multi-purpose condenser microphone that includes a shockmount and a pop filter.


For those recording with an iOS device, the Tornor PC USB/iOS Microphone is another good option. This quality condenser mic can plug right into your iOS device from which it also draws its power and can record a wide variety of instruments and vocals with great results. 

There are also many dynamic microphones suitable for the beginning studio setup. The  Shure SM58 is a good choice for vocals and will also serve double duty in live performance.


The Shure SM57 is a fixture in just about every pro recording studio for capturing instruments and vocals and is often used in both live and recording settings to mic guitar amp speakers.


The Blue Spark SL Microphone provides classic, transparent sound and plenty of versatility, with a high-pass filter and -20dB pad, making it capable of accomodating loud vocalists, instruments or amplifiers with ease






Note: article is courtesy of musicianfriend, edited and posted by Audiozilla

Audio interfaces for recording

If you’re using a computer as the center of your recording studio, you need a way to plug in the microphones and other gear you will be recording with. This is where the digital audio interface comes in. Beyond simply offering the types of connections you’ll need, the digital audio interface processes the sound you’re recording and converts it to digital data so your software can work with it. The good news is that most interfaces with USB connectivity are compatible with all the major DAW software titles that work with Mac and Windows computers‹but double-check to be certain.

When looking at audio interfaces, it’s important to find one that has all the connection types you’ll need. You’ll also need to make sure it’s compatible with the type of computer or device you’ll use to record with. So be sure to check the product descriptions for these details.


Built to handle the needs of anyone who records vocals and instrument together, the  Focusrite Scarlett Solo (2nd Gen) USB Audio Interface delivers a sweet-sounding preamp and instrument input at a great price. The latest edition improves on the excellent sound of the original with a more even gain structure that makes balancing your mixes easier. The instrument input has been upgraded to handle the hottest pickups. Reduced latency means you’ll perform more confidently and be able to run your favorite plug-ins in real time. The Behringer u-phoria series are another good and pocket friendly options to consider, starting from the u-phoria um2. 

If you need more inputs to record vocals and instruments simultaneously, the very affordable Tascam US-16x08 audio interface allows to you to connect up to 8 microphones and 4 instruments while offering the convenience of USB connectivity.





Note: article is courtesy of musicianfriend, edited and posted by Audiozilla

The Best Recording Gear for Beginners

How to choose the right audio and recording equipment for your home studio or mobile rig to match your ambitions, budget and music.

Music recording used to be something that was only done by professionals in large studios full of expensive equipment. To learn the trade, a person generally needed to enroll in a specialized program or apprentice in a studio, giving them access to this equipment. And if musicians wanted to put their songs on record—even just to make a passable demo recording—they needed to shell out some pretty serious dough to buy studio time.

In recent years, that has all changed.

The ever more powerful consumer devices we use—such as laptops, tablets, and even smartphones—are now capable of powering a low-cost recording setup that virtually any musician can afford. With a few well-chosen pieces of recording gear, just about anyone can set up and operate a fully functional home or mobile studio. And that means aspiring producers can get plenty of hands-on experience right in the comfort of their own homes.

This guide will cover some of the most important recording equipment you’ll need to build a mobile or home studio and give you some recommendations for equipment that’s great for starting out. 


One great thing about building a home or mobile recording studio is that you can start with just a few essential pieces of gear, then add or upgrade as you develop your skills and want additional options. This guide will cover the most important pieces of recording equipment: computers, audio interfaces, microphones, headphones, and studio monitors.

We’ll also cover some additional audio gear that can expand your studio to be just what you want it to be.



Recording software and apps


Without audio software programs, computers don’t do a whole lot to help you record and mix music. The software that musicians and engineers use for their music production is commonly referred to as a digital audio workstation (DAW) program, and there are a lot of different DAW options to choose from. Ranging from more basic programs such as Ableton Live 10 Intro to Pro Tools—the choice of most professional studios—there is a DAW program that will match your music, budget and skills.

Most digital audio interfaces (explained in the next section) often include some basic software that should be suitable for most beginners to create near-studio-quality recordings. Those looking for something a little more powerful—with tools to help compose, edit, mix, and arrange music—might consider a software package such as Image Line’s FL Studio, an end-to-end music production program that’s both highly-regarded and affordable enough for beginners.

FL Studio Producer Edition sports a new UI that scales up or down with your screen size while delivering a robust music-production environment. Free updates for life make it a great buy.

Other popular options are Cubas and Nuendo.




