1 Understand manufacturers’ specifications for a range of audio recording equipment
The
microphone.
A microphone is an instrument which
alters sound waves into electrical energy variations. Microphones are something
that are used in many devices, like hearing aids, telephones, radios,
televisions and many other things too. There are many types of microphone and
they are all different but they are all the same in one way, they all have a
diaphragm, which is the part of the microphone in which causes the microphone
to create signals.
The
word microphone goes back to 1827
where Wheatstone described it as an utterly acoustic device, much like a
stethoscope which he had developed to amplify delicate sounds. The word Microphone comes from the Greek. ‘Micro’ meaning
small, and ‘phon’ meaning sound. Wheatstone was the first person to use the word
‘microphone’.
The
first microphone was invented by a telephone transmitter. This device was
liquid and it was not very practical. In 1876, Emile Berliner, who was from
Germany, was inspired by a Bell company telephone; this made him keen and
enthusiastic to improve the newly invented telephone. He then began to study
about the telephone straight away. The Bell telephone company were extremely
impressed with his invention and they bought the microphone patent for $50,000.
The
bell company was owned by Alexander Bells father. This company was started on
the basis of holding onto patents that could perhaps be valuable. Alexander
Bell was an eminent scientist, inventor, engineer, and innovator; he is the one
who created the first practical telephone. His mother and wife were both deaf,
this strongly influenced him with his work. Not only has he got this great
achievement, he has done many other things, for example, ground-breaking work
in optical telecommunications. He started experimenting at an extremely young
age.
In 1878, David Edward Hughes, who was a
Welsh scientist and musician, invented the carbon microphone; this was then
later developed in 1920. He invented many other things such as the teleprinter
and crystal radio. This microphone that he created is the early model for the
various carbon microphones which are now in use today.
Once the radio was discovered, new
broadcasting microphones were invented. In 1942 the ribbon microphone was made
and this was actually used for radio broadcasting. Dynamic and condenser microphones were progressed,
allowing for a lower sound level sensitivity and also a clearer sound
recording, this was in the 1970’s. Condenser microphones were used, but they
had a reputation of being slightly unreliable because they were very sensitive
to moisture, which caused ‘frying noises’.
In 1962, bell laboratories researchers
James West and Gerhard Sessler patented the electret. This had fantastic
reliability and they had a much lower cost to others.
The time line on microphones is massive
and microphones today are still being developed; the technology is growing and
expanding every day.
Dynamic microphones are normally used for
general use; they have a very simple design. Dynamic microphones are quite
strong and can take rough handling. They are resistant to moisture, these
microphones are perfect for on stage. This type of microphone is best for high
level volumes.
The
advantages of a dynamic microphone are that they are normally very cheap and
they can be rugged, although a bad point is that the response to different
frequencies isn't as good as microphones like ribbon and condenser.
Dynamic
microphones can range from a price as low as £25 which is really basic, to a price as high as £250.
A Behringer Dynamic microphone is about £25 and this microphone is just a standard one.
If you are looking for a better one than this, then you’re looking at a bit of
a more expensive one, and a good one is Rode Procaster Broadcast Dynamic Vocal
Microphone, which is about £130.
This microphone is a very professional one and a very tight polar pattern. It
has extremely good ambient noise rejection.
How does a dynamic microphone work?
A dynamic microphone uses a wire coil and
magnet to create the audio signal. The diaphragm is attached to the coil. They
work via electromagnetic induction. The diaphragm responds to the incoming
waves which make the coil move backwards and forwards past the magnet. Once
this happens it creates a current in the coil which is channelled from the
microphone along suspension wires. Dynamic microphones are not very sensitive
which can be a bad
thing as that means it doesn't pick up sounds as well as some other
microphones, but they are really good for live performances or recordings which
you may want to sound like it’s live.
Here is
a diagram of a dynamic microphone and what it looks like inside.
Condenser
Microphones.
The word condenser means capacitor, which
is an electronic component in which stores energy in the form of an
electrostatic field. The term condenser is actually now obsolete but has just
stayed as this term for this type of microphone, it uses a capacitor in which
converts acoustical energy into electrical energy. A condenser microphone does
need a battery or external use. Condensers do tend to be more sensitive and
much more responsive. These microphones are not really recommended for
high-volume work, this is because their sensitivity can make the sounds be
distorted.
