(Part 3) Best products from r/audioengineering

I'm going to disagree with a few people here. Getting an education to get a job in audio engineering is most definitely a bad idea in my opinion. Is this education worthless? No...but it's usually not worth what they're asking.

Audio engineering is a hard career to be successful in. I should know, as I've been doing it for quite some time. I've finally gotten to the point where as a free-lancer I can afford a car and house note, which is good. But there were plenty of sacrifices along the way. None of which I regret, of course. But I wouldn't have wanted to tack on extra debt going to school to get a job in a field that does not require a degree.

In all my time doing this, probably around 15 years professionally, nobody has ever asked me how to prove I know how to do this stuff. My resume speaks for itself. I've worked in studios in LA, Hawaii, Az, and now I'm a production sound mixer in Louisiana. I run sound for bands in venues around my city when I'm not on a movie. I own a recording studio for music and for foley and ADR for films. Currently, I'm on a shoot in Florida where I've been for 3 weeks. I got to shoot foley with one of the worlds greatest foley artists (Ellen Heuer). it's a great life!

My advise is do what most of my peers did. Get an internship at a studio. Or if your interested in movie work, assist a sound editor or a production sound mixer. Offer to be a sound utility for free. Or approach a local sound venue and offer to assist the live sound guy, wrapping cables and plugging in mics. Or call a local sound company that does festivals and other events, and offer to clean the snake at the end of the night.

Even if you do decide to get an education, the school will always be there, waiting for you if that's the route you decide to go. But a healthy amount of time in this field not paying for that education will both help you do better in school if you decide to go, and help guide you into a program that's right for both you and the specific set of skills you want to garnish. Or, you might find you don't need it.

The point is that yeah, just "looking things up on the internet" is not a good way to educate yourself. It's a good supplemental thing to do, to be curious and read. But hands on experience is much more valuable than any education I've ever come across in this field, and worlds ahead of just reading a book.

Now, not going to school isn't an excuse to not work. You simply have to take responsibility for your own education. Read books, talk to people who are doing the things you want to do. Learn from them. Help them, and make yourself invaluable to them. Make them wonder how they every got along without you there.

There are far too many opportunities to learn from within the industry than on the outside of it in a classroom or technical college. My career has been quite all over the map, ranging from music production to movie work. Here is a list of books that are about those various fields that I recommend.

The Daily Adventures of Mixerman - A great look at a recording session, and honestly one of the funniest books I've ever read.

http://www.amazon.com/The-Daily-Adventures-Mixerman/dp/0879309458

Zen and the Art of Mixing - mixerman

http://www.amazon.com/Zen-Art-Mixing-Mixerman-ebook/dp/B004CYE7OU/ref=sr_1_1?s=books&ie=UTF8&qid=1397229955&sr=1-1&keywords=zen+and+the+art+of+mixing

Zen and the art of Producing - Mixerman

http://www.amazon.com/Zen-Art-Producing-Mixerman/dp/1458402886/ref=sr_1_1?s=books&ie=UTF8&qid=1397229992&sr=1-1&keywords=zen+and+the+art+of+producing

Behind the Glass vol 1 and 2 - Howard Massey - Great interviews with producers and engineers. DEF check this one out. one of the best books i've ever read about recording.

http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=Behind%20the%20glass

The Recording Engineer's Handbook - Bobby Owniski - General information about gear, mic placement techniques, fundmentals of sound, etc...

http://www.amazon.com/Recording-Engineers-Handbook-Bobby-Owsinski/dp/1285442016/ref=sr_1_1?s=books&ie=UTF8&qid=1397230109&sr=1-1&keywords=recording+engineering+handbook

The Sound Reinforcment Handbook - Live sound techniques

http://www.amazon.com/Sound-Reinforcement-Handbook-Gary-Davis/dp/0881889008/ref=sr_1_1?s=books&ie=UTF8&qid=1397230178&sr=1-1&keywords=Yamaha+Live+sound+manual

The Location Sound Bible - Ric Viers - Great entry into sound for TV, Film, ENG, and EPP. Pretty much covers the bases of recording on location

http://www.amazon.com/Location-Sound-Bible-Record-Professional/dp/1615931201/ref=sr_1_1?s=books&ie=UTF8&qid=1397230229&sr=1-1&keywords=Location+Sound+bible

That should get you started. Whatever route you choose, good luck!

Mics- 414s are fantastic mics no doubt. But there are many,many other more affordable options out there that are competitive in quality. I'd suggest checking out some higher end MXLs, they are super versatile and pretty too.

don't worry about thunderbolt. people were recording low latency drums and etc....long before thunderbolt came out.

monitors...well, the NS10s are pretty standard. if you can make a mix sound good on those it will sound good on anything.every major studio but one (studio a in dearborn) I've been in has them. If you are really burning for something new I'd suggest some genelic 1030a there the older model but they were used on pretty much every hit song in the early 2000s. Everybodys got them. I know the speakers and trust thier response. and they're affordable.

preamp- This is where I personally invest the most money... there are as many preamps as snowflakes. I like the Focusrites ISAs, Rupert Neve designs, go high end... but honestly I have been fooled by the stock original MBOX pres. You're not a true engineer till you have fiddled with a non functioning micpre and thought "that sounds better" lol.

compressers- plug in compressors are great. which is why i suggest spending the money on the preamp. however it never hurts to have a hardware tube compressor/limiter handy. I recommend the ART VLA II.

plugins- trident EQ, fairchild 660, old timer, PSP vintage warmer, 1176, LA2A, smack!, MC77, there are a TON of good plug ins to choose from.

headphone monitoring? Not to sure about that one, Headphones are for performing only. I have the 80 dollar sonys for clients. ,they come with a nice bag to store them in. I don't mix with headphones( thats a whole can of worms dealing with psychoacoustics)

drum mics- shure makes good durable kits, I see them in use all over the place. CAD aren't to bad either. don't go cheap..but don't go overboard either. Approach it like preamps, go with a trusted brand name, they're selling a set of mics specifically for drums, kinda hard to fuck that up right? (IMO its more important to have a good room.)
this kind of reminds me of a joke.

how many drummers does it take to change a lightbulb?
none. they have machines for that now. just throwing it out there.

computer and software- I say go protools. but thats all i know, i was certified in 2002 and havent had a need for anything else. I have never been in a studio that wasnt using it, there are a couple in nashvile that use sonar...well, that was a few years ago.

I am not here to shit on mac. but i have used both in the industry throuought the years and they both perform fine. The last studio I was at used a quadcore w 4 gigs on XP with PT8 and never had so much as a hiccup, recording 24 tracks at once @ 24/96. I take the policy of if it isnt broken, don't fix it. I also have a person issue with avid, I refuse to upgrade to 9 or 10 because they allow any interface to be used...except there older ones. bullshit.