Note: article is courtesy of musicianfriend, edited and posted by Audiozilla

nice one. she has something going on for herself

fine bobo

IPOB should make sure this sit at home protests do not become too often and too much so their people do not become tired of it.

what will happen if he push you, highest you fall for bed.

chai, and this one is not fail and try again next year o! you fail, you have failed.

restructuring or not, we need viable institutions.

Audiozilla for your studio gears and equipment.
https:///send?phone=2348116065474

God no get blood

that's life.

well she just might be on the right.

lol, judging from Pete edoche's look in that picture he has also rejected you.


do not give up though, you will find one someday.

DEXTROVERT:
I
Don't
Know
Why
I
Just
Hate
To
Ear
That
AMAKA DISAPPOINT ME
IYEKE KONFUSION
IRRITATING
PIECE
OF
SHIT


REMOVE
DUNKAN
PUT
LEGBEGBE
OR
TECHNO

I believe 2baba could have done better on the hook, but the verse was good. the problem I have with the song is the lyrics.

What is an audio interface?

An audio interface is the hardware that connects your microphones and other audio gear to your computer. A typical audio interface converts analog signals into the digital audio information that your computer can process. It sends that digital audio to your computer via some kind of connection (e.g. Thunderbolt, USB, FireWire, or a special PCI/PCIe card). This same audio interface also performs the same process in reverse, receiving digital audio information from your computer and converting it into an analog signal that you can hear through your studio monitors or headphones. Most audio interfaces include line-level analog inputs and outputs, one or more microphone preamplifiers, and may even include digital inputs and outputs such as AES, S/PDIF or ADAT (Lightpipe).

Why do you need an audio interface?

There are several reasons to use a dedicated audio interface, rather than the sound card built into your computer. Technically speaking, a sound card is an audio interface, but its limited sound quality and minimal I/O make it less than ideal for recording. Many sound cards only have a consumer-grade stereo line level input, a headphone output, and possibly also a consumer-grade stereo line level output. Electromagnetic and radio interference, jitter, and excessive latency all degrade or negatively affect audio both on the way in and on the way out. It’s also impossible to track a full drum kit (let alone a full band) with only two channels of input. Sound cards are great for hooking up a pair of Hi-Fi speakers and playing back compressed audio, but you’re going to need a reliable audio interface for recording and monitoring production-quality audio.

Choosing the right I/O configuration

With the possible exception of computer connectivity (more on that below), no other feature is as important for choosing your audio interface as its I/O (input and output) configuration. The number and type of inputs and outputs you need depends entirely on what you want to be able to record, now and in the future. The range of audio interfaces includes everything from 2-channel desktop units to systems that can record hundreds of channels.

If you’re a singer-songwriter, than you may only need a pair of inputs, as long as they’re the right inputs. Most audio interfaces include two or more microphone preamps. If you’re going to use condenser microphones you’ll want to make sure that your interface’s preamps are also equipped with phantom power. If you’re going to plug your guitar or keyboard straight into your interface, make sure that the interface you buy has instrument-level (also called “hi-Z”) inputs. Line-level inputs and outputs are great for hooking up outboard processors, headphone amps (for creating separate headphone mixes) and studio monitors.

Digital I/O may not seem important when you’re first starting out, but it can be incredibly useful down the road. For instance, some high-end 1- or 2-channel microphone preamplifiers come equipped with digital outputs, which lets you hook them up to your audio interface without depriving you of line-level inputs. If your interface comes equipped with standard ADAT lightpipe I/O, you can easily expand your system with an ADAT-equipped 8-channel mic pre. Eight extra channels can turn your personal recording rig into a system that’s ready to track a full band.

Computer connectivity options

One of the constants of the recording industry is that technology doesn’t sit still for long. In computer-related technology “standard” is next to “obsolete.” That said, a few audio interface connection types are considered standard, and those are: Thunderbolt, USB, FireWire, and PCIe. Most PC and Mac computers come equipped with USB ports (either USB 2 or USB 3), whereas FireWire (either 400 or 800) is mostly found on Macs. Both of these protocols average the same speed (480Mbps), which is fast enough to record up to 64 tracks at once under ideal conditions. Also, there are some simple interfaces that still use USB 1.1, which is much slower, but fast enough to record one track.