Condenser microphones are the ones you
are most likely to find in the studios. They have a great frequency response
and transient response. These microphones do have a louder input, but they are
much more sensitive to loud sounds. Condenser microphones are usually more
expensive than dynamic microphones, but you can still get your hands on some
less expensive ones.
Although
condenser microphones are extremely good they are very expensive and they can
pop and crack. Also, they do require a battery or power supply in order to bias
the plates.
The
cheapest condenser microphone that you can get your hands on would probably be
at about £50,
these are very standard and may not be the best quality, but a very good
condenser microphone which is called AKG C 414 XLS Large Diaphragm Condenser
microphones. This type of microphone would come at a price about £600 and
this type has been used on thousands of hit records, so if you’re really
looking for a professional sound these are the best type to get. They are very
good for detailed acoustic pick up.
Back Eclectic.
A back eclectic is a type of a condenser
microphone. Eclectic microphones have been around since the 1920’s, they were
considered impractical, and this was said up until the foil electric type was
made, at Bell Laboratories in 1962, this was made by Gerhard Sessler and Jim
West, they used a thin metallized Teflon foil.
This then became the most common type. There are three major types of
Eclectic microphone. They are each different in the way that the eclectic
material is used. The three types are Foil-type or diaphragm-type, Back
electret and Front electret. The condenser
microphone requires a polarizing voltage, eclectic types don’t.
How does a condenser microphone work?
A capacitor has two plates with a voltage
between them. One of these plates is made of incredibly light material which
acts as a diaphragm. When the diaphragm is struck by sound waves it vibrates,
this actually then changes the differences that is between the two plates which
then changes the capacitance. When the plates are closer together capacitance
increases and a charge current occurs but when the plates are further away from
each other the capacitance decreases and a discharge current occurs. For this
to work there needs to be a voltage, this voltage is supplied by battery or
external phantom power.
Here
is a diagram of a condenser microphone:
PZM
(pressure zone microphone)
PZM mics are quite unusual looking and
don’t really have the same look as a normal microphone. They work best when
they are on a hard flat surface that is at least one metre square, for example,
a table top or a wall. PZM tend to have a very smooth frequency response and
strong output levels. PZM microphones are omnidirectional. There are so many different
types of these microphones, for example, PZM-11, PZM-10LL, PZM-10, and many
more.
PZM
microphones price range goes from about £50-£300, just like any style of microphone the price
range varies a lot. And unlike any microphone if you’re wanting a good one
you’re going to need to spend quite a bit to get a decent mic and one that will
last for a long time. An AKM Pzm-6D Boundary Microphone is about £330.
This microphone is actually designed for professional recordings, sound
reinforcement and broadcasting.
How do PZM microphones work?
A small condenser microphone is mounted face-down a short distance from the reflective boundary plate. This creates a pressure zone between the plate and the microphone. The microphone detects changes in this pressure zone, rather than the conventional method of detecting
changes in the surrounding air pressure (i.e. sound waves)
Ribbon
Microphones.
A
ribbon microphone is also known as ribbon velocity microphone. This microphone
is incredibly delicate and definitely cannot take rough handling, as they have
got better over the years they have become slightly more durable, and they are
sometimes used on stage but still must be taken good care of, even slamming the
lid on their box can cause damage. It uses thin aluminium, duraluminum or
nanofilm ribbon which is between the poles of a magnet which generates voltage;
it does this by electromagnetic induction.
Ribbon microphones are extremely
expensive; the prices of this type can range from about £150-£2,000. A Rupert Neve active Ribbon
Microphone-SEN-RNR1 is about £1,340
and this type of microphone has made history. It is very good and completely
worth it if you’re willing on spending that much money.
How do ribbon microphones work?
The
ribbon reacts to velocity of air particles, whilst it is moving within the
magnetic flux field it actually generates a small AC voltage proportional to
this velocity. The clamps that are attached to either end of the ribbon act as
contact terminals. The wires then carry out signals to a step-up transformer;
this then raises the output voltage and then improves the output impedance to a
usable level for a preamp, this is normally around 150-300 ohms. The ribbon
microphone is sensitive to sounds coming from the front and back but ignores
sounds coming from the sides, most ribbon microphones have a bidirectional
polar pattern, and this is a good thing because it makes them ideal for
blocking out any unwanted sounds.