Trust me on this one...the client isnt going to give a shit what OS you are using until it your computer crashes. if you load up your computer with tons of cracked plugins and have poor organization and maintenance, its gonna take a shit on you.

further reading- this is probably the most important advice i can give you. read a little bit and get a total understanding on what everything does, because there is a lot of bullshit in this field.

http://www.amazon.com/Mixing-Engineers-Handbook-Audio-Series/dp/0872887235

http://www.amazon.com/Sound-Reinforcement-Handbook-Gary-Davis/dp/0881889008/ref=pd_sim_b_10

http://www.amazon.com/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328/ref=sr_1_1?s=books&ie=UTF8&qid=1348852030&sr=1-1&keywords=room+acoustic+music

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=pd_sim_b_24

good luck

In the book "Mixing Secrets for the Small Studio" a good rule of thumb is to invest as much to your treatment as you will be investing to your monitors. You can have the best monitors in the world but you can't use them if your room is untreated. But this you already know since you made this thread.

Besides reddit, I would like to recommend gearslutz forum for this one if you really want to study hard. There are many experts (I mean literally experts of the field) who are happy to help you out with your questions. But since I have done some research and I feel fairly confident, I can provide some things I found important.

1. Know your room. I'm guessing your room is cubicle shaped, with around 2-4m dimensions? These types of rooms have ALWAYS have some sort of room modes. Room modes are basically the frequencies that your room resonates with. This one is super easy to try out. Measure your room dimensions and add them here. This site will calculate the theoretical room sounds AND plays them for you. Try to play some room modes and see if you can see the difference in the volume. Going deeper, you can invest in a measurement mic. Place the measurement mic to your listening position and run a spectrum sweep with REW. You will end up with a waterfall diagram (This was my room), that will show you the ringing modes as large spikes AND will tell you the decay time of these frequencies. Neat, right?
   
   
2. Treat your problem areas. Where are these areas? 99% of the time they are in your low end. And this is the area that is the hardest to treat, since low end has a lot of energy and that energy is not easy to tame. I may be wrong here, but basically you have two options: tuned bass traps or absorption. Tuned bass traps are made for specific frequency and they will only affect this area. Absorption is whole spectrum wide, and usually the "road more traveled" when it comes to bedroom producers. There are many good commercial options but these will usually cost you. I went the DIY route, and was able to tame some of that low end with just basic insulation wool. 4 huge bass traps, 6 medium sized bass traps and 6 more top end absorption panels ended up costing me around 300 euros. EASILY worth the money.
   
3. Enjoy. You did the best you can. Treating your room is not for perfectionist. Even with unlimited resources it can still be really hard to get your room to sound "correct".
   
   Here is picture of the panels I made if someone is curious. I'm more than happy to help if someone is considering going DIY route. Here is the theoretical absorbtion coefficcient curve of my biggest traps.
   

Here's a short lists of what you need to start recording:

• Computer
  
• DAW
  
• Audio interface
  
• Microphone/instrument
  
  Computer: I'm assuming you already have this, it allows you to do work.
  
  DAW: stands for Digital Audio Workstation, and this is where you'll be doing most (if not all) of your work. A popular and cheap option is Reaper, but you can also use a less powerful (and free) program like Audacity. I would recommend starting off with a "full featured" one like Reaper (which I believe has a 30 day trial period?) because if you do end up getting really into it you'll be glad that you have a bit of background knowledge. Some might argue that certain DAWs are better than other, but it really boils down to personal preference. All DAWs can allow you to have multiple tracks going on at once, for instance, overlaying lyrics over an instrumental track.
  
  Audio interface: this is the hardware that sits between your computer and your instrument/microphone. It allows the signal from the microphone to be converted from analog to digital which the computer can interpret. If you're just starting out, go with whatever you can find on eBay or Craigslist, but make sure it has what you need (correct number of input/output, USB or firewire connectivity, phantom power if you're using condenser mics).
  
  Microphone/instrument: without this, you won't get far. The microphone you linked above I think is generally used for vocals, as most condenser microphones are. A solid recommendation that a lot of people give is the SM57 dynamic microphone for micing cabinets or instruments; some people even use it for vocals (myself included, 'cause honestly, it gets the job done).
  
  The link that you gave looks like has a microphone and a DAW, but no audio interface. I think this might be because the microphone itself has some kind of hardware on the inside to be a plug-and-play, using your computer's motherboard as an interface. So for now if you wanted to use that package for recording instruments and vocals with that specific mic, you're good.
  
  My personal recommendation to start writing music without breaking the bank that will leave you a lot of flexibility going forward:
  
  Interface: some random 2-input audio interface with decent reviews Keep in mind that you would only be able to use dynamic microphones on this, as condenser require 48v phantom power.
  
  Microphone: simple dynamic mic
  
  DAW: I highly recommend trying out the 30-day trial of Reaper, but like I said, this is all your preference.
  
  
  Bottom line: the Blue Yeti All-In-One can get you started, but it has limitations (no audio interface) if you want to start getting deeper into it.
  
  Sorry if this is a bit rambly, I'm at work and kept getting distracted while writing this, let me know if you need any more info or clarification.

I need a phantom power supply for a Beringer C-1. Right now the Behringer U-Phoria UMC22 looks pretty good, but if I could save $20 and be good with something like the Neewer that be great. I have already had this C-1 for a while now (traded my blue snowball for it and a mixer) but after some research I have found out that my mixer only supplies 15v of phantom and the C-1 needs 48v. I am only using this mic to talk on discord with some friends so nothing too crazy.

What recommendations do you have for something between $20-$40? For my situation I'm looking for the best bang for my buck type of thing. I'm pretty good with tech but audio is just another beast that I don't really want to tackle myself so any help would be very appreciated!

For headphones, recording (often quiet) sound effects, headphones with good isolation is important. The Sennheiser HD280's work quite well for that, better than say, Sony MDR7506's.

The H4n is probably your best choice around that price level, it's the only one of those three that offers XLR input. It also has pretty decent stereo mics, and can be plugged into a computer as a audio interface. It doesn't have the best/quietest preamps, but that's as good as you'll get near that price.

I see you want a mono mic. For recording sound effects, a shotgun mic is probably what you want most of the time. The RØde NTG-1 or NTG-2 are both good options (mostly the same, but the 2 has battery power). You may want to supplement that with another fairly inexpensive cardioid mic, possibly even hyper/supercardioid (Avantone CK-1 for example).

For wind protection, you can go with a softie-type mount, where the windjammer goes directly on the mic, but they're not much cheaper than Rycote's S-series, which is awesome... I use the S-330 on my NTG-2, and it sounds great even in fairly high wind.

Don't forget batteries and a charger for whatever you're using- Sanyo's Eneloop (pre-charged NiMH) batteries are awesome.

Get some kind of sturdy bag to carry your gear in, and some way to hold your recorder when you're recording. I've seen either bags/harnesses or strapping the recorder to your arm work.

Something for cable management is smart, like these carabiners

The pistol grips for most wind protection will be for a 3/8" mount for a boom pole, so if you plan on putting that on a mic stand, you might need an adapter like this

Lastly, if you haven't already, get The Sound Effects Bible, and read it. It's a fantastic resource for all things SFX related.

