"Tap, tap, tap... is this thing on?" My Recording DIY Plans for 2012

Not my studio, but not want I want it to look like either!

SO... here I go trying to figure out how to better do this at home. I'm very lucky to have had the opportunity to work with a relatively cheap (free with my iMac) application (Garageband) for the past year. But, unfortunately, I don't like it.

I'm also very fortunate to have a well built, fast Apple iMac 27" i5 processor with 12gb of ram and 1tb of drive, so plenty of room for full screen apps.

My problem with garageband isn't the application itself it's with me. Not to be confused with the cliché'd breakup line: "Oh, no, it's not you, it's me!" I started my recording education at a professional recording studio back in 1994 at Trimble Production Studios. Built in 1976 with a state of the art MCI 24 track console, MCI 2" 16 track recorder and a full compliment of some of the best racks, mics and headphones money could buy (at that time). And all day to learn how to use it in a pro-built floating floor studio space the size of most peoples' first homes!


I loved those faders and transport controls right at your finger tips. I loved being able to look up and see a VU meter with my levels for each track. I loved built in EQ, Insert Effects and Comp/Gate on each channel. Heaven I tell you, (minus more than a few crackly pots from years of abuse!) heaven!

So I got spoiled the Old School way. Recording and working tracks on a computer screen isn't tactile, it's sterile. Working sideways kinda bugs me too. I realize all pro recording apps visualize the recordings horizontally, and I can get used to it, but I needs me some faders!!

So I've been looking into my many options lately: Protools, Logic, Ableton, Cubase...the pro app list goes on and all the people that make and use rave about them.

Starting with my desktop needs, I spoke to a fellow, at Sweetwater Sound, about control surfaces. Control surfaces are hardware devices that operate the functions of the recording software (i.e. faders, pots, etc.). They can be quite expensive. Some are also audio interfaces. He recommended the Zoom R16 portable recorder/interface/control surface. A veritable swiss army knife of a unit that would do way more than I would ever need. Unfortunately, it repeatedly around the web gets bad reviews for poor build quality and bad customer service. Priced right at $399, though and includes much wanted features such as 8 Combi (mic XLR inputs that double as 1/4" instrument inputs) with phantom power for condenser mics that require 48v power, faders with level meters and transport controls. USB connection, SD card for storage and is portable (i.e. battery powered).

Zoom R16

I haven't given up on this one yet, and may still try it out. The next idea on the list was, maybe I should wait until I own an iPad and get the Alesis I/O Dock. $169.00

Alesis I/O Dock

This unit boasts a lot of function, portable as well and would turn my focus back towards my instruments instead of sitting at a computer. Something that I do for 8-9 hours at my day job! BUT, the Alesis would tie me to working ONLY on an iPad. Getting files over to the computer would be a hassle and early reviews have stated that garageband isn't the best app on this. Plus you can't connect a USB keyboard except my MIDI cables.

Now I like the soundboard aesthetics of both of these units, taking me back to my heyday, but that got me thinking, after hours of looking at different interfaces, surfaces, mixers, etc. It occurred to me that maybe all I really need is some better software, that feels more like the old-school way. Maybe I need a better interface that works seamlessly with that software. Which brings me to one little forgotten app, called Reason, though, filtered it's way to me via a new (well new to me) artist named Olivia Broadfield. She spoke about not being technically minded and that Reason just allowed her to "create!"

Propellerheads Reason Balance with Reason Essentials

The look of the mixer interface, the way it have a virtual "rack" of effects and sound modules, the simplicity of the very well designed interface that allows you to connect 4 devices per channel (or 4 stereo devices) and with the click of a button switch from vocal mic to keyboard to instrument mic, etc. without having to juggle the wires, dismantle my desk and kit each time, etc.

Watching videos of how Olivia Broadfield works and some uStreams from Propellerheads that featured her and others using this, I'm now thinking in a different direction.

Reason Balance with Reason Essentials costs $499. I could sell my current Lexicon I-Onix U22 interface for $125 on ebay to recoup some costs, quit using Garageband and purchase a better vocal mic.

That's going to cost me another $200-300 plus for a decent Condenser Microphone. I've selected two excellent choices though and I'm still debating about which one is best for my needs.

Shure SM27. Image courtesy of Sweetwater.

The Shure SM27 is 1. one of my favorite brands 2. built hardcore 3. good value for the money. $299 with shock cage and case. This one gets great review for it's overall quality in sound and construction. SOS magazine rated the KSM27 (have yet to figure out what the difference is between the KSM and the SM) as suited to vocals of all types, amps, acoustic instruments and ambient room.

Rode NT1a. Image courtesy of Sweetwater.

My next choice is the Rode NT1a. $229. Seems to be a favorite go-to mic of many. Versatile and well equipped out of the box with the shock cage mount and pop filter. I hear it's built quality may not be as sturdy as the Shure, though, and it's high end can sound brittle. Possibly better suited to women's voices than men's according to SOS magazine.

So, that's it. That's what I have planned for the new year. Spending more money! ugh. But hopefully garnering some good equipment that will eventually help me actualize my goals.