Recording with an Audio Interface

  • Thread starter Thread starter ericgcollyer
  • Start date Start date
E

ericgcollyer

New member
Is it just me, or does every audio interface have knobs as opposed to sliders? Why is this? Why don't they use sliders? It is much easier to set levels with sliders rather than knobs.

Now that that rant is over with, on to my question. I tend to record tracks with a large dynamic range, and I am finding it difficult to get the lows loud enough while still keeping the highs from clipping. Is there some sort of a trick to this? Or do I just have to set the levels really low and then do it all in post? (without buying a hardware compressor that is).
 
Well, your loudest part can't clip. So if the quietest part is 40db quieter than the loudest, you'll just have to record low. Just set it so your loudest part doesn't clip.

I don't follow, you can't get enough low end without clipping the highs? sounds like you need to do some EQing?

Also, compression takes away the dynamic range. it chops the loudest part down so you can bring the whole track up, effectivly making the loud parts closer to the quiet parts. It doesn't have very much to do with lows vs highs. EQ does that.

And as far as the sliders, it's probably just a cost thing, and the fact that most people use the sliders in the DAW, and just set preamp levels with the knobs.
 
ericgcollyer said:
Is it just me, or does every audio interface have knobs as opposed to sliders? Why is this? Why don't they use sliders? It is much easier to set levels with sliders rather than knobs.
Click to expand...

Sliders use more real estate and reduce granular control. Or something like that.

ericgcollyer said:
Now that that rant is over with, on to my question. I tend to record tracks with a large dynamic range, and I am finding it difficult to get the lows loud enough while still keeping the highs from clipping. Is there some sort of a trick to this? Or do I just have to set the levels really low and then do it all in post? (without buying a hardware compressor that is).
Click to expand...

See this thread.
 
ericgcollyer said:
Is it just me, or does every audio interface have knobs as opposed to sliders? Why is this? Why don't they use sliders? It is much easier to set levels with sliders rather than knobs.

Now that that rant is over with, on to my question. I tend to record tracks with a large dynamic range, and I am finding it difficult to get the lows loud enough while still keeping the highs from clipping. Is there some sort of a trick to this? Or do I just have to set the levels really low and then do it all in post? (without buying a hardware compressor that is).
Click to expand...

Without using a hardware compressor, or compressing manually by riding the volume knob, then the track records "as is" and must be dealt with durring editing and mixdown. Software compressor plugins can do a fine job if you know how to use them correctly. (If you want, I can link you to a helpful video that explains how to fix a wild track.)

How much of a difference is there (dB wise) between the high and low parts?
 
Thanks for the quick replies.

I record a variaty of different sources, but as of now the most difficult is a podcast I help out with. Not that human speech has that much range, but the people who are on the show have very little recording experience. They vary the distance at which they speak into the mic so much that I can get as much as a 60dB difference between the louds and the softs. (This is usually because of them leaning back and talking softly, and then leaning forward and laughing. Im using dynamic mics because the room they record in has terrible acoustics. I tried condensors a few times, but there was too much background noise and bleed into the mics of those who aren't speaking. Any thoughts?
 
ericgcollyer said:
Thanks for the quick replies.

I record a variaty of different sources, but as of now the most difficult is a podcast I help out with. Not that human speech has that much range, but the people who are on the show have very little recording experience. They vary the distance at which they speak into the mic so much that I can get as much as a 60dB difference between the louds and the softs. (This is usually because of them leaning back and talking softly, and then leaning forward and laughing. Im using dynamic mics because the room they record in has terrible acoustics. I tried condensors a few times, but there was too much background noise and bleed into the mics of those who aren't speaking. Any thoughts?
Click to expand...

How about a headset microphone coupled with a hyper-cardioid condenser into a FMR RNC.

The headset mic will follow them when they kick back and the hyper-cardioid with it's extreme off-axis rejection will be there for them when they scream.
 
The headset mic will follow them when they kick back and the hyper-cardioid with it's extreme off-axis rejection will be there for them when they scream.[/QUOTE]

I hadn't even considered either of those options. I like the headset option most, because they also do complain about the microphone getting in the way. They may start complaining that the headset isn't comfortable, but there are some things you just have to deal with.
 
ericgcollyer said:
I hadn't even considered either of those options. I like the headset option most, because they also do complain about the microphone getting in the way. They may start complaining that the headset isn't comfortable, but there are some things you just have to deal with.
Click to expand...

I'm fascinated by podcasting, I just can't see how it makes any money. Could you share the URL of the podcast you work on?
 
wheelema said:
I'm fascinated by podcasting, I just can't see how it makes any money. Could you share the URL of the podcast you work on?
Click to expand...

I cant post links yet (very new to the forum), but it is called the LoveBytes Podcast. If you Google that you should be able ti find it. My name is Kirk Reid on the show, we use stage names to keep our dating stories anonymous. Podcasting is pretty fun, although it is tough to make large amounts of money on it. But we do pretty well and have gotten pretty lucky a few times. If you have any tips on how to improve the audio quality, let me know. I tried some new tricks in the most recent show, and I am not sure how I fell about it. I think that I like our valentines show a little better. If you have any podcasting questions, let me know.
 