Hmm... To clarify, my set up is as follows from input to output:

electric guitar (Epiphone Casino) -[TS cable]-\> Behringer U-Phoria UMC22 -[USB output]-\> MacBook Pro 2013 Laptop -[Software: Garage Band]-\> output audio jack from Laptop to Headphones (Audio Technica ATH-M30x)

My original comment was intended to inquire about the OP's Behringer UMC204HD (better version than mine) to see if it also experienced the issues I was experiencing with the cheaper alternative (Mine was $40). The UMC22 only has one Mic/Line, along with 1 Inst port. Both of those ports with their own Gain knobs. Then there is the Monitoring output with its own output knob and Direct Monitor button which I referenced earlier. That monitoring output knob does nothing to the USB output.

So I do not have Pad switches on those ports, a Mix knob, or a main output knob. With my set up of all the knobs turned down, I do get an input from the guitar (along with the static), the guitar is pretty quiet though. This input is visible in Garage Band's audio input visualizer measuring the Decibels.

Thank you for taking the time to help me out with this.

To Clarify my experience for any and all people looking at the cheaper option of Behringer U-Phoria UMC22:

This noise is not Ground Noise due to my Laptop because I do not have my MacBook Pro grounded/connected to an outlet. I have read other comments around on this product that mentioned it may be some sort of Ground Noise within the unit itself due to lesser quality, but nothing definite.

The tests where I found increasing the gain knob (this was the gain to the Mic/Line1 port with Midas PreAmp) was what I mistook for the increase in the volume of the static. That is the fuzz/noise of the typical increased gain. However, this does not increase the noise/whine of the unit. That is simply constant. I can tell the frequency and pitch of the two noises are different now when listening close. My other comment about the change in the whining noise of the unit on by itself when the gain knobs are turned still holds true.

Yeah, I just googled it and it looks pretty legit. You might check if it has an option to use a front-panel jack as well. You might get better luck using the integrated audio rather than the dedicated audio (probably not, but it can't hurt if it'll save you money, right?)
I could try to explain what I'm thinking the issue is, but it's pretty deep into electronics theory. If you know some stuff about electrons, I'll try to ELI5 if you'd like.
One cool thing you've got is the capability to do SPDIF or TOSLINK out of your motherboard. These are digital communication methods for audio. In order to use it, you'll need something like a (Fiio Tashan)[https://www.amazon.com/D03K-Digital-Analog-Audio-Converter/dp/B009346RSS] box. If you don't want to go that route, you can try something like a SMKN X5. They're not great for driving headphones, but you're using them with powered speakers, and they're super-cheap.
This sub is geared toward audio recording, so if you're planning to use a professional microphone, I'd go for a Focusrite Scarlett. The small two-channel ones are about $100, but they're powerful little boxes. I've recorded a ton of VO work, a couple of guitar pieces, and some misc stuff, and it hasn't let me down yet.

Hi everyone. I want to start collaborating with my brother in law who just moved across the country. We plan to record stuff (he is an EDM guy, I'm a rock guy) on GarageBand or the like and send it back and forth to modify, add to, etc.

TLDR: What gear should I get to start recording music onto my computer??

I want to record my acoustic-electric and electric guitar. What is my best option? I have an ok USB mic, but I'm sure it would sound much better with a direct clean input. I am debating between these two devices, but don't really understand the difference:

• Steinberg UR12 USB Audio Interface
  
  
• Apogee JAM Guitar Interface Input or the higher end version
  
  
  Any advice or other gear suggestions would be really helpful! For example, I have a Fender Mustang II modeling amp... is there a way to use that to record into a computer? Or just better off using build in tones from whatever software I use? THANKS!

Seriously, it's not that difficult to do some research on your own and take your own basic measurements, or do some basic calculations.

At the very, very least, learn your room modes. Low end is probably the most troublesome area of every mix environment. Here's a helpful calculator and visualiser to show you how sound pressure is being distributed throughout your room at different frequencies.

http://www.hunecke.de/en/calculators/room-eigenmodes.html

This Behringer electret measurement microphone is just fine (in real world tests among measurement microphones, it performs quite admirably) for doing your own measurements at home, and costs 60 bucks

http://www.amazon.com/BEHRINGER-MEASUREMENT-CONDENSER-MICROPHONE-ECM8000/dp/B000HT4RSA

Which is a hell of a lot cheaper and wiser than spending 100 bucks on materials and potentially screwing up your room without knowing what you're even looking for to begin with.

Room EQ Wizard requires a few hoops to go through (signing up for the Home Theater Shack forum and waiting for account approval), and has a somewhat difficult learning curve (this is where you might want to start looking up some more in depth acoustic physics primers) but is among any number of relatively easily obtained, free software for measuring frequency response, and many many other variables with regard to how sound is being distributed through your room.

http://www.roomeqwizard.com/

Ethan Winer has some great beginning articles on acoustics to get you started with a little bit of room acoustics (and treatment) basics

http://realtraps.com/articles.htm

and the Gearslutz Studio Building/Acoustics forum has lots of in depth information and cough helpful users who can sometimes answer your quesitons and help you with problems as you learn more about the process.

https://www.gearslutz.com/board/studio-building-acoustics/

Honestly, room treatment and acoustic physics go very hand in hand with audio engineering concepts, and it would behoove all engineers of any stripe to learn more about how sound interacts in the physical realm, as it's an integral part of mixing and recording that has practical applications beyond simply understanding how it affects your listening position while mixing. The information can easily be applied to microphone technique, live audio, and also understanding how certain aspects of your mix are interplaying, even if you're mixing totally in the box, and on headphones.

I work as a location sound recordist, typically drama but I take what I can get when there's not much work(corporate, documentary etc.)

Started out originally doing music production but after helping out a friend on a short film I decided I'd much rather be doing sound for film. I find it alot more rewarding, sure the works harder and the days are longer sometimes 14+ (good overtime though) but you go all over the place for it and you're not stuck in a studio working 9-5 everyday.

If you're interested in it i'd recommend reading these two books:

The Location Sound Bible: How to Record Professional Dialog for Film and TV

The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects

Okay, well keep the following in mind.

• Audio interfaces paired with microphones will be higher quality most of the time. They will also be more expensive most of the time.
  
• A USB mic is perfect for your needs. However, it will not suffice if your needs ever expand (need more than one channel, need a guitar input, need a higher quality headphone amp)
  
  If you have the money for an audio interface and a microphone, then you should get them (Scarlett 2i2 seems to be the champion of price vs. performance, and there are a myriad of quality microphones in every price range).
  
  If not, a USB mic by an audio company (Blue, Mackie, Audio Technica, MXL, Samson, CAD, and so on) will generally provide you with a higher quality signal than computer peripheral makers like Logitech, Razer, and Turtle Beach.
  
