Recording - March 2018 - 59

However, if you choose to use an external console to mix the
final tracks, or if you want to use hardware effects processors,
you might need more output channels. Also, for overdubbing,
you may want separate stereo outputs for the artist's monitors and
your own. In these cases, more outputs provide more flexibility.

Electric and electronic instruments
The second way we can do recording is using electric/
electronic instruments directly. This includes electric keyboards
like organs, electric pianos, and synthesizers, as well as drum
machines and the outputs of guitar amp-modeling pedalboards. These devices often output signals at line level, so
they won't require additional amplification. In many cases,
you can run them directly into your interface.
However, frequency and level management are still important, so EQs and compressors can still be found in these input
chains. Also, in some cases-especially if you need to run
long cable lengths-you may want to use a direct box, which
converts the signal into a form that can support long cable
runs. We'll talk more about direct boxes later.

MIDI-a source that's not audio
There is another kind of input that is critical for a lot of DAWbased studios: MIDI input. MIDI (short for Musical Instrument
Digital Interface) data is primarily used for notes played by a
synthesizer or drum machine, or fader moves on a control
surface. Instead of containing the sound of an instrument, a
MIDI data signal is a chain of events-it tells your DAW when
a note is turned on and turned off. This is recorded by the
DAW, and can be sent back out to either hardware devices or
software instrument plug-ins.
The critical thing about MIDI is that it doesn't contain any
audio, only information on notes and control changes. That
means that it is easy to change the notes after the recording is
complete, and that you can also change the sound by changing
the instruments that play back the notes.

MIDI signals don't get routed through an audio interface;
rather, there is a separate input/output system called a MIDI
interface. Some audio interfaces include a built-in MIDI
interface, but you will also find standalone MIDI interfaces for
more complicated situations. MIDI itself is a digital language;
it can be transmitted on many types of digital cables-over
USB or Ethernet, or MIDI cables with special 5-pin connectors
found on most electronic music gear.

Monitors and headphones
Once we have audio in the DAW/computer, we'll need
to get it back out of the box. Again, it seems like you should
be able to just run something to some speakers, and some
people are satisfied with a computer's built-in audio interface
(also called the headphone jack!). But most serious recording
enthusiasts choose to use a dedicated audio interface for output.
Since you already have an audio interface for input (and most
also include outputs), we can jump directly to speakers.
The speakers used in a studio have an immense impact on
the quality of one's recorded work. Purpose-built studio speakers
(generally called studio monitors), which often include built-in
amplifiers, attempt to provide as flat of a frequency reproduction as possible. This prevents you from making mistakes
during the mix: for example, if your studio monitors aren't
giving you enough bass frequencies, you will tend to increase
the volume of the kick drum and bass guitar. But when you
play your work on someone else's system (or in someone's
car), the whole thing will sound like mud-too much bass!
Thus, studio monitors are not designed to sound 'good'.
Instead, they always try to sound flat across all frequencies and
as detailed as possible. This way, you can focus on the overall
mix of sounds without anything getting too much of a boost,
and the mixes should translate well to other listening situations.
Another important speaker system is a good set of headphones. Whether you are recording vocals (and don't want
to hear outside sounds in the background), or are trying to work

Figure 1. The Universal Audio Apollo 8p is a rackmount audio interface.
It offers a variety of input and output connections for analog signals and digital data.
RECORDING March 2018

59



Table of Contents for the Digital Edition of Recording - March 2018

Contents
Recording - March 2018 - Intro
Recording - March 2018 - Cover1
Recording - March 2018 - Cover2
Recording - March 2018 - 1
Recording - March 2018 - 2
Recording - March 2018 - 3
Recording - March 2018 - 4
Recording - March 2018 - 5
Recording - March 2018 - Contents
Recording - March 2018 - 7
Recording - March 2018 - 8
Recording - March 2018 - 9
Recording - March 2018 - 10
Recording - March 2018 - 11
Recording - March 2018 - 12
Recording - March 2018 - 13
Recording - March 2018 - 14
Recording - March 2018 - 15
Recording - March 2018 - 16
Recording - March 2018 - 17
Recording - March 2018 - 18
Recording - March 2018 - 19
Recording - March 2018 - 20
Recording - March 2018 - 21
Recording - March 2018 - 22
Recording - March 2018 - 23
Recording - March 2018 - 24
Recording - March 2018 - 25
Recording - March 2018 - 26
Recording - March 2018 - 27
Recording - March 2018 - 28
Recording - March 2018 - 29
Recording - March 2018 - 30
Recording - March 2018 - 31
Recording - March 2018 - 32
Recording - March 2018 - 33
Recording - March 2018 - 34
Recording - March 2018 - 35
Recording - March 2018 - 36
Recording - March 2018 - 37
Recording - March 2018 - 38
Recording - March 2018 - 39
Recording - March 2018 - 40
Recording - March 2018 - 41
Recording - March 2018 - 42
Recording - March 2018 - 43
Recording - March 2018 - 44
Recording - March 2018 - 45
Recording - March 2018 - 46
Recording - March 2018 - 47
Recording - March 2018 - 48
Recording - March 2018 - 49
Recording - March 2018 - 50
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Recording - March 2018 - 52
Recording - March 2018 - 53
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Recording - March 2018 - 55
Recording - March 2018 - 56
Recording - March 2018 - 57
Recording - March 2018 - 58
Recording - March 2018 - 59
Recording - March 2018 - 60
Recording - March 2018 - 61
Recording - March 2018 - 62
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Recording - March 2018 - 65
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Recording - March 2018 - 67
Recording - March 2018 - 68
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Recording - March 2018 - 70
Recording - March 2018 - 71
Recording - March 2018 - 72
Recording - March 2018 - Cover3
Recording - March 2018 - Cover4
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