Good things about the ribbon microphone is
that, it does have a nice and warm tone but they are very delicate and they
don’t take to wind sounds very well or good for using outside unless they are
protected extremely well. Ribbon microphone prices vary and are usually quite
expensive. If you want a decent ribbon microphone you’re looking at a price of
about £400-£700.
Polar
Patterns
The polar pattern also known as pick up
pattern is the shape of the area that a microphone will be sensitive to sound.
The most common types of directionality are omnidirectional, cardioid and super
cardioid.
Cardioid.
A cardioid microphone is where the
sensitivity is at the front and least sensitive at the back of the microphone.
This type of microphone is much more resistant to feedback, rather than
omnidirectional microphones. This is suitable for loud stages, and big
performances.
Super cardioid microphones have a much
smaller and narrower pick up, the opposite of cardioids. They are also much
better at ignoring ambient sound. It’s vital to place monitor speakers
correctly due to it having pick up at the rear. These are really resistant to
feedback and perfect for when single sound sources need to be picked up in environments
that are quite loud.
This
microphone has sound sensitivity which is the same all around, having equal
output at each angle, meaning it picks up sounds strongly from each direction.
This is helpful because this then means that you don’t have to aim it at a
specific place, but a disadvantage of this is that it can pick up feedback.
This type of microphone is when the sound
picks up from the front and the back, but it doesn’t pick up at the sides. This
is great if two people are recording harmonies and want to do it at the same
time. Microphones like this are usually ribbon microphones or large diaphragm
microphones.
A cardioid microphone is where the
sensitivity is at the front and least sensitive at the back of the microphone.
This type of microphone is much more resistant to feedback, rather than
omnidirectional microphones. This is suitable for loud stages, and big
performances.
Super cardioid.
Super cardioid microphones have a much
smaller and narrower pick up, the opposite of cardioids. They are also much
better at ignoring ambient sound. It’s vital to place monitor speakers
correctly due to it having pick up at the rear. These are really resistant to
feedback and perfect for when single sound sources need to be picked up in environments
that are quite loud.
Omnidirectional.
This
microphone has sound sensitivity which is the same all around, having equal
output at each angle, meaning it picks up sounds strongly from each direction.
This is helpful because this then means that you don’t have to aim it at a
specific place, but a disadvantage of this is that it can pick up feedback.
Figure
of eight (bidirectional)
This type of microphone is when the sound
picks up from the front and the back, but it doesn’t pick up at the sides. This
is great if two people are recording harmonies and want to do it at the same
time. Microphones like this are usually ribbon microphones or large diaphragm
microphones.
These
are the symbols for polar patterns:
Taking microphones in to the real world…
Using a microphone for recording vocals
I have researched what is recommended
for recording vocals and it would be logical to use a large diaphragm
Omnidirectional condenser microphone, this would be a perfect choice depending
on what the room environment is like, it would create a much more natural
sound. The room you are in makes a big impact on the sound and the quality of
your recordings. If the area you are in isn't good enough for this then you’d
choose a Cardioid Condenser. A condenser microphone is the best type of
microphone to record with as their frequency response and transient response
is great which something you should be after when recording vocals is. Some microphones you have a switch on
the microphone itself and you can choose between different polar patterns, if
you wanted a microphone like that you’d have to be willing to pay a much higher
price as they are very good quality. When recording vocals it is also a good
idea to use a pop shield, this is because it stops any sharp and harsh sounding
words from sounding so strong and it softens them, this is what a pop shield
looks like.
Using a microphone for recording drums
When recording drums I found that the
microphones that would be good for this are condenser, ribbon and dynamic.
Whilst doing my research I found out that it’s a good idea to use several types
of microphones as there is many parts to a drum kit so different microphones
sound good for each part of the drums. You need to have quite a few microphones
positioned around the drum kit so you get a good sound as all drums have
different frequency ranges. The room you are in definitely changes the sound
that you get, depending on whatever the sound is that you’re after. It is one
of the most vital things, not just for recording drums but having a decent room
will give you a better sound altogether.
It’s
best to have a microphone on the snare and the bass because they are the main
drums on a drum kit. The overhead microphones are collecting cymbal sounds. The
hi hats are quiet so you want a microphone to boost them in the mix.