  EDIT: If you want to take a chance on a USB mic and are short on cash, then you should definitely check out the ATR2100. It's excellent quality for the price, and is actually a combination unit -- It can be used with USB, and has a standard XLR jack as well.

All I know with a decent level of certainty is that the Bose brand are the best when it comes to minimizing hiss.

However, there's something else you have to watch out for: If the 400$ model you're looking at is the "Bose Noise Cancelling Headphones 700", you should stay clear of it: It's among the newer models of Bose headphones that disable themselves until you install surveillance software on your phone:
   https://smartphones.gadgethacks.com/news/your-bose-headphones-are-spying-you-0177193/

So don't buy any Bose headphones until you've verified that the package doesn't contain the "Bose Connect" "companion" app.

I know for sure that the 130$ Bose headphones don't have that requirement. I'll have another look to see which other Bose models are free of surveillance software.

Edit: Okay, so the QuietComfort Series 1 is free of spyware. Series 1 is their old range, so there aren't many left on the market, but luckily, one of the best ones—Bose QuietComfort 35 Series I—is still available (in silver):
   https://www.amazon.com/dp/B01E3SNO3E/
However, all of the more expensive models come with integrated batteries: When they go flat, you have to wait for them to charge, and when the battery wears out after a couple of years, you can't replace it, and have to buy a whole new pair of headphones.

So you have two choices, both of which have high quality noise cancellation; and neither of which harbor any surveillance software:
 

Bose QuietComfort 15
https://www.amazon.com/dp/B00M1NEUKK/

• 130$
  
• Black color
  
• Wired 3.5mm connector (no wireless)
  
• Takes standard AAA batteries that you can replace easily
  
• Battery life per set: 30 hours (wired)
   
  
  Bose QuietComfort 35 (Series 1)
  https://www.amazon.com/dp/B01E3SNO3E/
  
  
• 342$
  
• Silver color (black color is out of stock)
  
• Wireless Bluetooth + wired 3.5mm connector
  
• Built-in battery; can't be used while charging; can't be replaced when worn out.
  
• Battery life per charge: 40 hours (wired), 20 hours (wireless)
   

I have no idea if this is the right place to ask, so I waited until this thread to ask it, It's a silly question but if anyone can help I would greatly appreciate it. We will be attending a convention coming up and may need to take some relatively quick camera interviews, for a camera we use a phone to shoot in 4K which is more than capable for these interviews, however the audio is quite bad and loud in the environment. My question is: Could we use this Microphone http://amzn.com/B0002KZAKS connected to this http://amzn.com/B00FC4YR58 (Going into a Mono to Stereo converter) and record interviews directly to the phone this way? In theory it seems it would work, but I honestly am not sure which is why I am here. These interviews really aren't important enough to go the extra mile and use something like a Zoom H4N. Any help would be greatly appreciated, even though I know this is a bad question. Thank you.

Yes, a random signal contains all possible frequencies (at all possible phases). When you use a noise generator, all it is is a random number algorithm scaled to the range of your audio output's bit depth. So at the simplest level in 16 bit audio you would have a random generator spitting out numbers between 0 and 65536 44,100 times a second. That's what white noise is, and it is easy to create this way.

You are trying to simulate noise using additive synthesis, which is helpful in that you might start to understand the transition from a discernible tone into noise. It is ultimately impossible to get real noise this way because you can't create an infinite number of oscillators.


>However the moment I tried it with aligned phases (as much as possible in max due to serial nature of messages) it wasnt noise anymore... because it started to "cycle". How come noise never starts to cycle? Adding a random phase disturbance completely changes the sound picture.


Noise doesn't cycle because it is completely random - all frequencies, all phases. What you're hearing in max is the artifacts of the process of max looking up the sine wave tables and sending all those signals to the DAC. This can only happen at a certain speed limited by your hardware. Like you said - the serial nature of messages. If we had a perfect machine that we could tell to generate oscillators for all audible frequencies at all phases, the sum of all of those signals would be a completely random signal. The limitations of your hardware are creating the artifacts in this case, not your brain.

>Adding 400 and 400.01 hertz yields a 0.01Hz beat tone, or, a slowly changing amplitude of the original wave. We perceive that as 400hz that shifts in volume, in reality is exchanging between 400 and 400.01 hertz frequency right?

When waves of any kind add together they create constructive or destructive interference. In that case we hear a pulsing sine wave. As the two get farther apart in frequency the pulsing will get faster and faster until you start to hear what's called a difference tone (which is a psychoacoustic phenomenon). Eventually, you'll start to hear them as an interval between two distinct tones. The pulsing, however, is not in your head - its those two waves interfering with eachother.

I can't really describe anything better than this, but there is a TON of work that's been done on these topics. Since I can't find my computer music bible, here's a bunch of wikipedia links:

White Noise
Difference Tone
Psychoacoustics
Masking

Computer Music Bible - This book is so worth the money. It was written for musicians by a musician and touches on every subject as well as pointing in the right direction for further reading on the subjects in it. Everything I learned came out of here. I wish I could teleport a copy to you because it is much better at explaining this than I am.

Hello, I'm looking for a cheap(preferably under €50) desk mic for voice recording/streaming and discord. I'm not looking for the highest quality, just something that will do the job well enough and is a good value. But I'm completely new to this and not really sure where to start and what to look for.

I might be able to get a used Blue Snowball including arm, shockmount and filter for €45.(new without any extras they are €60 here)

Other than that I've been looking at this Neewer NW-700. Reading up on stuff it seems to me that my onboard audio wouldn't be enough to give a decent sound quality and I would need a preamp, am I right in thinking that? If so would it be a good idea to pair it with a Behringer umc22, which would cost me about €65 total.

So my questions are these, what would be the best out of these two, do I need a preamp with an XLR mic and are there other options that would be better for around €50?

Thanks!

Yeah... unfortunately that's just the nature of the AT2020. It's really for an acoustically treated environment / recording, not so much sitting next to a whiney XBox.

It'll cost you some money to use a dynamic mic unless you get another USB one and it doesn't seem like you have a reason to use an audio interface.

you could get an audio interface and an SM58 (SM58 is about $100, but you could find a used one), this is what I personally use for Skype + phone calls and the audio comes through quite nicely.

http://www.sweetwater.com/store/detail/ScarlettSolo/ < audio interface for one mic

this is a USB mic but it's kinda pricey

http://www.amazon.com/Rode-Podcaster-USB-Dynamic-Microphone/dp/B000JM46FY

but honestly this is all you need

http://www.sweetwater.com/store/detail/AT2005USB

if you put the mics really close to your mouth you can use less gain and you'll get less background noise. It'll also give you that nice boomy radio voice (proximity effect means when a directional mic is close to you, you get more bass so your voice will sound cool)

OK awesome, thank you I will keep that in mind a long with the picture / diagram that I made. Looks like I will be investing in a smaller sound mixer - Are you aware of one any smaller / essential for this task other then the Behringer q502 USB?
ORRRRRR
Wouldn't the Behringer 1202USB Sound Mixer allow me to use the microphone pass through AND the whole task I am trying to get right now at the same time on this sound mixer?

