An audio interface is a key device in any music making set-up. As well as being able to output your audio to connected speakers or headphones, an interface gives you the option to record audio into your project from microphones, instruments, and other audio devices, adding to the creative possibilities.
This guide aims to serve as an introduction to good recording practice, covering the process from start to finish. Whilst each guide features its own standalone tips, you can also follow along in order:
Processing
Once an audio recording has been completed, most DAWs include built in effects that you can apply to manipulate how the recording sounds. This guide will outline some of the most common effects, and their applications. As with many elements of music making, there is not a 'one size fits all' approach when it comes to processing your recording. Being heavily dependent on your sonic end goal, how you choose to utilise effects is completely up to you! Trial and error is a great way to experiment and learn how each effect changes the sound of your recording.
EQ
EQ, or equalization, refers to the manipulation of certain parts of the frequency spectrum of a piece of audio. Humans can hear from approximately 20hz to 20Khz, and an EQ allows you to adjust the level of certain points along this spectrum.
For example, you may have a recording of a voice that feels particularly 'bass heavy', and would like to reduce the bass to improve the clarity. An EQ will let you edit a point of the frequency range, in this case it may be around 100-300hz. You can then decrease the db/level of this part of the spectrum, effectively removing the bass from the recording.
You can use EQ to completely filter our parts of a recording's frequencies (a high pass filter removes the low end, whilst a low pass filter removes the top end), or to make more subtle changes to emphasise or detract from certain parts.
Compression
Compression controls the dynamics of a recording, helping to reduce the loudest points of a recording, and increase the quieter parts. This allows for a more consistent recording, and is commonly referred to as controlling the dynamic range.
Typically, a compressor will feature the following options:
Threshold: This is the level at which the compressor will engage. Any signal peaks over this value will be compressed.
Ratio: The amount of compression applied, by way of the reduction of the signal. When set to 2:1, for every 2db that is over the threshold, this is reduced to 1db. For 4:1, every 4db that is over the threshold is reduced to 1db. The higher the ratio, the stronger the compression applied.
Attack: How quickly the compression engages.
Release: How quickly the compression disengages.
It is also worth noting, that too much compression can take some 'life' out of a recording. An element of range in the dynamics of a performance is often desirable, adding character and a human feel. So whilst a compressor can help to balance the recording, it may be best to use this initially in moderation.
Reverb
Reverb is an effect used to simulate the sound of audio playing in a physical space. When a sound is made, the space around it determines how this is reflected, as it bounces of walls or objects, and back to our ears. A reverb effect models this, and applies it to your recording.
This can help to place a recording in a mix, for example heavy reverb can make a sound seem distant, adding a perceived distance. On the other side, a short reverb can place the sound in a smaller space, perceived as being closer to the listener.
Delay
Delay is a time based effect, that repeats the audio signal to create an echo. This can create interesting rhythmic patterns, or can help to fill space between vocals. Often, the delay can be synced to the tempo of your project, where you can choose a time division at which the repeats occur. For example, you could choose to add a 1/4 note delay, where the repeat is on each quarter note after the original signal.
Additional FX
There are many different effects available that can shape the character and tone of your audio. Briefly outlined below are some other common examples:
Chorus: This duplicates the signal, mixing the original with a slightly delayed, pitch modulated signal. A common effect in the 80's, that adds width to a sound.
Distortion: An intentional clipping of the signal, resulting in an overdriven, 'gritty' tone.
Phasing: Add a duplicated signal with a changing phase position. This refers to the point of the waveform at a particular time in the cycle, going from 'in phase' (aligned to the original), to slightly out of phase (out of alignment). This can create a sweeping, moving sound.
De-essing: A removal of frequencies generated by sibilance, such as harsh 's' sounds. De-essers tend to act in a similar way to compression, but only at a certain frequency where sibilance is commonly heard. When a threshold at this frequency is reached, the frequency band is compressed.