Recording Gear For Use With Sonar

From Sonar

(Difference between revisions)
m
 
(47 intermediate revisions not shown)
Line 1: Line 1:
-
'''Recording Gear''' for use with [http://www.cakewalk.com/ Cakewalk]'s '''Sonar''' DAW software.
+
[[Main_Page|Home Page]] * [[Getting_Started_With_Sonar|Getting Started]] * [[Sonar_Workflow|Workflow]] * [[Tips_Techniques_and_Tutorials_for_Sonar|Tips, Techniques and Tutorials]] * [[Sonar_Errors_and_Workarounds|Errors and Workarounds]] * [[Making_Music_With_Sonar|Making Music]] * [[Composing_Arranging_Songwriting|Composing, Arranging & Songwriting]] * [[Optimizing_Your_DAW|Optimizing Your DAW]] * [[Recording_Gear_For_Use_With_Sonar|Recording Gear]] * [[Components_Included_with_Sonar|Included Components]] * [[Effects_And_Signal_Processors_For_Use_With_Sonar|Third-Party Effects]] * [[Virtual_Instruments|Third-Party Virtual Instruments]] * [[Computer_Systems_For_Use_With_Sonar|Computer Systems and Components]] * [[Free_Downloads|Free Downloads]] * [[Sonar_Resources|External SONAR resources]]
 +
 
 +
 
==Microphones==
==Microphones==
 +
 +
===Types of Microphones===
 +
 +
There are two common types of [http://en.wikipedia.org/wiki/Microphone microphones] that are used in the studio:
 +
 +
*'''Dynamic Mics'''
 +
:These use a diaphragm with a moving magnet inside a coil. Sound waves in the air cause the diaphragm to physically move, making  the coil convert sound energy into a weak electrical signal. These mics are typically fairly cheap to make, and fairly hardy. However, because they work by physically moving a diaphragm, they are relatively insensitive, particularly at high frequencies. This can be seen in they way they "tame" strong transients, which --depending on the application-- can be advantageous or disadvantageous.
 +
 +
*'''Condenser Mics'''
 +
:These use an electrically-charged diaphragm placed in close proximity to a metal backplate, which is also electrically charged. Sound waves move the diaphragm, and changes in the distance between it and the backplate produce a weak electrical signal. As condenser mics have no coil or magnet to move, but merely a thin membrane (the diaphragm), they have a greater sensitivity and range than dynamic mics. However, condensor mics generally require a battery or a phantom power source (this is a 48v power supply sent from the amplifier to the microphone). If you have a mic that requires phantom power (condensors), you should make sure your soundcard, mixer or pre-amp supports it.
 +
 +
There are also several other types of [http://hyperphysics.phy-astr.gsu.edu/hbase/audio/mic.html microphones] available:
 +
 +
*'''Ribbon Mics'''
 +
:These microphones use a metal ribbon placed inside a magnetic field. Sound waves move the ribbon and thereby generate a voltage between its two ends.  These mics tend to reinforce low frequencies, which can be pleasing or boomy, depending on the sound source and and application. Ribbon mics are also very susceptible to wind noise.
 +
 +
*'''Electret Condenser Mics'''
 +
:These are essentially cheap versions of normal condenser mics. They use a permanently-charged electret material as a diaphragm, eliminating the need for external (battery or phantom) power. These are the mics typically found in boom box and portable recorders.
 +
 +
*'''Piezoelectric Mics'''
 +
:These microphones use special crystals which produce an electrical voltage when pressure is applied to them. A strip of these crystals is connected to a diaphragm. When the diaphragm is moved, it deforms the crystals, producing opposite charges in the front and back of the crystal strip.  Piezoelectric microphones produce a relatively strong voltage, but their frequency response is not very good.
 +
 +
As a general guide, a few "old classics" are:
 +
*''Dynamic:'' [http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_SM57-LC_content Shure SM57] (instruments), [http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_SM58-CN_content Shure SM58] (vocals)
 +
*''Condensor:'' [http://www.rodemic.com/?pagename=Products&product=NT1-A Rode NT1] (general)
 +
 +
A glossary of microphone terms can be found [http://mixguides.com/microphones/basics/audio_glossary_basic_microphone/ here].
 +
 +
===Specific Microphones===
 +
 +
'''Shure Beta57a'''
 +
*''Type:'' Dynamic
 +
*''Pattern:'' Supercardoid
 +
*''Frequency Response:'' 50Hz-16kHz
 +
*''Venue:'' Studio, Sound Reinforcement
 +
*''Uses:'' Acoustic Instruments, Electric Instruments, and possibly vocals
 +
*''Price:'' Between [http://www.pricegrabber.com/search_getprod.php/masterid=3848762/ US$100 and US$140]
 +
 +
The [http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_Beta57A_content Shure Beta57a] is a dynamic mic promoted as being suitable for recording drums, guitar amplifiers, brass, woodwinds and vocals in a studio setting. A [http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_beta57a_ug user guide] can be downloaded from Shure.
 +
 +
''User Comments''
 +
 +
*I've found this to be a good mic for recording low-frequency acoustic instruments such as classical guitar. Its lack of high range, however, produces dull, even muffled recording of higher-pitched instruments such as the [http://en.wikipedia.org/wiki/Charango charango] and mandolin. As for vocals, it records my low voice acceptably, but sounds like it has a wet towel over it when recording my nine-year-old daughter. [[User:Sms|SMS]] 17:12, 14 September 2006 (EDT)
 +
 +
-----
 +
 +
'''MIC NAME'''
 +
*''Type:''
 +
*''Pattern:''
 +
*''Frequency Response:''
 +
*''Venue:''
 +
*''Uses:''
 +
*''Price:''
 +
 +
DESCRIPTION GOES HERE
 +
 +
''User Comments''
 +
 +
*User comments go here
 +
 +
-----
 +
 +
'''MIC NAME'''
 +
*''Type:''
 +
*''Pattern:''
 +
*''Frequency Response:''
 +
*''Venue:''
 +
*''Uses:''
 +
*''Price:''
 +
 +
DESCRIPTION GOES HERE
 +
 +
''User Comments''
 +
 +
*User comments go here
 +
 +
==Microphone Preamps==
==Microphone Preamps==
Line 11: Line 90:
==Sound Cards / Audio Interfaces==
==Sound Cards / Audio Interfaces==
-
==(Audio) Monitors==
+
===Types of Sound Cards and Audio Interfaces===
 +
 
