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weather you care or not, i feel complied to state that by trade, i am a professional recording engineer. I went to school(2 actually), have degrees, and have been working in this field approaching 10 years. I have worked in some of the biggest studios in the New York/NJ area.
The starting of this new sub-forum is an excellent opportunity for people here who are interested to gather important and CORRECT information, and since it hasnt yet been done, i feel it should be in one thread.
this is not going to be a thread about how to mic drums, or what interface/mixer/module to buy. This is going to be technical details in laymans terms, and important information regarding recording.
Step 1. The signal chain:
A "Signal Chain" is the path your audio follows, from sound source, to the recording device, and back out of your monitors[speakers to you civilians
]
A typical complete signal chain might go something like this:
1] instrument/sound source
2] Microphone/Transducer/Pickup
3] Cable
4] Mic Preamp/DI Box
5] Analog-to-Digital Converter
6] Digital transmission medium[digital data get recoded for usb or FW transfer]
7] Digital recording Device
8] DSP and Digital summing/playback engine
9] Digital-to-Analog Converter
10] Analog output stage[line outputs and output gain/volume control]
11] Monitors/Playback device[headphones/other transducers]
Important Terms, Definitions, and explanations[this will be where the "core" information is]:
1] AD Conversion: the process by which the electrical signal is "converted" to a stream of digital code[binary, 1 and 0]. This is accomplished, basically, by taking digital pictures of the audio...and this is known as the "sampling rate/frequency" The number of "pictures" determines the frequency. So the CD standard of 44.1k is 44,100 "pictures" per second of digital code that represents the electrical "wave" of audio.
it should be noted that in order to reproduce a frequency accuratly, the sampling rate must be TWICE that of the desired frequency. So, a 44.1 digital audio device can, in fact, only record frequencies as high as 22.05khz, and in the real world, the actual upper frequency limit is lower, because the AD device employs a LOW-PASS filter to protect the circuitry from distortion and digital errors called "ALIASING."
confused yet?
2] DA conversion: the process by which the digital code[the code that represents the electrical "wave"] is transformed back into electrcal energy in the proper shape. In a oversimplified explanation, the code is measured and the output of the convertor reflects the value of the code by changing voltage.
3] Cables: An often overlooked expense and tool, cables can in fact, make or break your recording. The multitudes of types of cable are determined by the connector, the gauge(thickness), shielding, type of conductor, etc...
Just some bullet points on cables:
-Always get the highest quality cabling you can afford. Low quality cables often employ shielding that doesnt efectively protect against AC hums(60 cycle hum), RF interference(causing your cable to act as a gigantic AM/CB radio antenna), or grounding noise introduced by other components in your system.
-The way cables are coiled and treated can determine their lifespan and effectiveness. A kinked cable can mean a broken shield, again, causing noise problems.
-the standard in the USA for wiring an XLR(standard microphone) cable is:
PIN 1= Cold/-, PIN 2= Hot/+, PIN 3=Ground/shield.
-pin 3 carries phantom power, so it is important that the shield of your cables be intact and in good condition if you want to use your mic cables without any problems.
-Cables for LINE LEVEL and HI-Z(instrument level) gear are not the same!
-Line Level Gear, weather professional or consumer, should generally be used with balanced cables(on a 1/4" connector, it will have 3 sections, known as TRS-or- TipRingSleeve)...a balanced 1/4" is essentially the same as a microphone cable, and in fact, most Professional gear with balanced line inputs and outputs will have XLR connectors instead of 1/4" connectors.
-Hi-Z cable for instruments(guitars, basses, keyboards, or anything with a pickup) is UNBALANCED, and should be so. the introduction of a balanced cable can cause electricity to be sent backwards into a guitar and shock the guitar player. you dont want this to happen, especially on stage, where the voltage CAN BE LETHAL. When running a guitar/bass/keyboard "Direct" into your interface, soundcard, or recording device, you should ALWAYS use a "DIRECT BOX", which uses a transformer to isolate and balance the the signal. It also changes some electrical properties, resulting in a LINE LEVEL output.
4] Digital Data Transmissions:
this includes S/PDIF, AES/EBU, ADAT, MADI.
im gonna give a brief overview of this stuff, since its unlikely that alot of you will ever really have to think about it.