The sound quality of a separate audio interface is better than one of the USB mics. USB mics essentially cram a small audio interface into the mic itself. Since there is less room in there it often sacrifices some quality.

The bigger problem with most USB mics is that they don't have zero latency monitoring (a few models do have this, you'll know it does if you have to plug headphones into the microphone to monitor your recording, example this model: https://smile.amazon.com/Rode-NT-USB-USB-Condenser-Microphone/dp/B00KQPGRRE/)

It's a lot easier to get your volume levels correct if you have headphones on that you can hear yourself with no latency. You can listen to the computer output but there will be a slight latency which can be very annoying.

If you want to do a basic good quality setup here is what you need and some basic but good bang for the buck quality gear:

• Audio Interface with XLR input, phantom power, and zero latency monitoring
  
• A large diaphragm condenser mic
  
• A pop shield
  
• A microphone shield
  
• A Vocal plugin (VST) *Note: This often goes on sale for $30, keep an eye out for sales.
  
  Otherwise I'd go for that Rode NT-USB. It has the zero latency monitoring. You'll notice though that you aren't really saving much money, that mic is $170 and takes the place of the audio interface, mic. and pop filter I linked above. The cost of the audio interface is $75 + mic $99 + pop filter $9 = $183. So it's only $13 more vs a good USB mic. It all comes down to do you want to be more flexible in the future with options (better for future upgrades)? Or do you want a more compact all in one setup (better for travel or small desk space)?

"That I can use anywhere..."

Eh, that's not really a thing. Microphones are space dependent.

If you're just doing Youtube, talking head style videos, you don't even need to spend that much money.

Get yourself a condenser mic. I use a Rode NT1 Kit. I like that the pop filter is right on the mount and it sounds "fine". You can get a lot of opinions, with a lot of cork sniffing. In a mix, with proper compression and filtering, there are differences, but it's real small. Diminishing returns is strong with mics. I was using a Neumann TLM104 before, and honestly, not that big of a difference. It's a sensitive mic though, so you'll want a quietish room.

https://www.amazon.ca/Rode-Large-Diaphragm-Cardioid-Condenser-Microphone/dp/B00GGGQK56

Now you need an audio interface to hook the mic up to the computer. Really, you don't need to go that wild. You're just getting your talking voice in there.

https://www.amazon.ca/Focusrite-SCARLETT-2I2-3RD-GEN-2x2-Audio-Interface/dp/B07QR73T66/ref=sr_1_fkmr0_2?keywords=focusrite+scarlett+2i1&qid=1573845792&s=musical-instruments&sr=1-2-fkmr0

Real simple, and will work fine enough, and has a second input, if you ever need one.

Some people will tell you to get a compressor, to run the mic through that on the way in. It's not really necessary and at this point, hardware compressors and software are indistinguishable in a mix or outside of an AB test scenario. Just shoot your video, and record your audio. After, run your vocal through some compression and a high pass filter, and you'll be good to go, for relatively cheap.

For mixing: The Mixing Engineer's Handbook is my favourite resource for learning the mix engineer's craft. Also many people recommend Mixing With Your Mind, but I can't claim to have read it.

For tracking: The same author of the Mixing Engineer's Handbook has one on tracking which is also quite good. I learned tracking as an apprentice, so I have read very little in the way of published books on this topic, but for guitars specifically some person archived the posts of a person named Slipperman here which I've found to be a valuable resource for information and entertainment(!).

In general: Get yourself a copy of the Yamaha Sound Reinforcement Handbook, and read it cover to cover, twice. It is an absolute building block of audio engineering and probably the best single resource I can suggest for the theory and practice of audio engineering and sound reinforcement.

If environmental noise is your main concern, and you're not at the point where you want to treat your room acoustically, you may actually be better off getting a dynamic mic instead of a condenser. A good condenser mic, if used correctly, has the capacity to sound really good, but they're usually not optimized for being operated in noisy non-studio environments.

I have zero experience with USB mics, but I came across this audiotechnica one that generally gets good reviews and fits within your budget. As a plus, it can also double as a regular XLR mic, so if you ever want to expand your set-up to multiple mics with a proper soundcard, you won't lose your investment.

Hey I heard someone say dynamic microphones are better for noisy enviroments because you have to have them closer to you, right? I have no experience with xlr, but would this setup work?

Mic: Shure SM 58
http://www.amazon.com/gp/product/B0000AQRSU/ref=ox_sc_act_title_2?ie=UTF8&psc=1&smid=ATVPDKIKX0DER

Mic Holder:
http://www.amazon.com/gp/product/B000EEHM8U/ref=ox_sc_act_title_1?ie=UTF8&psc=1&smid=A311BEHFUHRLQM

Mic Stand: Rode PSA1
http://www.amazon.com/gp/product/B001D7UYBO/ref=ox_sc_act_title_7?ie=UTF8&psc=1&smid=ATVPDKIKX0DER (I think since the mic is dynamic, I don't need it right?)

Phantom Power ?:
http://www.amazon.com/gp/product/B000XUUXB8/ref=ox_sc_act_title_5?ie=UTF8&psc=1&smid=ATVPDKIKX0DER

XLR Cable ?:
http://www.amazon.com/gp/product/B000RYE5Y6/ref=ox_sc_act_title_3?ie=UTF8&psc=1&smid=AD6O342M484G6

XLR to USB cable ?:
http://www.amazon.com/gp/product/B00B6WZGHS/ref=ox_sc_act_title_4?ie=UTF8&psc=1&smid=A1155GBV4DPEXU (If I don't need phantom power, I just need this cable right?)

Generic wind screen:
http://www.amazon.com/gp/product/B0002GXF8Q/ref=ox_sc_act_title_6?ie=UTF8&psc=1&smid=ATVPDKIKX0DER

I know this isn't ideal because I need like a mixer or something, but would it work decently? I would prefer if the price stayed the same, this is pushing my budget a bit.

Oh, and do I need an adapter for my microphone to go into the stand, stuff like that.

Mixing BootCamp.
http://bobbyowsinski.com/Audio_Mixing_Bootcamp.html

zen and the art of mixing
http://www.amazon.com/Zen-Art-Mixing-Mixerman/dp/1423491505

also (zen and the art of producing)

http://www.amazon.com/Zen-Art-Producing-Mixerman/dp/1458402886/ref=sr_1_1?s=books&ie=UTF8&qid=1368676901&sr=1-1&keywords=zen+and+the+art+of+producing


the daily adventures of mixerman
http://www.amazon.com/Daily-Adventures-Mixerman/dp/0879309458/ref=sr_1_1?s=books&ie=UTF8&qid=1368676951&sr=1-1&keywords=the+adventures+of+mixerman

bobby owinsky (has many great books)

hal leonard recording method is great (series of books)

Hi all,

I have been podcasting for 4 years (57th most popular sports podcast in the world last time i checked!)