Using a microphone for recording an acoustic guitar
When
recording an acoustic guitar it’s best to have one microphone between each hand
pointing towards the neck of the guitar, this picks up string sounds and your
fingers against the strings, which will give you a good acoustic sound. You
have a microphone pointing towards the sound whole because this will pick up
the actual sound. If you’re using a plectrum this will also be picked up. If
you are finger picking then the microphone will capture each string. A pencil
condenser is perfect for the fret board and a large diaphragm condenser for the
sound whole. These microphones are great for capturing a good sound.
Mixing desk
Routing
Channels
Busses
Auxiliaries
Groups
Inputs
Outputs
Facilities eg EQ
CREATING A HOME STUDIO
In order to create a home studio there are some vital things that you need to have to do this, the most important things I would say in setting up a home studio would be a microphone, speakers, and a Korg.
Obviously, if you are setting up a home studio the budget most people have isn’t going to be very big, so in this article I am going to talk about these 3 things (microphones, speakers, Korg), and include price ranges and what I would recommend for your home studio set up, telling you as much as I can about this equipment.
The equipment that I would strongly suggest to use for setting up your home studio would be a Korg D’1200, a dynamic microphone perhaps a Rode Procaster Broadcast Dynamic Vocal Microphone or if you are on a very tight budget then a cheaper one would be a Behringer Dynamic microphone and for the speakers it is pretty important to have some decent ones in order to hear the best quality of sound that you can.
With the research I have looked at about speakers I found that the Alesis M1 Active 520 is an extremely good speaker, so as this article goes on I am going to talk about these things in depth with you. It all comes down to what you feel comfortable with, and what you are happy with.
As I said before I would advice you to use a Dynamic microphone, the main reason for this would be because they are so resistant to rugged use and rough handling and can handle quite a lot of banging about,, which is perfect for using at home, although you do still need to take great care of them, they are also extremely reasonable prices and something you could save up for over a small amount of time.
Dynamic microphones are normally used for general use; they have a very simple design. They are resistant to moisture, these microphones are perfect for on stage, which is a good point as this means not only can you use it in your home studio you can also take it out for any live performances you have. This type of microphone is best for high level volumes.
Dynamic microphones can range from a price as low as £25 which is really basic, to a price as high as £250.
A Behringer Dynamic microphone is about £25 and this microphone is just a standard one.
(Which is something that I spoke about in the introduction).If you are looking for a better one than this and you are happy to spend a little more for a better quality one, a good one is Rode Procaster Broadcast Dynamic Vocal Microphone, which is about £130. This microphone is a very professional one and a very tight polar pattern. It has extremely good ambient noise rejection.
Here’s a link to the Rode microphone-
http://www.google.co.uk/products/catalog?hl=en&q=Rode+Procaster+Broadcast+Dynamic+Vocal+Microphone&bav=on.2,or.r_gc.r_pw.r_qf.&bvm=bv.1355534169,d.d2k&bpcl=40096503&biw=1280&bih=923&um=1&ie=UTF-8&cid=11450140818620326062&sa=X&ei=utrRUKwexKnRBZ-mgNgE&ved=0CDYQ8wIwAQ
How does a Dynamic microphone work?
A dynamic microphone uses a wire coil and magnet to create the audio signal. The diaphragm is attached to the coil. They work via electromagnetic induction.
The diaphragm responds to the incoming waves which make the coil move backwards and forwards past the magnet.
Once this happens it creates a current in the coil which is channelled from the microphone along suspension wires.
Dynamic microphones are not very sensitive which can be a bad thing as that means it doesn’t pick up sounds as well as some other microphones, but they are really good for live performances or recordings which you may want to sound like it’s live.
I have recommended for you to use a Dynamic microphone, but there are also some other very good microphones out there that would also be brilliant for a home studio set up. A condenser microphone is extremely good and one you would usually find in a studio.
They have a great frequency response and transient response. These microphones do have a louder input, but they are much more sensitive to loud sounds.
Condenser microphones are usually more expensive than dynamic microphones, but you can still get your hands on some less expensive ones.
A condenser microphone does need a battery or external use. Condensers do tend to be more sensitive and much more responsive. These microphones are not really recommended for high-volume work, this is because their sensitivity can make the sounds be distorted.
The cheapest condenser microphone that you can get your hands on would probably be at about £50, these are very standard and may not be the best quality, but a very good condenser microphone which is called AKG C 414 XLS Large Diaphragm Condenser microphones.
This type of microphone would come at a price about £600 and this type has been used on thousands of hit records, so if you’re really looking for a professional sound these are the best type to get. They are very good for detailed acoustic pick up.