-SDPIF= Sony Phillips Digital Interface Format. using RCA or TOSLINK connectors, this is a digital protocol that carries 3 streams of information. Digital audio Left, Digital Audio Right, and CLOCK. SPDIF generally supports 48khz/20bit information, though some modern devices can support up to 24bits, and up to 88.2khz. SPDIF is the consumer format of AES/EBU
-AES/EBU= Audio Engineering Society/European Breadcasters Union Digital protocol uses a special type of cable often terminated with XLR connectors to transmit 2 channels of Digital Audio. AES/EBU is found mostly on expensive professional digital gear.
-ADAT= the Alesis Digital Audio Tape was introduced in 1991, and was the first casette based system capable of recording 8 channels of digital audio onto a single cartridge(a SUPER-VHS tape, same one used by high quality VCR's). Enough of the history, its not so important because we are talking about ADAT-LIGHTPIPE Protocol, which is a digital transmission protocol that uses fiberoptic cable and devices to send up to 8 channels of digital audio simultaneously and in sync. ADAT-Lightpipe supports up to 48khz sample rates.
-MADI is something you will almost never encounter. It is a protocol that allows up to 64 channels of digital audio to be transmitted over a single cable that is terminated by BNC connectors. Im just telling you it exists so in case you ever encounter a digital snake that doesnt use Gigabit Ethernet, you will know whats going on.
digital transmission specs:
SPDIF -> clock->2Ch->RCA cable(consumer)
ADAT-Lightpipe->clock->8Ch->Toslink(semi-pro)
SPDIF-OPTICAL->clock->2Ch->Toslink(consumer)
AES/EBU->clock->2Ch->XLR(Pro)
TDIF->clock->8Ch->DSub(Semi-Pro)
______________
MADI->no clock->64Ch->BNC{rare except in large scale pofessional apps}
SDIF-II->no clock->24Ch->DSub{rare!}
AES/EBU-13->no clock->24Ch->DSub
and now everyones favorite topic:
5] MICROPHONES!
there are many types of microphones, and several names for each type.
a] Dynamic Microphones utilize polarized magnets to convert acoustical energy into electrical energy.
there are 2 types of dynamic microphones:
-Moving Coil microphones are the most common type of microphone made. They are also durable, and capable of handling VERY HIGH SPL(sound pressure levels)
-Ribbon microphones are rare except in professional recording studios. Ribbon microphones are also incredibly fragile. NEVER EVER USE PHANTOM POWER WITH A RIBBON MICROPHONE, IT WILL DIE. Sometimes it might even smoke or shoot out a few sparks.
applying phantom power to a Ribbon Microphone will literally cause the ribbon, which is normally made from Aluminum, to MELT.
Also, windblasts and plosives can rip the ribbon, so these microphones are not suitible for things like horns, woodwinds, vocals, kick drums, or anything that "pushes air."
B] Condenser/Capacitor Microphones.
-a condenser microphone uses an electrostatic charge to convert acoustical energy into electrical energy.
-the movement of the diaphragm(often metal coated mylar) toward a ceramic "backplate" causes a fluctuation in the charge, which is then amplified inside the microphone and output as an electrical signal.
-Condenser microphones use phantom power to charge the capacitors and backplate in order to maintain the electrostatic charge.
there are several types of condenser microphones:
1] Tube Condenser Microphones
-Historically, this type of microphone has been used in studios since the 1940s, and has been refined and redesigned hundreds, if not thousands of times.
-Some of the "best sounding" and most desired microphones EVER MADE are Tube Condenser microphones from the 50's and 60's. These vintage microphones, in good condition, with the original TUBES can sell for hundreds of thousands of dollars.
-tube mics are known for sounding "full", "warm", and having a particular character, depending on the exact microphone. No 2 tubes mics, even of the same model, will sound the same. Similar, but not the same.
-tube mics have their own power supplies, which are not interchangeable to different models. Each tube mic is a different design, and therefore, has different power requirements.
2] FET Condenser microphones
-FET stands for "Field Effect Transistor"
-FET technology allowed condenser microphones to be miniturized. Take for example, the SHURE beta98s/d, which is a minicondenser microphone.
-FET technology is generally more transparant than tube technology, but can sometimes sound "harsh" or "sterile"
3] Electret Condenser Microphones
-this is a condenser microphone that has a permanent charge, and therefore, does not require phantom power, however, the charge is not truly permanent, and these mics often use AA or 9V batteries, either inside the mic, or on a beltpack.