 +
[http://en.wikipedia.org/wiki/Soundcard Sound cards] or audio interfaces can be classified into three groups: consumer, prosumer or semi-pro, and professional.
 +
 
 +
In general you should use semi-professional hardware. You can also try professional audio interfaces if you're rich or are ''really'' serious about sound quality. Many people have reported problems with consumer or on-board sound cards, like driver incompatibilities, random crashes, inability to record, etc.
 +
 
 +
Also, one word of warning - avoid ProTools hardware (Digi001 etc.), as some users have reported compatibility problems between it and SONAR. See [http://forum.cakewalk.com/tm.asp?m=858542 this forum thread] for some more details.
 +
 
 +
 
 +
#'''Consumer (Low-End)'''
 +
#:These are the typical sound cards for gaming, as well as the on-board audio system inlcuded in many or most motherboards sold today.
 +
#:Popular cards in this range are the [http://www.creative.com/products/welcome.asp?category=1& Creative Soundblaster] line, AC 97. These are low-fidelity sound cards that are mostly designed for playing games and watching movies on your home computer.
 +
#'''Prosumer or Semi-Pro (Mid-Range)'''
 +
#:Prosumer or semi-professional sound cards / audio interfaces are the minimum required for serious music recording.
 +
#:Popular hardware in this range is built by [http://www.m-audio.com/index.php?do=products.list&ID=pciinterfaces M-Audio], MOTU ([http://www.motu.com/products/pciaudio/ PCI] / [http://www.motu.com/products/motuaudio/ Outboard]), [http://www.presonus.com/products.html Presonus] and EMU ([http://www.emu.com/products/welcome.asp?category=505 PCI] / [http://www.emu.com/products/category.asp?category=610 Outboard]). These are designed for home/project studio use, and feature better quality Analog/Digital converters, multiple in/outs, low-latency drivers, and sometimes built-in preamps. They usually record at rates from 44.1khz/24bit on up.
 +
#'''Professional (Top-End)'''
 +
#:Professional audio interfaces are what the professional studios use. They include hardware made by [http://www.apogeedigital.com/ Apogee], [http://www.mytekdigital.com/ Mytek] and others. The difference in quality between professional and semi-pro audio interfaces often lies in their analog/digital converters.
 +
 