Here’s a link to the AKG C414 XLS Condenser Microphone-
http://www.dv247.com/microphones/akg-c-414-xls--72455?gclid=CMqs2_DSprQCFSHHtAodRE8AHQ
How does a Condenser microphone work?
A capacitor has two plates with a voltage between them. One of these plates is made of incredibly light material which acts as a diaphragm. When the diaphragm is struck by sound waves it vibrates, this actually then changes the differences that is between the two plates which then changes the capacitance. When the plates are closer together capacitance increases and a charge current occurs but when the plates are further away from each other the capacitance decreases and a discharge current occurs. For this to work there needs to be a voltage, this voltage is supplied by battery or external phantom power.
Here is a diagram of a condenser microphone:
Obviously these two microphones aren’t the only two microphones in the world, the list is endless, but I have chosen these two microphones because they would be the top on my list of microphones to use. I do personally do prefer the Dynamic microphone like I said before, due to it being more damage resistant, and the price is much lower, which is a very good thing for a home studio, especially if it is your first home studio, no one is expecting you to start off with the most top of the range equipment.
Polar Patterns
The polar pattern also known as pick up pattern is the shape of the area that a microphone will be sensitive to sound. The most common types of directionality are omnidirectional, cardioid and super cardioid.
Cardiod-
A cardioid microphone is where the sensitivity is at the front and least sensitive at the back of the microphone. This type of microphone is much more resistant to feedback, rather than omnidirectional microphones. This is suitable for loud stages, and big performances.
Super Cardiod-
Super cardioid microphones have a much smaller and narrower pick up, the opposite of cardioids. They are also much better at ignoring ambient sound. It’s vital to place monitor speakers correctly due to it having pick up at the rear. These are really resistant to feedback and perfect for when single sound sources need to be picked up in environments that are quite loud.
Omnidirectional-
This microphone has sound sensitivity which is the same all around, having equal output at each angle, meaning it picks up sounds strongly from each
from each direction. This is helpful because this then means that you don’t have to aim it at a specific place, but a disadvantage of this is that it can pick up feedback.
Figure of eight (bidirectional)-
This type of microphone is when the sound picks up from the front and the back, but it doesn’t pick up at the sides. This is great if two people are recording harmonies and want to do it at the same time.
Microphones like this are usually ribbon microphones or large diaphragm microphones.
Here’s some links for you to look at:
Korg D’1200
A korg is basically a high-performance recording studio, but it is in a compact package. Korgs are a breeze to use and perfectly capable of recording a good quality sound. The prices of these range from about £200-£1,000.
A Korg D’1200 is a brilliant digital multi track recorder and completely worth the money you will pay for one. It’s a 12 track studio ‘in a box’.
They are easy to carry around with you as they come in a very safe box which keeps your Korg is fantastic condition, meaning you can take it around with you, great size for carrying around.
You may be wondering what a Korg can actually do, well I’ll tell you. A Korg D’1200 has a range of things that you are able to do, to make your tracks sound better, in such a straight forward way, causing no confusion.
What does a Korg D’1200 do?
Overdubbing
Editing
Mixing
Records
Mixing
CD burning
Like anything there are pro’s and con’s of everything there is, and anything that you chose to buy. The pro’s of this Korg is that, the audio is of excellent quality, there are brand new features on this Korg compared to the D12, including Phantom power and 24-bit option and it is easy to transfer data to a computer using a USB.
And there is just one con that I can think of which is, some tracks are only available as stereo pairs, which is something you could work around anyway.
How do I use a Korg D’1200?
The first thing that you need to do, is turn the ‘trim’ knob next to ‘input 1’ and put it on the lowest volume that you can.
Connect your guitar/bass/microphone into the instrument input Jack using a Jack lead. You’ll then need to plug your headphones into the Jack ‘headphones’.
You’ll need an XLR which you will put into input 1 for microphones, and the Jack lead will go into the one below this.
Use the provided AC/DC plug to the ‘DC-In’ Jack, then you need to connect the other end into the power source. You then need to set the master fader to the right position and press the ‘Power’ button which will turn on the device.
You then click the ‘song’ button move the curser keys to press ‘new’, this will then take you to the ‘make new song’ dialog box.
Slide the “CHANNEL 1” and “CHANNEL 2” faders to zero, or unity gain.