If you are hell bent on 'sliders', an Alesis Multimix 8 USB 2.0 may be for you.

There are possibly better interfaces at this price level, but if you are looking for something that looks like a mixer (sliders-actually called 'faders'), then ^this^ unit may be your beotch. What are you using for microphones? How many tracks/mics do you foresee needing in the future? Do you need phantom power for condenser microphones?

You could just use a two channel interface, with a small mixer. This could cut the cost in half.

I would go with SM7, and a good/great preamp for podcasting, if I were serious about getting quality. Sadly tho, nobody wants o hear me talk, so here I am typing........lol!
 
If they're moving around a ton and getting too far and that's what's causing the dynamic differences, the only way I can think of to fix it is STOP MOVING.
 
You can get your post count up here, if truly interested in getting advice. Say something funny tho.....

Posting a sample of what you are doing will get more input. :)
 
Although the normal advice on this forum is to stick with a basic interface, there might be an argument in your case to consider replacing your interface with a small mixer, preferably one with built in compression.

There are a number of suitable units out there but your choice will depend a bit on how you work. If you record several individual tracks then to a lot of editing, you need a mixer with each channel fed to the DAW, probably implying firewire. However, the quick listen I did after Googling mentioned you've tried to go live at least once. If this is something you want to do more often (or at least you're willing to record mainly "as live" and do simple editing/processing later) then a basic mixer with 2 channels out via USB would be fine.

Your podcast is, in effect, a radio talk show and they tend to be done via a mixer, either totally live or with fairly simple post production editing.

As for the mics, most people can learn to work with a fixed mic but if it's REALLY a problem, the headset solution might be one to look into. Frankly, you might find you don't actually need the hypercardioid pattern--with the close distance to the mouth, the inverse square law works very much in your favour and omni headsets tend to have a much more natural sound. The hard part with most headsets is that they're mainly designed for use with wireless belt packs which provide a small bias voltage, so those B&H ones might be a good bet.
 
Because sliders take up a lot more space.

Plus on a mixer, the slider is only used to set the level. You still have knobs to set your trim/gain on the mic pres.
 
Why is the original poster against using compression? It makes automatic volume adjustments for you on the fly. It's a no-brainer solution. Use the right tool, problem solved.
 
RawDepth said:
Why is the original poster against using compression? It makes automatic volume adjustments for you on the fly. It's a no-brainer solution. Use the right tool, problem solved.
Click to expand...

Indeed. A Podcast is a radio show via the internet. Just about every piece of speech radio you listen to is produced via a compressor then the whole thing compressed again with some kind of optimiser at the transmitter. Now that most "radio" is listened to on the move (cars, iPods, etc.) with high levels of background noise, this is pretty necessary and certainly the norm.

To Guitargodgt, in radio production, the faders aren't just for SETTING levels, most programmes you hear are actively mixed on the fly with constant adjustments to the faders as people speak.

(For avoidance of doubt, the above applies only to speech/radio/podcast production. I suggest a lot more sparing use of compression in music making.)
 
RawDepth said:
Why is the original poster against using compression? It makes automatic volume adjustments for you on the fly. It's a no-brainer solution. Use the right tool, problem solved.
Click to expand...


Warning....Gross generalisations ahead.

Knobs are for gain.
Faders are for attenuation.
Interfaces don't have faders because they don't have attenuation.
Compressors aren't for adjusting volume across a full track.


I recorded narrative for an audio book a while back with an sm7b.
They single most important thing was consistency.

Consistency in the level of the voice, and in my position in relation to the mic.

If you have to speak loud for an exclamation, then move back accordingly.
Getting that right is an acquired skill.

If you're really having problems waves vocal rider isn't bad. It does just that; It rides the fader for you.

IMO a compressor should only be used (if at all) once your happy with the volume levels.
If you use a compressor on a voice that's all over the place you'll have loud sections pumping and all the lip smacking of the day coming through very loud.
 
Er, well....

I'd phrase it as:

Knobs are for setting up the gain structure.

Faders are for actually MIXING a variety of sources together. (Yes, mainly attenuation but if your gain structure is right you can also add 10-20dB of gain in a pinch.)

Interfaces are for setting the gain structure for recording when you will mix in your DAW.

Compressors are for evening out levels when the dynamic range is too great for the expected listening environment.

I agree that, in a perfect world, all the on air talent would control their own dynamics by moving closer and farther from the mic--but in broadcasting (radio, TV, podcasting) that rarely happens. It's up to the engineer to ride levels. On air talent is there for WHAT they say, not their recording technique.

I also agree that, in the same perfect world, compressors wouldn't be necessary but in a live situation (that's going to be listened to in a noisy enviroment) they are a necessary evil. They are also ubiquitous in broadcasting. If you want your podcast to sound like a professional radio programme, compression is a necessary evil.
 
to summarize: 1) get a decent mic, 2) use a compressor, 3) STOP MOVING.

mic: sm7b...even a sm57 will work fine...put it on a stand and keep a consistent distance
comp: RNC for hardware will be perfect for what you're doing. Or you can use the ones built into the DAW and be fine
movement: limit it unless you have some sort of interactive podcast where you have to move, then get some clip on mics or something that can move with the speaker.
 
You must log in or register to reply here.
Back
Top