 +
The most obvious difference between cards in the same range is the number and type of I/O (input and output) ports. Another factor in choosing a sound card is the way it connects to your computer -- [http://en.wikipedia.org/wiki/Pci PCI], [http://en.wikipedia.org/wiki/Firewire Firewire], [http://en.wikipedia.org/wiki/Usb USB] or [http://en.wikipedia.org/wiki/PCMCIA PCMCIA].
 +
 
 +
In theory PCI is faster than Firewire, which is faster than USB etc, but in the real world, you are much more restricted by your hard drive and CPU than soundcard/interface performance. So before you buy, you should check that the interface used by the soundcard will work with your PC. If you have a laptop, for example, you wont be able to use PCI cards.
 +
 
 +
[http://www.staudio.de/kb/english/drivers/index.html Drivers] are also an important issue, as they can make or break a sound card's real-life performance. The importance of mature, stable drivers cannot be overstated.  Also, the type of driver should be taken into account. [http://en.wikipedia.org/wiki/Audio_stream_input_output ASIO] and [http://en.wikipedia.org/wiki/Windows_Driver_Model WDM] drivers perform better than other types.
 +
 
 +
===Specific Sound Cards and Audio Interfaces===
 +
 
 +
====Consumer (Low-End)====
 +
 
 +
'''Soundblaster (Anything)'''
 +
 
 +
If you're using a Soundblaster, stop. Forget about software, plug-ins, mixers, mics, preamps and everything else -- your next purchase ''needs'' to be a semi-pro sound card.
 +
 
 +
''User Comments''
 +
 
 +
*Been there. Done that. Great if you like a theremin by the seashore added to every track, though!
 +
 
 +
====Semi-Pro (Mid-Range)====
 +
 
 +
'''M-Audio Delta44'''
 +
*''Interface :'' PCI + Breakout Box
 +
*''Bit/Sample Rates:'' 24 bit / 96kHz
 +
*''Internal Rates:'' 36 bit internal mixing / routing
 +
*''Inputs:'' 4 TRS plugs
 +
*''Outputs:'' 4 [http://en.wikipedia.org/wiki/Tip_ring_sleeve TRS] plugs
 +
*''Price:'' US$200 (MSRP)
 +
 
 +
The M-Audio [http://www.m-audio.com/products/en_us/Delta44-main.html Delta44] is an old standby in home studios. It consists of a PCI card, a special cable, and a breakout box with 4 TRS inputs and 4 TRS outputs. The breakout box places the signal processing components far away from the internal noise generated by computers.
 +
 
 +
Its compatible with [http://en.wikipedia.org/wiki/Audio_stream_input_output ASIO], MME, [http://en.wikipedia.org/wiki/Directx DirectX] and other [http://www.staudio.de/kb/english/drivers/index.html audio drivers].
 +
 
 +
The latest drivers can be downloaded [http://www.m-audio.com/index.php?do=support.drivers here], as can the Delta44 [http://www.m-audio.com/index.php?do=support.manuals&PID=ad13e577f5e5f494c721095cefefd71b manual].
 +
 
 +
''User Comments''
 +
 
 +
*I've been using my Delta44 for about 6 years and don't have a single complaint about the hardware. It's simply worked, and worked well. It did take M-Audio a couple years to develop near-perfect Windows drivers (I can't speak for other OSes), but the current ones are flawless, as far as I can see. [[User:Sms|SMS]] 17:46, 14 September 2006 (EDT)
 +
 
