Getting Started – Audio Cabal

The Basics

For most audio students, the interface will likely be an all-in one unit that includes the mic preamp and converters. In the past, interfaces were a bit more of an issue since Pro Tools was proprietary to M-Audio and Digidesign (Avid) hardware until version 9. Now, there are more options.

This is another area that I think a lot of students have irrational issues with the want vs. need thing. Things that you NEED are things that are essential for you success in school, or things that will pay for themselves in a short time by allowing you to make money you would have been able to make otherwise. Anything else is really a WANT, a luxury. I’m an established professional, so my needs are very different than students. I also have a budget for WANT. Most students do not.

I/O Options

When it comes to interfaces, of course you want 24 channels of great pres and conversion, all for $400. Unfortunately, that won’t be happening. For most students, the question is really one of 2 channel, 4 channel, and 8 channel interfaces. That is the NEED. I encourage students to not over-buy interfaces. You have access to facilities while you are in school. Like all computer-based equipment, interfaces become obsolete within a few years, so it isn’t a solid investment for a student. If you can get by with four channels until you graduate, do it. Don’t buy an 8-channel. Save your money for something that will last.

My best suggestion is to start by making a list of what you will actually be doing at home or in your dorm. For example, a dorm or bedroom setup isn’t likely to be used for drum tracking. In many cases, a student will be tracking one instrument or voice at a time. Even with a few microphones, they are likely to be well served with four microphone preamps.

In another example, the setup might be for a small band rehearsal space. The band might want to be able to quickly record ideas as the band jams and creates new music. With even a few microphones on the drums, one on guitar, one on voice, and either a microphone or a DI on bass, a student might easily use 8 channels, and have no options for keyboards, backing vocals, etc.

In general, thinking clearly about your needs in the immediate future – like the next 1-2 years – will allow you to avoid over-spending. You will likely need to replace the interface on any longer timeline, so thinking about how you might use the interface in 3-4 years isn’t useful, and will just make you overspend.

MIDI

Many interfaces include MIDI I/O. Again, it is best to think about your needs. If you already have a lot of MIDI IO with USB connected keyboards, etc. it may not be an issue if the interface doesn’t include MIDI. In other situations, like portable systems, it can be helpful to have both Audio and MIDI I/O in one box.

Originally posted at brandonvaccaromusic.com on Nov. 25, 2012.

A significant amount of my time with my students involves discussing equipment purchases and decisions. This series of posts will address some of the most common areas of discussion. This is targeted to young students just getting started. There are no ground-breaking secrets here; just real-world considerations for purchases.

This post will focus on plug-ins.

The Basics

Do we need to buy plug-ins in the first place? Pro Tools comes with plug-ins, as does Cubase and Logic. The simple answer is no. There is plenty that you can do with the built-in plug-ins. In a few cases (a simple digital delay, for example) there will likely be little difference from one plug-in to another due to the simple nature of the digital algorithms involved.

However, in many cases, the algorithms are more complex and we can expect greater variations. One thing that a 3rd party plug-in can give is consistency across platforms.

Of course, of greater consideration is the actual audio quality of the process, and this is the real reason that people pay so much money for 3rd party plug-ins. In some cases, the plug-ins simulate the “character” of very expensive real-world analog circuits. In other cases, they represent a proprietary algorithm that other software companies don’t have.

Given the cost of plug-ins, and the abundance of available options, this is a prime area to start with Want vs. Need.

In my opinion, an audio student needs access to good versions of the following plug-ins. These are used so often that the sound of a mediocre plug-in will emerge quickly in a mix simply due to the number of iterations

EQ
1. A great parametric EQ
2. A really good Shelving Filter
3. A really good (i.e. transparent) High-pass/low-pass filter
Dynamics
1. A great compressor
2. A good expander/gate
3. A great limiter
Reverb
1. A great reverb

Just about anything else can be worked around. For example, a particular phaser from one DAW can be printed to an audio track. Additionally, modulation and other effects make up less of the day-to-day workflow of mixing.

Opinions

This is a quick list of what I’ve been using lately.

EQ
1. McDSP Filter Banks – This is a must have for me. I use these EQs in every session.
2. McDSP NF575 – I use this for WAY more than noise filtering. I love the transparent, super-surgical quality for detailed filtering with a high Q
Dynamics
1. Compressor – McDSP Compressor Banks – Again, this is my go-to “un-charactered” plug-in. Simple, clean and great sounding. I use a ton of different compressors, but the CompressorBank is a staple for me.
2. Limiter – McDSP ML4000 and the Massey L2007. I rarely use anything other than these two.
3. Expander/Gate – Sonnox Dynamics – This isn’t a must-have for everyone, but I do a lot of keyed expansion, so I need a good, transparent plug-in. Sonnox is it for me.
Reverb
1. The only reverbs I use are McDSP Revolver and the Sonnox Reverb. Revolver is my go-to for halls and plates. Sonnox is my go-to for anything “effect-y.”
Other Personal Must-Haves
1. Celemony Melodyne – This is my go-to pitch correction software, but I use for so much more. Harmony parts, loop editing, MIDI doubling of real instruments…
2. SPL Transient Designer – I use this a lot, especially if I am mixing drums tracked by someone else.
3. A great De-esser. I use the McDSP and the SPL, depending on the quality of the sibilance on the track.