MORE TO COME ABOUT MICS SOON...STUFF ABOUT POLAR PATTERNS, PADS, PHASE, ETC...
weather you care or not, i feel complied to state that by trade, i am a professional recording engineer. I went to school(2 actually), have degrees, and have been working in this field approaching 10 years. I have worked in some of the biggest studios in the New York/NJ area.
The starting of this new sub-forum is an excellent opportunity for people here who are interested to gather important and CORRECT information, and since it hasnt yet been done, i feel it should be in one thread.
this is not going to be a thread about how to mic drums, or what interface/mixer/module to buy. This is going to be technical details in laymans terms, and important information regarding recording.
Step 1. The signal chain:
A "Signal Chain" is the path your audio follows, from sound source, to the recording device, and back out of your monitors[speakers to you civilians
]A typical complete signal chain might go something like this:
1] instrument/sound source
2] Microphone/Transducer/Pickup
3] Cable
4] Mic Preamp/DI Box
5] Analog-to-Digital Converter
6] Digital transmission medium[digital data get recoded for usb or FW transfer]
7] Digital recording Device
8] DSP and Digital summing/playback engine
9] Digital-to-Analog Converter
10] Analog output stage[line outputs and output gain/volume control]
11] Monitors/Playback device[headphones/other transducers]
Important Terms, Definitions, and explanations[this will be where the "core" information is]:
1] AD Conversion: the process by which the electrical signal is "converted" to a stream of digital code[binary, 1 and 0]. This is accomplished, basically, by taking digital pictures of the audio...and this is known as the "sampling rate/frequency" The number of "pictures" determines the frequency. So the CD standard of 44.1k is 44,100 "pictures" per second of digital code that represents the electrical "wave" of audio.
it should be noted that in order to reproduce a frequency accuratly, the sampling rate must be TWICE that of the desired frequency. So, a 44.1 digital audio device can, in fact, only record frequencies as high as 22.05khz, and in the real world, the actual upper frequency limit is lower, because the AD device employs a LOW-PASS filter to protect the circuitry from distortion and digital errors called "ALIASING."
confused yet?
2] DA conversion: the process by which the digital code[the code that represents the electrical "wave"] is transformed back into electrcal energy in the proper shape. In a oversimplified explanation, the code is measured and the output of the convertor reflects the value of the code by changing voltage.
3] Cables: An often overlooked expense and tool, cables can in fact, make or break your recording. The multitudes of types of cable are determined by the connector, the gauge(thickness), shielding, type of conductor, etc...
Just some bullet points on cables:
-Always get the highest quality cabling you can afford. Low quality cables often employ shielding that doesnt efectively protect against AC hums(60 cycle hum), RF interference(causing your cable to act as a gigantic AM/CB radio antenna), or grounding noise introduced by other components in your system.
-The way cables are coiled and treated can determine their lifespan and effectiveness. A kinked cable can mean a broken shield, again, causing noise problems.
-the standard in the USA for wiring an XLR(standard microphone) cable is:
PIN 1= Cold/-, PIN 2= Hot/+, PIN 3=Ground/shield.
-pin 3 carries phantom power, so it is important that the shield of your cables be intact and in good condition if you want to use your mic cables without any problems.
-Cables for LINE LEVEL and HI-Z(instrument level) gear are not the same!
-Line Level Gear, weather professional or consumer, should generally be used with balanced cables(on a 1/4" connector, it will have 3 sections, known as TRS-or- TipRingSleeve)...a balanced 1/4" is essentially the same as a microphone cable, and in fact, most Professional gear with balanced line inputs and outputs will have XLR connectors instead of 1/4" connectors.
-Hi-Z cable for instruments(guitars, basses, keyboards, or anything with a pickup) is UNBALANCED, and should be so. the introduction of a balanced cable can cause electricity to be sent backwards into a guitar and shock the guitar player. you dont want this to happen, especially on stage, where the voltage CAN BE LETHAL. When running a guitar/bass/keyboard "Direct" into your interface, soundcard, or recording device, you should ALWAYS use a "DIRECT BOX", which uses a transformer to isolate and balance the the signal. It also changes some electrical properties, resulting in a LINE LEVEL output.
4] Digital Data Transmissions:
this includes S/PDIF, AES/EBU, ADAT, MADI.
im gonna give a brief overview of this stuff, since its unlikely that alot of you will ever really have to think about it.