 +
-----
 +
 
 +
'''NAME'''
 +
*''Interface :''
 +
*''Bit/Sample Rates:''
 +
*''Internal Rates:''
 +
*''Inputs:''
 +
*''Outputs:''
 +
*''Price:''
 +
 
 +
DESCRIPTION GOES HERE
 +
 
 +
''User Comments''
 +
 
 +
*User comments go here
 +
 
 +
-----
 +
 
 +
'''NAME'''
 +
*''Interface :''
 +
*''Bit/Sample Rates:''
 +
*''Internal Rates:''
 +
*''Inputs:''
 +
*''Outputs:''
 +
*''Price:''
 +
 
 +
DESCRIPTION GOES HERE
 +
 
 +
''User Comments''
 +
 
 +
*User comments go here
 +
 
 +
====Professional (Top-End)====
 +
 
 +
==Monitors (Audio)==
 +
 
 +
===Classes and Types of Monitors===
 +
 
 +
There are two basic classes of studio monitors -- powered (active) and unpowered (passive).  Powered (active) monitors come with their own built-in amplifier, while unpowered (passive) ones require that you purchase a separate, dedicated amplifier and connect the monitors to it.
 +
 
 +
In home studios you will typically find near-field monitors, which are designed to reduce the effects of room acoustics as much as possible.  These monitors are smaller and less powerful that their bigger cousins, mid-field monitors, and are designed to be placed close to the user.
 +
 
 +
===Specific Monitors===
 +
 
 +
'''Behringer Truth B2031A'''
 +
*''Class:'' Active
 +
*''Type:'' Nearfield
 +
*''Frequency Response:'' 50Hz-16kHz
 +
*''Inputs:'' [http://en.wikipedia.org/wiki/XLR XLR] and [http://en.wikipedia.org/wiki/Tip_ring_sleeve TRS]
 +
*''Price:'' US$500 (MSRP)
 +
 
 +
The [http://www.behringer.com/B2031A/index.cfm?lang=ENG Behringer Truth B2031A] are active nearfield monitors with a nominal frequency response of 50Hz-21kHz, with what the manufacturer claims to be an "extremely flat response". Each monitor includes two amplifiers, a 150 Watt amplifier for the 8 ¾" woofer and a 75 Watt amplifier for the tweeter, respectively. Each amplifier includes an automatic overload warning which triggers a red warning light on the front of the monitor when active, and which will turn off the amplifier under extreme loads.
 +
 
 +
''User Comments''
 +
 
 +
*The Behringer company has anything but a sterling reputation among audio pros and semi-pros, but I find my pair of B2031As to be excellent for their price range. [[User:Sms|SMS]] 17:12, 14 September 2006 (EDT)
 +
 
 +
-----
 +
 
 +
'''NAME'''
 +
*''Class:''
 +
*''Type:''
 +
*''Frequency Response:''
 +
*''Inputs:''
 +
*''Price:''
 +
 
 +
DESCRIPTION GOES HERE
 +
 
 +
''User Comments''
 +
 
 +
*User comments go here
 +
 
 +
-----
 +
 
 +
'''NAME'''
 +
*''Class:''
 +
*''Type:''
 +
*''Frequency Response:''
 +
*''Inputs:''
 +
*''Price:''
 +
 