Thunderbolt

Due to its incredibly high speed and low latency, Thunderbolt is the new reference standard for connecting audio interfaces. Thunderbolt 3 (found on the latest Macs) is twice as fast as Thunderbolt 2 and 8 times faster than USB 3, supporting speeds up to 40 Gbps and cable lengths of up to 100 meters using optical cable. There are many high-end interfaces that now support Thunderbolt.

Firewire

The advantage of FireWire is that it transfers data at more consistent rate than USB, which makes it slightly more reliable when you’re recording more channels at once. The disadvantage is that there are less interfaces that use FireWire than USB, and less computers that come equipped with FireWire ports. If you own a PC, you might need to install a FireWire card.


USB

The advantage to USB (3.0, 2.0, and 1.1) is that there are many interfaces designed to run on USB bus power (rather than an external power supply), which is excellent if you plan on doing mobile recording with your laptop. There is also a small selection of PC Express and PCMCIA card-based interfaces, which are specifically designed for laptops.


PCIe


That brings us to the fourth standard audio interface connection, which is PCIe (PCI Express). PCIe is an internal card-based interface, which (by its very nature) means you can’t use these interfaces with laptop computers. By effectively installing your audio interface into your computer’s motherboard, you gain the advantage of bypassing some of the data conversion processes that cause latency and limit bandwidth. The majority of PCIe audio interfaces are designed to handle high track counts and the near-instantaneous speed required by professional studios, and are consequently more expensive than FireWire or USB interfaces. That said, there are some affordable PCIe interfaces that allow even entry-level users to take advantage of this format.

Tech specs and how to read them

People often ask us, do things like bit depth and sample rate really matter? They’re some of the specs listed with almost every interface out there. The answer isn’t simple, but yes, they do matter. Let’s start with bit depth. When it comes to processing audio, bit depth has a huge impact on your sound. The simple math is that 1 bit = 6dB. That means 16-bit audio (CD standard) has a total dynamic range of 16-bits x 6 db/bit for a total of 96dB. The problem is that the digital noise floor is pretty high, and the remaining dynamic range is pretty small. The result is that if you work at 16-bit, the quieter sections of your audio will tend to be noisy. With 144dB of range, 24-bit audio gives production professionals the range they need to process audio smoothly. That’s why 24-bit is considered the professional standard and is highly recommended.


On the flip side, sample rate is much more subjective. Each sample is a digital snapshot of the captured audio. The CD standard 44.1kHz takes 44,100 digital pictures of the incoming audio every second. Digital to analog conversion only needs two samples (the top and the bottom) of a wave form to generate a frequency, so the 44.1kHz sample rate is theoretically capable of reproducing frequencies as high as 22.05kHz. The uppermost range of human hearing (in young females) is 20kHz, so technically, 44.1kHz is more than enough to capture and reproduce every sound you can hear. However, there are additional considerations (all of which are technical) that may or may not suggest higher sample rates capture valuable information. That’s why most audio professionals choose to work at 48kHz, 88.2kHz, 96kHz, or even 176.4 or 192kHz.

In the end, it’s all relative. If you’re planning on releasing your demo on CD or posting MP3s online you’ll probably be fine working at or mixing down to 16-bit/44.1kHz. If you plan to release jazz in a high resolution format, don’t even consider working at less than 24-bit/96kHz. Higher sample rates, such as 192kHz are also extremely useful for sound design. Record a dog snarling at 192kHz, and import it into a 96kHz session (half the speed and pitch but no loss of resolution), and you instantly have the ominous guttural growl used in countless sci-fi monster movies. Just remember, higher sample rates and bit depths eat up more disc space and limit your track count, so you’ll need to work within the limits of your equipment.


The most important thing to remember about sample rate and bit depth is that they are less significant than the quality of the digital converters you use. The same way that a soapbox derby car with a Ferrari engine in it may be able to go 130mph, but you wouldn’t want to be along for the ride, a low-end converter may do 24-bit/96kHz, but it’s not going to give you the professional fidelity you’re after. 

Additional considerations


Here are some additional things you want to keep in mind. First, although the list gets shorter every year, there are some audio interfaces that are Mac- or PC-compatible only. So be sure to read the features section at the bottom of each interface’s detail page. 


More and more interfaces include some kind of integrated software control and DSP for mixing. This feature is incredibly handy. Software mixing allows you to do everything from setting up headphone mixes, add reverb or delay to headphone mixes, and allow you talkback communication to the artists in the studio. What’s more, software control over onboard DSP does all of this without adding latency, draining CPU power, or affecting your DAW software in any way.



Note: article courtesy of Sweetwater and edited by Audiozilla.