You then press the key that says ‘meter track view’ which will take you to check the input level.
You then click the ‘song’ button move the
Press the record key for the record ready mode, the ‘rec’ and ‘play’ LEDs will then begin to flash. Once you are happy with this and ready to record just press the ‘play’ button, and start playing your instrument/singing. Once you have finished recording then press the stop button
If you want to play back what you have just recorded, then you need to press the track 1 and 2 ‘track status’ keys to set them to play. While you’re holding the ‘stop’ key, press ‘rew’ (rewind) which will bring you to the beginning of the song you just recorded. Then when you have done this, you are ready to hear back what you have done, just the ‘play’ button to begin playback.
If you want to play back what you have just recorded, then you need to press the track 1 and 2 ‘track status’ keys to set them to play. While you’re holding the ‘stop’ key, press ‘rew’ (rewind) which will bring you to the beginning of the song you just recorded.
Then when you have done this, you are ready to hear back what you have done, just the ‘play’ button to begin playback.
If you want to adjust the sound of your song then you can turn the pan key left or right which will give you different volumes of sound in your left and right headphone.
If you are happy with your recording, you are then ready to change it up, by using the effects buttons.
If you want extra help on how to use your Korg D’1200 then it does come with an instruction manual which have instructions in more depth, and here are some links to this Korg. I hope you enjoy using it!
Personally, my opinion on this type of Korg is that it is definitely worth it’s money and you just can’t go wrong with it. Who wouldn’t want their own mini compatable studio? It gives you the best quality of sound, so straight forward and great for when you are wanting to start making your own songs. Your own personal studio, in your hands.
Here are some websites for you to look at online for them:
Now you’re ready to go out and get your next item for your home recording studio, just one thing left!
SPEAKERS
Now we have spoken about Microphones and the Korg D’1200, there’s just one more vital piece of equipment that you need to get. Like I said in the beginning of this article I said that the Alesis M1 Active 520 is a very good speaker and such a reasonable price also.
Here’s what an Alesis M1 Active 520 looks like.
They are a good size too, depending on the size of your room you really want some speakers that fit perfectly, if the room you’re wanting to put the speakers in is quite small it maybe isn’t such a good idea to go for some massive speakers as it could be quite over powering, if the room is fairly big you could perhaps go for some speakers that are a little larger.
I have researched many speakers and these are the ones that really appealed to me and something that I am wanting to invest in aswell. The price range of these speakers is about £150-£200 which in my eyes is a really good price especially for what they are capable of.
Before we go into detail about this particular speaker, I want to show you how a speaker actually works, this is something that you should know when purchasing something, having this knowledge can help you incredibly.
How does a speaker work?
I’m going to start off by showing you a diagram of how a speaker functions, it may scare you a little due to all the bits that are included but don’t worry it isn’t as scary as it looks, and actually quite interesting to learn about!
An electric signal reproduced by an amplifier passes tghrough the speaker wire, this is done in the form of an analog wave (This wave depends on the terms of it’s frequency being reproduced and the volume that you have chosen)
The signal that has been made goes into the speaker via the binding posts and through the wiring inside the cabinet is sent to the voice coil
The signal travels through the voice voil, which is in close proximity to the magnet
As the signal’s amplitude and frequency change, the force on the voice coil undulates back and forth which is in reaction to the magnet
The voice coil vibrates fast along the axis of the magnet structure, thereby vibrating the cone
When the cone vibrates the air around it is pressurized straight away and these pressurized air molecules will then translate which become the sounds that we hear
Pretty straight forward, right?
So now you’re educated on how a speaker actually works it self I want to tell you about this fantastic Alesis M1 Active 520.
You might be wondering what’s so good about this speakers, well i’m just about to tell you...
Two-way, active, bi-amplified pair of reference studio-monitor loudspeakers
Wide, 56 – 20,000 Hz frequency response
60W system with 30W per speaker
Works with iPad via Apple USB Adaptor
Five-inch lightweight polypropylene woofer
One-inch silk-dome tweeter
Integrated USB audio interface with 16-bit, 44.1/48 kHz recording and playback
Two balanced-1/4” inputs
Stereo, 1/4” headphone output
Magnetically shielded for placement near TV and computer monitors
Low-resonance cabinet with tuned bass port
Bi-color signal/clip indicator
Switchable power supply ensures worldwide operation
If that’s not enough for you, then if you invest in this speaker it also comes with:
Two M1Active 520 USB loudspeakers
XLR interconnection cable (6 ft)
USB cable (6 ft)
IEC power cable
Quick star manual
Safety and warranty guide
Having speakers is one of the most important pieces of equipment whilst setting up your home studio, without it you can’t hear the best quality of sound of your produced song.