 +
DESCRIPTION GOES HERE
 +
 
 +
''User Comments''
 +
 
 +
*User comments go here
==Headphones==
==Headphones==
==Control Surfaces==
==Control Surfaces==
 +
 +
===Types of Control Surfaces===
 +
 +
===Specific Control Surfaces===
 +
 +
'''Frontier Design TranzPort'''
 +
*''Type:'' Remote
 +
*''Price:'' US$200
 +
 +
Frontier Design's [http://www.frontierdesign.com/Products/TranzPort/ TranzPort] is a wireless remote control for SONAR and many other audio applications. It's especially useful for home recordists that want to track in a room other than their control / computer room, typically to work in a quieter environment.  It is also used by many while in the control room due to the increased ease of use it provides for working with SONAR.
 +
 +
The TranzPort is radio-frequency based, which means that it does not require a line-of-sight to its USB receiver unit in order to function. Nominal range is about 30 feet, though some have used the TranzPort at greater distances, while a few can't use it at more than 10 to 12 feet.
 +
 +
The [http://www.frontierdesign.com/Products/TranzPort/Downloads TranzPort downloads] page has up-to-date installers for Windows and Macintosh and plug-ins for specific audio apps, including a [http://www.frontierdesign.com/download/plugin/TranzPort/setup_TranzPort_SONAR_1_30.zip SONAR plug-in].
 +
 +
It also has a [http://www.frontierdesign.com/download/pdf/TranzPort/Recording_with_SONAR_Layers.pdf tutorial] for recording with SONAR's layers, a SONAR-specific [http://www.frontierdesign.com/download/pdf/TranzPort/SONAR_and_TranzPort_v1.30.pdf manual] and a [http://www.frontierdesign.com/download/pdf/TranzPort/SONAR_Layout_v1_26.pdf layout guide] to the TranzPort's specific functions in SONAR.
 +
 +
''User Comments''
 +
 +
*It may be possible to increase the TranzPort's range slightly by putting the left side of the remote unit toward the USB receiver, as the remote's antenna is located there. [[User:Sms|SMS]] 17:19, 14 September 2006 (EDT)
 +
 +
*I've been really happy with this controller. If you record without an engineer, the ability to control Sonar without having to sit next to your PC is really liberating. Highly recommended.
 +
 +
 +
-----
 +
 +
'''NAME'''
 +
*''Type:''
 +
*''Price:''
 +
 +
DESCRIPTION GOES HERE
 +
 +
''User Comments''
 +
 +
*User comments go here
 +
 +
-----
 +
 +
'''NAME'''
 +
*''Type:''
 +
*''Price:''
 +
 +
DESCRIPTION GOES HERE
 +
 +
''User Comments''
 +
 +
*User comments go here
==Outboard Effects==
==Outboard Effects==
 +
 +
 +
-----
 +
 +
[[Main_Page|Home Page]] * [[Getting_Started_With_Sonar|Getting Started]] * [[Sonar_Workflow|Workflow]] * [[Tips_Techniques_and_Tutorials_for_Sonar|Tips, Techniques and Tutorials]] * [[Sonar_Errors_and_Workarounds|Errors and Workarounds]] * [[Making_Music_With_Sonar|Making Music]] * [[Composing_Arranging_Songwriting|Composing, Arranging & Songwriting]] * [[Optimizing_Your_DAW|Optimizing Your DAW]] * [[Recording_Gear_For_Use_With_Sonar|Recording Gear]] * [[Components_Included_with_Sonar|Included Components]] * [[Effects_And_Signal_Processors_For_Use_With_Sonar|Third-Party Effects]] * [[Virtual_Instruments|Third-Party Virtual Instruments]] * [[Computer_Systems_For_Use_With_Sonar|Computer Systems and Components]] * [[Free_Downloads|Free Downloads]] * [[Sonar_Resources|External SONAR resources]]
 +
 +
 +
 +
 +

Current revision as of 23:16, 30 September 2006

Home Page * Getting Started * Workflow * Tips, Techniques and Tutorials * Errors and Workarounds * Making Music * Composing, Arranging & Songwriting * Optimizing Your DAW * Recording Gear * Included Components * Third-Party Effects * Third-Party Virtual Instruments * Computer Systems and Components * Free Downloads * External SONAR resources


Contents

Microphones

Types of Microphones

There are two common types of microphones that are used in the studio:

  • Dynamic Mics
These use a diaphragm with a moving magnet inside a coil. Sound waves in the air cause the diaphragm to physically move, making the coil convert sound energy into a weak electrical signal. These mics are typically fairly cheap to make, and fairly hardy. However, because they work by physically moving a diaphragm, they are relatively insensitive, particularly at high frequencies. This can be seen in they way they "tame" strong transients, which --depending on the application-- can be advantageous or disadvantageous.
  • Condenser Mics
These use an electrically-charged diaphragm placed in close proximity to a metal backplate, which is also electrically charged. Sound waves move the diaphragm, and changes in the distance between it and the backplate produce a weak electrical signal. As condenser mics have no coil or magnet to move, but merely a thin membrane (the diaphragm), they have a greater sensitivity and range than dynamic mics. However, condensor mics generally require a battery or a phantom power source (this is a 48v power supply sent from the amplifier to the microphone). If you have a mic that requires phantom power (condensors), you should make sure your soundcard, mixer or pre-amp supports it.

