Cubase 4.5.2 Free Update

There is a new free download update to Cubase 4.5.2 for Mac and Windows XP or Vista - You must have Cubase 4 already installed: http://www.steinberg.net/en/support/steinberg_support_downloads/cubase_4.html This is a free download for any owners of Cubase 4. For more info and to purchase Cubase 4 in Canada please click here.

Two Secrets to a Professional Sound

Two Secrets to a Professional Sound By Jason Johnston Everyone is looking for an "easy button." It happens with dieting, relationships and even (gasp) with recording. People are looking for that proverbial plug-in with an "awesome" switch. While there is no easy button, I have found two essential keys to making your recordings sound as professional or even more professional than any recording studio in Canada. The first key is signal path. The chain is only as strong as its weakest link. Below is a simple and typical home studio setup for recording vocals.

The illustration shows a microphone connected to an audio interface sending sound out to powered monitors. (The computer would be connected via a firewire or USB cable, but this is not important in the context of signal path right now). Here is the all important input signal chain:

Microphone > XLR Cable > Interface

If any one of these links in the chain are of low quality or damaged then your signal is going to be low quality or damaged. If you keep this signal chain as high a quality as possible, then you will reap the benefits of having a top quality, professional sound. For example: you could have the best microphone and best interface but if you are using a frayed XLR from the 70's, your signal chain is as weak as that link. Buy the best quality you can afford for every chain in the link, especially on the input signal chain. The second key to a professional sound is simple: Your Knowledge. This is even more important than your gear or signal path. Your command and control of that gear is the most important aspect of your studio, and in the end the greatest secret to a professional sound. So go back and evaluate your signal chain and make it as strong as possible then learn all you can to use it so your recording will sound as good as possible too. Some sources for learning: 1. Classes: we host a wide range of classes here at our Mississauga Store Front 2. Books / DVD's: If you are not local, books and DVD's are here to help 3. Make Friends with other home studio users: Make friends at our Revolution Audio facebook group. Ask questions. Help some others at the same time. Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.

Getting the Vocal to "Sit" in the Mix

Getting the Vocal to "Sit" in the Mix by Jason Johnston

Have you ever stopped to think about what make a great photograph? Often it is a matter of clearly focusing on one subject and placing that subject clearly against some sort of interesting background. If the subject is a person, it is maybe a close up with the other crowds of people blurred behind. Or perhaps a lone tree contrasted against a sunset.

Good audio mixes are like a great photograph. Especially when it comes to solo subject matter like a lead vocal or guitar. The best mixes create an interesting background on which to set your subject. The key is how to set the subject against this background without it being either too separate from the rest of the music, or blending into the background too much, being obscured. Usually raising and lowering the volume of a vocal track is just not enough to make it sound just right. Here are a few tips on getting a vocal to sit well on a background, without using volume:

- Compression: Using compression with a ratio of 4:1 or so will allow decrease the high and low dynamic of the vocal and make it easier to place in the mix. It will also highlight breaths, pops and even subtle clicks, so be careful. Most pop music uses too much compression for my taste, but you have to admit that lead vocals on the radio reach out and grab you.

- EQ: Sit the vocal just under the surface of the background and then use a little EQ to bump it up just enough to hear it. This is often either in the upper-mid ranges (around 7-8K) for more bite and into the higher regions (around 12K) for more sizzle. Using EQ on all the other tracks to notch out a space for the vocal is a great method used by the best everywhere. (Listen to U2's Beautiful Day for a great example of a vocal set into the mix using EQ)

- Reverb: Most amateur mixers use too much Reverb. This can often make the lead vox muddy, blending too much into the background and making it almost impossible to place it correctly in the mix. Most engineers tend to record completely dry and use as little reverb as possible, unless there is a particular creative effect that is desired.

As always, the major rule is this: there are no rules. Or at least rules are only guidelines or a starting point. Experiment. Use your ears. And just keep the hard drive rolling!

Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.