Here are some websites of this type of speaker to show you more about them:
If I were to compare these speakers to another set I would look at the 620, this speaker is very smooth and detailed, although I think that the lower end tended to make the bass sound more rounded than it should. I did prefer the 620s withouth the Hi and Lo Boost, the high-pass filter at its lowest setting and having the acoustic space switch set to the centre position, I think this gave it the best sound it could achieve.
Where as the 520 I felt had a little less bass extension. The bass end in this speaker is brilliant for a smaller home studio (which could be in your case).
The 520 is definitely one for a a small home studio, the sound is beautifully clean and the bass is under control.
Here is a YouTube link to a video of this speaker:
Conclusion
I hope I have covered everything that I should have to help and encourage you. I strongly believe int he equipments that I have talked about and believe these will be great for your home studio.
From looking at all the research I have done, and hopefully you will agree with me by looking at my article that the Alesis M1 Active 520 speakers, Korg, Rode Procaster Broadcast Dynamic Vocal Microphone is the way forward for you.
Monitoring
Near field
A nearfield monitor is when the studio monitor is just a few feet
away from the listener, good for small studios. It gives you the sound of a
'true mix' and gets rid of the natural reverb of the surroundings and focuses
just on the actual sound not allowing the influence of the room to take over.
Nearfield speakers are the most common choice for some one who is working in a
project studio, whether it is active or passive studio monitors. Near field
speakers tend to be very small because if they were too big it would create a
sound too loud for you to be sitting so close to.
Below is an image of what near field speakers would look like,
distance wise.
Midfield
Mid field monitors are designed to be around 2 to 4 metres away
from the listener because they are bigger than near field monitors. Mid field
monitors are known to give you a broader frequency spectrum compared to near
field monitors. It is important that you don't face them against or near walls,
so if you have a small space it isn't really a good idea to use these. Mid
field monitors give you more volume or sound pressure level required.
A full-range loudspeaker produces a lot of the audible frequency, as much as possible. The whizzer cone maximizes the frequency range of these drives. Systems like, radios, or small computer speakers struggle to reproduce the entire audio range.
Full-range speakers try to cover the whole of the audible frequency spectrum, it does this by using just the one driver unit. Having it being able to do this makes it not need to use an electronic crossover network.
Frequency response
Frequency response is the term used to describe the output spectrum of a system, or a device in response to a stimulus. A frequency response is used to characterise the dynamics of the system. Frequency response is a measure of magnitude and also phase of the output as a function of frequency.
The chart below is what a frequency response from a microphone would look like. It is known and referred to as a frequency response curve.
X axis= Frequency in hertz
Y axis= Response in decibels
If it's a higher value then this will mean that frequency will be exaggerated, and a lower value, the opposite, it will be attenuated.
Two-way
A two- way monitor contains a woofer and tweeter driver for low and high end frequencies. They are usually much smaller monitors.
Three-way
A three way monitor contains three different drivers. A woofer for low frequencies, the tweeter for high frequencies and also a mid range driver.These are more commonly used.
Below is a diagram showing the difference between the two.
Passive
Passive monitors run off a detached amp, just like a normal hi-fi. They have a speaker-level input. An advantage of passive monitors is that the two parts to the speakers, the monitor and the amp is two separate things so they can be upgraded individually, this is less expensive and an easier process.
Active
Active monitors will always have built in amps, and they also have a line level input, as well as a power plug. Active speakers usually produce less noise and colour this is because they are self powered and amplified. Active speakers are more difficult to upgrade.
Power rating
Power rating is literally a measurement of power that can be used with a device or a tool. Power rating is used to help keep the user of the device safe and it also helps the tool or device to be prevented from being damaged. To have extra safety the highest level is actually slightly less than what is provided by the manufacturer. Power rating for a device is usually in watts when it is representing the actual power itself. The perceived-power, is expressed as volt-amperes. If it is a large power system then watts and volt amperes can be expressed in a different way which is per-unit system rating.
In simpler terms, power rating is:
- The amount of electric power that is required for a device/tool
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