One thing that has always hampered me is my sound quality. I have 4 mic set up but it's really basic and I would rather go for one mic with the group sat around it.

I have around £100/$150 to spend, have a mixer and XLR cables, so only need the mic itself. What would you recommend?

These are three I have found

http://www.amazon.co.uk/gp/product/B0002PSCQM/ref=s9_simh_gw_p267_d0_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=0JT47SA4NXWCNSZK7A9H&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294

http://www.amazon.co.uk/gp/product/B002VA464S/ref=s9_simh_gw_p267_d0_i3?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=0JT47SA4NXWCNSZK7A9H&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294

http://www.amazon.co.uk/gp/product/B000JM46FY/ref=s9_simh_gw_p267_d0_i1?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=0JT47SA4NXWCNSZK7A9H&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294

Thanks alot!

It's almost 3 am where I am. I promise to find something for you in the morning. Bookmark these, it's how I retrieved them for you.Here's a few for now (in no particular order):

Reddit thread about sound effects libraries:

http://www.reddit.com/r/audioengineering/comments/h2nxm/hey_raudioengineering_i_was_wondering_if_there/

Synthesizer research (reviews with sound samples!):

http://www.vintagesynth.com

http://www.vintagesynth.com

Gear reviews:

http://ronansrecordingshow.com/

A cool article about bi-neural sound recording:

http://news.cnet.com/8301-13645_3-20026650-47.html

Tips on tightening the low end of your mix:

http://passivepromotion.com/tighten-the-low-end-of-your-mix-with-a-frequency-analyzer

Audio Engineer's Handbook:

http://books.google.com/books?id=y0d9VA0lkogC&lpg=PA1321&ots=APvb9Cd9vK&dq=audio%20ballou&pg=PP1#v=onepage&q=audio%20ballou&f=falsehttp://books.google.com/books?id=y0d9VA0lkogC&lpg=PA1321&ots=APvb9Cd9vK&dq=audio%20ballou&pg=PP1#v=onepage&q=audio%20ballou&f=false

Reddit's musician database:

http://code.reddit.com/wiki/help/faqs/ProductionLounge

A good book regarding recording sound effects:

http://www.amazon.com/dp/1932907483/ref=cm_sw_su_dp

Audio product reviews:

http://www.tapeop.com/reviews/category/23/

Test tones:

http://quiztones.net/

Website dedicated to recording tips and tricks:

http://recordinghacks.com/

Microphone techniques:
http://theproaudiofiles.com/microphone-tips-from-recording-hacks/

Some good general mixing tips:

http://theproaudiofiles.com/top-25-a-ha-moments-in-learning-to-record-mix/

Mixing rap vocals:
http://theproaudiofiles.com/mixing-rap-vocals/

Compression tips:

http://theproaudiofiles.com/dynamics-processing/

Getting that internship:

http://theproaudiofiles.com/tips-how-to-get-that-recording-studio-internship/

A cool site I frequent (reviews and tips):

http://thedspproject.com/

Here's a little cheat-sheet for EQing:

http://www.recordingwebsite.com/articles/eqfreq.php

You can pick up a Steinberg UR12 on amazon for $100 right now. It'll do everything OP needs. Obviously not pro gear, but for the sake of recording a podcast or voiceover for live streaming that's what it was designed for with the loopback functionality built in. The preamp will make your recording quality MUCH better with less line noise and artifacting that comes with just using a generic soundcard to record and give you the option of increasing or decreasing the gain if you need more or less volume.

I'm not referencing any specific material, I'm talking in general terms regarding absorption through the use of porous materials.

When using a porous absorber (of which a textile carpet, textile drapes, and slabs of mineral wool are examples of), the bandwidth of its absorption is dictated by the thickness of the material. A sound wave is at peak pressure at one quarter the wavelength, so this will define the low threshold of where the absorbing material will be effective with regards to its thickness.

If we take the 250 Hz frequency example again:

The wavelength of a 250 Hz sine is:

λ = c / f = 344 m/s / 250 Hz = 1.376 m

...and a quarter of that wavelength (to find the wave's pressure peak) is:

1.376 m / 4 = 0.34 m

So a 34 cm thick carpet will absorb from 250 Hz and up. The exact degree of absorption and the Q-factor depends on the material itself, but the roll-off frequency is determined by the thickness.

All this stuff is detailed in Everest & Pohlmann's Master Handbook of Acoustics, which I heartily recommend for anyone who's interested in the science of acoustics.

These two books will get you far:
[The Mixing Engineer's Handbook](The Mixing Engineer's Handbook https://www.amazon.com/dp/128542087X/ref=cm_sw_r_cp_api_mSDqzbH36PSN0)
Mixing Secrets for the Small Studio

Here's a lengthy video series on mixing by Michael White: Fundamentals of Mixing

I like the way he uses graphical representations to help you visualize various aspects of mixing.

Also check out the UBK Happy Funtime Hour podcast.

Spend a little bit more, and get the Rode Podcaster. I know it's like twice your budget, but it honestly blows that Samson out the water.

Play us out, PriceZombie...

Yes my speaker has a 3.5mm aux in, but since Focusrite 2i2 has 1/4 inch TRS jack in the back so do you think something like [this] (http://www.amazon.co.uk/HosaTech-CMP-153-3-5mm-Stereo-Breakout/dp/B000068O3C) will help me to connect this interface to speaker?

The Master Handbook of Acoustics is a decent book that covers a wide array of topics at a decent level while still being accessible. There are several chapters that are good introductions to room treatments for studio spaces. It's not the be-all technical reference for acoustics, but it's a great place to get started.

If you want a general, but very broad (it's a huge fucking book ~1200pgs) overview check out The Computer Music Tutorial by Curtis Roads. If you have a strong math background and really want to get into the nuts and bolts of digital sound check out The Audio Programming Book by Richard Boulange. For something sort of in the middle Computer Music: Synthesis, Composition, and Performance by Charles Dodge. I took a two years of sound design / engineering at a UC campus. These were the three books we referenced most.

What he said. Are you practicing to sing live or in the studio? If you want to practice live mic technique you really should use a dynamic mic. The great option would be an SM58, and the cheaper option would be a Behringer Mic. If you are practicing for studio work you should be using headphones.

Would not recommend this, Thunderbolt connections are not completely common at this point. The advantages of one aren't even necessary unless you need very low latency. A USB interface would work just fine, would recommend: http://www.amazon.com/Behringer-Q1202USB-12-Channel-Mixer/dp/B00CTKI45M/ref=sr_1_5?ie=UTF8&qid=1462939004&sr=8-5&keywords=4+channel+mixer This would work well considering it has 4 XLR pre-amps and a USB out so it also works well as an interface. Would also work well if OP doesn't want to mix inside the box.

