Recording Engineer School

There are various levels of home-studios. The cost can vary from a couple of hundred dollars to many thousands.

The simplest home-studio set-up might be:

1. Microphone 2. Headphones
3. Computer with a Recording Program

Fortunately, these days home-studio equipment is practically the same as what the pros use in state-of-the-art studios. They just have more of it and know how to use it to its fullest capabilities.
Make sure all your equipment is of the same quality within that level. One weak link in the chain will destroy the higher quality that all the other pieces give.

In other words don’t buy a $2,000 recording program and a $20 microphone.

It’s not the quantity of equipment you have, and to a certain extent not even the quality, it’s how you use it.

Furthermore, the type of equipment you need is very personal and depends greatly upon your own particular music styles.

Quality and value are two key elements when selecting your recording equipment. And how much do you want to spend?

If you will be recording masters of your own songs for release to the public, then you will need a DAW (Digital Audio Workstation) which is a combination recorder and mixer all in one unit.

But if you’re just recording demos of your own songs, a simple four-track combination recorder/mixer would be enough. Plus a single mic, a set of headphones, a small monitor amp, and bookshelf-sized speakers.

There is no such thing Easy Street when it comes to producing great-sounding tracks so don’t believe the manufacturers’ hype about their product making you an overnight star.

Beware of the “used-car salesman” approach. Many retailers make their money through commissions.

These days the amount of options are staggering, the various formats are confusing and new pieces of equipment are becoming available every day.

So what should you buy? What’s best for you? How do you hook it up? How does it work? What do you need to put together a complete studio? How do you select the correct equipment for your own particular needs?

Also consider whether your studio will be totally for your own personal use or might it expand to become a commercial enterprise?

And bear this in mind – about 90% of all people who put together their own home-studio will decide to expand their system within a fairly short time period. More expenses and space needed.

And be honest! How much – if any – prior experience do you have in recording? If you are a novice you must start simply. You cannot run before you can walk.

These and many more questions will be answered in your course. You and your instructor will be able to make the correct equipment choices that fit your own personal needs when the time comes.

Click here to check out our webpage for a basic mid-priced home-studio set-up with which you could create pro-quality recordings. (There are 28 more pages on this subject in your course).

It’s a real microphone jungle out there! Hundreds of different types of mics are available. Which one is right for you?

The small home-studio needs only one or two. A professional studio will have dozens if not hundreds. Each mic has a distinctive sound and is used for a particular purpose.

There are two main types of mic. The dynamic mic and the condenser mic. If you can afford only one for your home-studio then let it be a dynamic.

Shure SM57

For around $100, the Shure SM57 or SM58 is most highly recommended. It will record almost everything successfully including vocals.

But if you can afford a second mic, it may cost a little more but get a condenser mic. It’s better than a dynamic for some delicate acoustic instruments and it actually does a better job on most vocals.

Every different musical instrument is best captured by just one or two particular microphones. In our course you will learn how to select the correct mic for each job.

Once you have learned which mic to use for a particular job, you must know how and where to place it in relation to the sound that is to be captured. This is the art of microphone technique.

Rode condensor mic

You can’t just plonk down a mic anywhere and hope for a good result. It’s not as simple as you think. You will learn how to select and position the right mic for each particular job.

Miking vocals is also a special art. How many times have we heard: “I don’t like the sound of my voice.”You will also be encouraged to experiment and discover new ways with which to produce your own unique sounds. (30 more pages on this subject in you course)

You’re not alone! Most singers hate the sound of their own voice when they hear it recorded for the first time. Trying a different microphone can sometimes make the world of difference.

The Neumann mic pictured here is probably the most used vocal mic in the world.

Neumann mic

If that doesn’t work you don’t have to run off and take singing lessons! There are many things we can do to make it more appealing:

Equalize it.
Compress it.
Add reverberation or echo to it.
Double it or add a harmony to it.
Combine it with an effect such as chorusing or flanging.
Make it totally in tune with the band.

All of these changes can be made even after the vocal has been recorded. There are various plug-ins that are specifically designed to take care of every one of these modifications. (There are many more pages about vocal recording in our course).

No you do not. We do our best to keep any physics and maths to the bare minimum in our program. What little there is, is simple to understand and can be learned quite easily.

Most recording engineers have only a slight knowledge of electronics. There are always skilled technicians just a phone-call away in the event an equipment failure occurs. In fact, being a recording studio maintenance engineer is quite a lucrative and interesting occupation. Most of them start life as sound engineers.

In the not-too-distant past, the sound engineer really did need to understand his equipment because he alone was responsible for its maintenance and functionality. In this new throwaway world, replacement is often easier and quicker than repair.

The actual setting up of your business is fairly straightforward.

Business License

First, you have to come up with a good name for your record company and do some research to see if this name is available and has not been trademarked or copyrighted by another company. You can usually do this with a quick google internet search.

You should also check to see if this name is available as an internet web address for the website that you will eventually put up (www.myrecordlabel.com). If it is – buy it right away while it’s still available.

Then you register this name with your local authority. There is usually a small filing fee to do this. Go down to your local city hall and tell them that you are starting a business. They will direct you where to go.

Different states require slightly different filing procedures. You may have to file a “Fictitious Business Name Statement” in one of your local newspapers.

Ficticious Business Name Licence

Then you should design your logo, record label, business cards and letterhead etc. Maybe open a Post Office Box if you don’t want to use your home address. Get an e-mail address and maybe a business telephone/fax number.

If you’re just going to be releasing your own material then you’ll need to find avenues for distribution, either over the internet and/or through wholesalers who will place your records in retail outlets.

If you’re going to be releasing music by other bands and artists, then you’re going to have to get contracts made up. This may entail utilizing the services of a lawyer – and they don’t come cheap. And make sure he or she is experienced in entertainment law.

You have to become a bit of a business person because you’ll be dealing with a variety of companies. For example, CD duplication plants*, printers, graphic artists and designers, photography studios, artists’ managers, booking agents, P.R. people, reporters and journalists, radio stations and many more.

Song Copyright Form

When it comes time to offer your product to the public, your internet website should be up and running. Try to make it as attractive and professional looking as possible because your credibility and reputation are on the line here.

If you have a web-savvy friend, use them. Otherwise use a pro.

And don’t forget to copyright your songs before you release them to the public. Then get a seller’s permit from City Hall.

*Footnote: The actual CD or record manufacturing process is a hard subject to address in the short form. There are many frustrations and pitfalls that can easily be avoided once you have digested this all-important lesson in our training course.

Promotion and distribution is discussed in the course along with the inner structure of the music industry. Getting your music safely onto the internet is also covered.

Peter Miller has had his own independent label since 1974 so he knows what he’s talking about.

Now go out and find the next superstar and sign them to your label. Produce their first million dollar hit and Pete will vote for you at the Grammy Awards next year! Good luck! (35 more pages in the course).