-SDPIF= Sony Phillips Digital Interface Format. using RCA or TOSLINK connectors, this is a digital protocol that carries 3 streams of information. Digital audio Left, Digital Audio Right, and CLOCK. SPDIF generally supports 48khz/20bit information, though some modern devices can support up to 24bits, and up to 88.2khz. SPDIF is the consumer format of AES/EBU
-AES/EBU= Audio Engineering Society/European Breadcasters Union Digital protocol uses a special type of cable often terminated with XLR connectors to transmit 2 channels of Digital Audio. AES/EBU is found mostly on expensive professional digital gear.
-ADAT= the Alesis Digital Audio Tape was introduced in 1991, and was the first casette based system capable of recording 8 channels of digital audio onto a single cartridge(a SUPER-VHS tape, same one used by high quality VCR's). Enough of the history, its not so important because we are talking about ADAT-LIGHTPIPE Protocol, which is a digital transmission protocol that uses fiberoptic cable and devices to send up to 8 channels of digital audio simultaneously and in sync. ADAT-Lightpipe supports up to 48khz sample rates.
-MADI is something you will almost never encounter. It is a protocol that allows up to 64 channels of digital audio to be transmitted over a single cable that is terminated by BNC connectors. Im just telling you it exists so in case you ever encounter a digital snake that doesnt use Gigabit Ethernet, you will know whats going on.
digital transmission specs:
SPDIF -> clock->2Ch->RCA cable(consumer)
ADAT-Lightpipe->clock->8Ch->Toslink(semi-pro)
SPDIF-OPTICAL->clock->2Ch->Toslink(consumer)
AES/EBU->clock->2Ch->XLR(Pro)
TDIF->clock->8Ch->DSub(Semi-Pro)
______________
MADI->no clock->64Ch->BNC{rare except in large scale pofessional apps}
SDIF-II->no clock->24Ch->DSub{rare!}
AES/EBU-13->no clock->24Ch->DSub
and now everyones favorite topic:
5] MICROPHONES!
there are many types of microphones, and several names for each type.
a] Dynamic Microphones utilize polarized magnets to convert acoustical energy into electrical energy.
there are 2 types of dynamic microphones:
-Moving Coil microphones are the most common type of microphone made. They are also durable, and capable of handling VERY HIGH SPL(sound pressure levels)
-Ribbon microphones are rare except in professional recording studios. Ribbon microphones are also incredibly fragile. NEVER EVER USE PHANTOM POWER WITH A RIBBON MICROPHONE, IT WILL DIE. Sometimes it might even smoke or shoot out a few sparks.
applying phantom power to a Ribbon Microphone will literally cause the ribbon, which is normally made from Aluminum, to MELT.
Also, windblasts and plosives can rip the ribbon, so these microphones are not suitible for things like horns, woodwinds, vocals, kick drums, or anything that "pushes air."
B] Condenser/Capacitor Microphones.
-a condenser microphone uses an electrostatic charge to convert acoustical energy into electrical energy.
-the movement of the diaphragm(often metal coated mylar) toward a ceramic "backplate" causes a fluctuation in the charge, which is then amplified inside the microphone and output as an electrical signal.
-Condenser microphones use phantom power to charge the capacitors and backplate in order to maintain the electrostatic charge.
there are several types of condenser microphones:
1] Tube Condenser Microphones
-Historically, this type of microphone has been used in studios since the 1940s, and has been refined and redesigned hundreds, if not thousands of times.
-Some of the "best sounding" and most desired microphones EVER MADE are Tube Condenser microphones from the 50's and 60's. These vintage microphones, in good condition, with the original TUBES can sell for hundreds of thousands of dollars.
-tube mics are known for sounding "full", "warm", and having a particular character, depending on the exact microphone. No 2 tubes mics, even of the same model, will sound the same. Similar, but not the same.
-tube mics have their own power supplies, which are not interchangeable to different models. Each tube mic is a different design, and therefore, has different power requirements.
2] FET Condenser microphones
-FET stands for "Field Effect Transistor"
-FET technology allowed condenser microphones to be miniturized. Take for example, the SHURE beta98s/d, which is a minicondenser microphone.
-FET technology is generally more transparant than tube technology, but can sometimes sound "harsh" or "sterile"
3] Electret Condenser Microphones
-this is a condenser microphone that has a permanent charge, and therefore, does not require phantom power, however, the charge is not truly permanent, and these mics often use AA or 9V batteries, either inside the mic, or on a beltpack.
MORE TO COME ABOUT MICS SOON...STUFF ABOUT POLAR PATTERNS, PADS, PHASE, ETC...
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