1. Yes, It's plugged in the Phones jack
   
   
2. It's the Fiio D3 Digital to Analog Audio Converter
   I wanted to use it to make "Discord" in a diffrent line the[3/4]
   E.g. :https://youtu.be/XvDnVMrr0NE?t=3m25s
   
   
3. "Discord"
   
   
4. I'm planning to start streaming and make youtube videos the mic is the Audio-Technica AT2035
   
   
5. yes, the optical out is going to the converter and the converter goes to line 3/4, the analog out goes to line 5/6 in the mixer
   
   I Bought the mixer and the Fiio D3 Digital to Analog Audio Converter so I can split my voip audio from my microphone audio from my computer audio so I will end with three tracks of audio

I would do everything that you are doing. In fact, I did that exactly. I'm assuming that the 'step further' will be to charge for it?

I mean, you could seek out an internship at a 'real' studio, but I doubt you would get it. It's a long shot.

The recording engineers handbook is a good resource. If you have other friends in bands, offer to record them for practice?

If you're talking about their newer set (#412) then this reddit post says it's this model. Their older set (say, #312) seems to use the rode desk clamp stand whereas even older (#280) just seems to use a generic clamp stand like this neewer.

Enough people have the blue yeti that you should be able to google around for each mic stand to see if it'll support the weight.

Yeah, you could get an additional set, but make sure if you do that you get the uhf set so you can change channels on the second set. Also you would likely need an external mixer for any more than one set, which isn’t a bad idea anyway but I don’t know what your budget is. If you want to record through USB this one would be okay but you would need to do a bit of adapter gymnastics to get your full 5 channels:
BEHRINGER XENYX Q1202USB https://www.amazon.com/dp/B00CTKI45M/ref=cm_sw_r_cp_api_0912AbNZ76M19

Or if you don’t need USB this one is a bit better sized:
BEHRINGER XENYX 1002B https://www.amazon.com/dp/B0027B41P0/ref=cm_sw_r_cp_api_a912AbVWNHMKZ

Once again I’m assuming a budget of next to nothing so this is pretty much the minimum you’d want to get the job done. Another option would be to use the wired mic that you already have on one person, then wireless on everyone else into a two channel mixer such as this one:
BEHRINGER XENYX 502 https://www.amazon.com/dp/B000J5UEGQ/ref=cm_sw_r_cp_api_s812AbEF7EKSG
But the jankiness of that setup scares me a bit.

Oh and here’s a 2 channel mic setup as well.
GTD Audio U-35L UHF Wireless Microphone System with Headset Lavaliere Microphone https://www.amazon.com/dp/B013XVR85M/ref=cm_sw_r_cp_api_4l22AbVB766XE

a cable like this: http://www.amazon.com/Hosa-Cable-CMS110-inch-Adapter/dp/B000068O36 from the scarlett's headphone out to the "front right/left" input on the speaker

or

a cable like this: http://www.amazon.com/Hosa-CMP153-Cable-Inch-Dual/dp/B000068O3C/ from the scarlett's main outs to the same "front right/left"

Here's a link to some example clips highlighting the noises/artifacts I'm hearing (you'll probably need headphones):

https://soundcloud.com/tags/audio_noises

This is my setup, all purchased new, in order of connection:

1. Electro-Voice RE20
   
   
2. DBX 286s Microphone Pre-amp Processor
   
   
3. Mackie Onyx Blackjack 2x2 USB Recording Interface
   
   
4. My Macbook
   
   Backup Mic:
   
   
5. Audio-Technica ATR2100
   
   Old microphone, which doesn't have the issue:
   
   
6. Samson C01U Pro USB Studio Condenser Microphone
   
   What I've tried so far:
   
   

• Tried every combination of knobs I can think of, including bypassing all processing on the DBX, 0 gain on the Onyx Blackjack, a little gain on the DBX and a little gain on the Onyx, both with and without the Hi-Z button...etc.
  
• Removed the computer from the equation, plugging my headphones directly into the Onyx Blackjack monitoring jack.
  
• Removed the DBX 286s from the equation, plugging the RE20 directly into the Blackjack (tried both with and without the computer in the loop).
  
• Removed the Onyx Blackjack and the computer from the equation, plugging my headphones directly into the output of the DBX 286s.
  
• Removed electrical power from the equation, using the Onyx Blackjack directly, and unplugging my Macbook from power (the Onyx Blackjack is powered by USB).
  
• Removed the room from the equation, taking my Macbook and Onyx Blackjack to another room, and then outside.
  
• Put a wind filter on the mic.
  
• Enabled the "bass tilt down" roll-off switch on the RE20.
  
• Tried talking further away from the mic.
  
• Tried all of the above with the backup mic.
  
• Tried all of the above with a different XLR cable.
  
  Nothing got rid of the noise. The weird part is, it's not always consistent. Sometimes it will appear and be really obvious, other times it will sit subtly in the background. When I tried again with the old Samson mic, everything sounded normal. If someone can tell me the technical term for this sound, I can do my research and hopefully figure it out, but I'm lost, I don't know what to search, and I feel like I tried everything.
  
  
  TL:DR - Tried 2 XLR mics, 2 XLR cables, 2 pieces of equipment, with and without the computer, went outside, unplugged everything from power, and isolated all the above variables. What the heck is this noise???

Theoretically you could get away with powering your stereo from the headphone jack, but you'd have to put up with switching cables if you wanted to use your headphones. Perhaps a 1/8" stereo to dual 1/4" mono cable would be helpful in getting your signal from the proper outputs? You may have to get a female to female gender-bender to get the signal to your speakers.

Yep, it's expecting a mono signal. Try using something like [this] (https://www.amazon.com/gp/aw/d/B000068O3C/)

I think you might have to just jury rig something. Is your desk a family heirloom or something? Can you mess with it is what I mean. Try wood gluing a solid piece of timber on the side that the clamp can more easily attach to? I just know most of those cheap-o desk stands are very similar.

Here is a pricier one made by RODE, the PSA1. This picture looks like it might have a bigger clamp surface area. You might just be able to get the clamp part from somewhere.

But seriously, if you don't even know what the term 'gain-staging' means, a single paragraph on a reddit thread is not going to help you much. That's basic fundamentals on how audio works. I'd suggest picking up some beginner books.

There's a lot of fundamentals covered in this Sound Reinforcement Handbook.
And the Mixing Engineer's Handbook is great.

Hey there, I have a sE2200a II C condenser mic. I do not have the shock mount that comes with it as it was damaged during a recent move. I'm going to use the mic for some vocal recordings, voiceovers, and talking over Skype and such, so I think I'd be best to go with a desk stand (I can make it work for the vocal recordings).

I have no idea where to start here, so I'd be happy with some suggestions on shock mount and/or stand. My budget is a bit tight, so I wouldn't want to spend more than $100 - $150 if possible, but ideally I'd like a decent quality product.

I posted to /r/audio and got the following suggestion, but have no idea on the shock mount.

http://www.amazon.com/RODE-Swivel-Mount-Studio-Microphone/dp/B001D7UYBO

I couldn't see why not. Assuming you're using something like this:

http://www.amazon.com/Hosa-CMP153-Cable-Inch-Dual/dp/B000068O3C

What about something like this?

I’m not dropping $500+ on something that might work out

What should I buy for skype chat, game, and audio recordings for 100 on amazon? this is what i have so far https://www.amazon.com/Behringer-UMC22-BEHRINGER-U-PHORIA/dp/B00FFIGZF6/ref=sr_1_17?s=musical-instruments&ie=UTF8&qid=1482801809&sr=1-17&keywords=usb+audio+interface, https://www.amazon.com/Floureon-Condenser-Recording-Broadcasting-Microphone/dp/B00Q4RGQHY/ref=sr_1_5?s=musical-instruments&ie=UTF8&qid=1482800864&sr=1-5&keywords=usb+microphone

Audio is an expensive hobby. You'll have to make sacrifices. I suggest get a part-time job and use the money to buy equipment in this order:

•Mac (because music)

•DAW

•Decent monitors

•Microphone + interface

•A plugin suite

If you learn everything there is to know about each piece you obtain as you obtain it, you'll learn the entire flow of work in audio and you'll know where you'll want to specialize.

There's plenty of books you can read to get you started, I suggest Recording Tips for Engineers, The Mixing Engineer's Handbook, Assistant Engineer's Handbook, and The Music Producer's Handbook. The manual to your DAW is essential.

When I was your age, I worked at Five Guys a couple shifts a week in order to buy a Macbook. 5 years later, I work in a fine dining kitchen to pay off the student loans I took to attend a private recording arts school. So while you're in highschool, learn as much as you can and decide if you really want this. It's not an easy or simple path. It's almost entirely up to you how far you go.

Thanks for the reply. Is this the sort of cable I need? Unfortunately I don't know the difference between TR and TRS. This item says "TRS."
http://www.amazon.com/Hosa-CMP153-Cable-Inch-Dual/dp/B000068O3C/ref=sr_1_1?ie=UTF8&qid=1418572302&sr=8-1&keywords=ipad+1%2F4+cable+stereo&pebp=1418572304507

Yeah, I doubt that mixer even takes balanced signals through the 1/4" connections so TS tips will be fine. TRS tips may work but it depends how it's wired, you may end up losing one side of the stereo image. This is what you want.

edit: Looking at the product page it does accept balanced inputs. Shouldn't make a difference though.

It sounds like a 64bit modem with a mix of morse code. The cables are shielded I believe. My Mobo is an asus z77 sabertooth. I havent picked up these noises with my monitoring headphones and shitty 2.1 logitech. But when i change the source to my phone the noise disappeared (I heard galaxy s3s have nice dacs). I'm just surprised how sensitive these speakers are.

Now for the DAC would these work? FIIO D3 (taishan)

You can't really say what a room mode does or does not sound like. Every room is different and modes change drastically in every room. Normally people do not notice subtle room modes as there really is no reference. The most common room mode people notice (at the listening position) is the lack of bass in some rooms. Bass builds up in corners. No just the vertical corners either, it builds up in all 12 90 degree corners in the room. You can use online calculators which can help you find problem frequencies. You can buy something like the Behringer ECM-8000 and do room tests with Room EQ Wizard. If you wanted to take the cheapest route, and you have a good ear at identifying frequencies, then do a search on using pink noise to identify room modes. It will take some time as you'll need to stand in quite a few places in the room while the wave rises and falls to find the right frequencies. Hopefully I helped to explain a few things.

The Master Handbook of Acoustics is a solid choice.

You can apparently get the Fifth Edition for $10 used.

Yes they can, but Mackie CR3s are also not passive. You'll want one of these cables.

Here are some links for the product in the above comment for different countries:

Link: http://www.amazon.com/Recording-Engineers-Handbook-Bobby-Owsinski/dp/1285442016/ref=sr_1_1?s=books&ie=UTF8&qid=1397230109&sr=1-1&keywords=recording+engineering+handbookThe

• UK: amazon.co.uk
  
• Spain: amazon.es
  
• France: amazon.fr
  
• Germany: amazon.de
  
• Japan: amazon.co.jp
  
• Canada: amazon.ca
  
• Italy: amazon.it
  
• China: amazon.cn
  
  
  This bot is currently in testing so let me know what you think by voting (or commenting).

Probably a silly question but I figured I might as well ask. On the [UMC22] (https://www.amazon.com/Behringer-UMC22-BEHRINGER-U-PHORIA/dp/B00FFIGZF6), using the direct monitor headphone output, can you hear whatever audio your computer is outputting as well? Since my main use for this interface will be gaming, for example, would I be able to monitor my own comms while also hearing my game and Spotify in the same headphones? I'm trying to see if I should bother replacing my lost 1/4th adapter that came with my AT M30xs.

Looking to get a mic for recording voice and for use chatting in video games.

I was looking at this but I realize I would need an audio interface which would require spending money on said interface. I might upgrade mics in the future but I'm not sure I want to spend that much and am also considering just getting a USB mic.

What should I do?

Assuming your PC has a 3.5mm line input socket. What you need is one of these:

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https://www.amazon.co.uk/HosaTech-CMP-153-3-5mm-Stereo-Breakout/dp/B000068O3C/ref=sr_1_1?s=musical-instruments&ie=UTF8&qid=1537388112&sr=1-1&keywords=3.5mm+trs+to+dual+1%2F4+inch+ts+stereo+breakout+cable

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USB audio interfaces are generally used by people wanting to record microphones or instruments directly to pc/mac without the need for a mixer. Behringer make one:

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https://www.amazon.co.uk/Behringer-UMC-404HD-UMC404HD-Interface/dp/B00TTX73YA/ref=sr_1_3?s=musical-instruments&ie=UTF8&qid=1537388534&sr=1-3&keywords=4+input+audio+interface

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Personally, I'd cancel the mixer, get an interface and do the mixing in the computer - but you can get decent results either way.

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I recommend the ATR-2100 which functions as XLR and USB. In my opinion, the sound is comparable to $300 mics, but I have an untrained ear for mics. It is on sale for $45 right now, which is the lowest price that it has been in months.

Ah! I didn't know that haha.

I was definitely considering the Scarlett (The Solo is cheaper though. Is the 2i2 worth it?) or the Behringer U-Phoria (since it is cheaper and again, I am a poor artist lol). Both have decent reviews. Though I guess Behringer as a brand seems to get a lot of hate for whatever reason.

Hello!
I am thinking of buying Steinberg UR12 Audio Interface and I have 2 questions. Any better alternatives at around the same price? I am aware of the focusrite but I've seen people complain they have problems on windows so maybe would be a bad choice for me (I use windows 10 64bit)?

And now for the stupid question...is it fine for an audio interface to be pluged in-out a lot of times? In the morning I will have to plug it in to my laptop and at night take it out. Will there be any problems with this? I guess not but doesn't hurt to ask!