There are also several other types of microphones available:

  • Ribbon Mics
These microphones use a metal ribbon placed inside a magnetic field. Sound waves move the ribbon and thereby generate a voltage between its two ends. These mics tend to reinforce low frequencies, which can be pleasing or boomy, depending on the sound source and and application. Ribbon mics are also very susceptible to wind noise.
  • Electret Condenser Mics
These are essentially cheap versions of normal condenser mics. They use a permanently-charged electret material as a diaphragm, eliminating the need for external (battery or phantom) power. These are the mics typically found in boom box and portable recorders.
  • Piezoelectric Mics
These microphones use special crystals which produce an electrical voltage when pressure is applied to them. A strip of these crystals is connected to a diaphragm. When the diaphragm is moved, it deforms the crystals, producing opposite charges in the front and back of the crystal strip. Piezoelectric microphones produce a relatively strong voltage, but their frequency response is not very good.

As a general guide, a few "old classics" are:

A glossary of microphone terms can be found here.

Specific Microphones

Shure Beta57a

  • Type: Dynamic
  • Pattern: Supercardoid
  • Frequency Response: 50Hz-16kHz
  • Venue: Studio, Sound Reinforcement
  • Uses: Acoustic Instruments, Electric Instruments, and possibly vocals
  • Price: Between US$100 and US$140

The Shure Beta57a is a dynamic mic promoted as being suitable for recording drums, guitar amplifiers, brass, woodwinds and vocals in a studio setting. A user guide can be downloaded from Shure.

User Comments

  • I've found this to be a good mic for recording low-frequency acoustic instruments such as classical guitar. Its lack of high range, however, produces dull, even muffled recording of higher-pitched instruments such as the charango and mandolin. As for vocals, it records my low voice acceptably, but sounds like it has a wet towel over it when recording my nine-year-old daughter. SMS 17:12, 14 September 2006 (EDT)

MIC NAME

  • Type:
  • Pattern:
  • Frequency Response:
  • Venue:
  • Uses:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

MIC NAME

  • Type:
  • Pattern:
  • Frequency Response:
  • Venue:
  • Uses:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here


Microphone Preamps

Direct Boxes

Mixers

Sound Cards / Audio Interfaces

Types of Sound Cards and Audio Interfaces

Sound cards or audio interfaces can be classified into three groups: consumer, prosumer or semi-pro, and professional.

In general you should use semi-professional hardware. You can also try professional audio interfaces if you're rich or are really serious about sound quality. Many people have reported problems with consumer or on-board sound cards, like driver incompatibilities, random crashes, inability to record, etc.

Also, one word of warning - avoid ProTools hardware (Digi001 etc.), as some users have reported compatibility problems between it and SONAR. See this forum thread for some more details.


  1. Consumer (Low-End)
    These are the typical sound cards for gaming, as well as the on-board audio system inlcuded in many or most motherboards sold today.
    Popular cards in this range are the Creative Soundblaster line, AC 97. These are low-fidelity sound cards that are mostly designed for playing games and watching movies on your home computer.
  2. Prosumer or Semi-Pro (Mid-Range)
    Prosumer or semi-professional sound cards / audio interfaces are the minimum required for serious music recording.
    Popular hardware in this range is built by M-Audio, MOTU (PCI / Outboard), Presonus and EMU (PCI / Outboard). These are designed for home/project studio use, and feature better quality Analog/Digital converters, multiple in/outs, low-latency drivers, and sometimes built-in preamps. They usually record at rates from 44.1khz/24bit on up.
  3. Professional (Top-End)
    Professional audio interfaces are what the professional studios use. They include hardware made by Apogee, Mytek and others. The difference in quality between professional and semi-pro audio interfaces often lies in their analog/digital converters.

The most obvious difference between cards in the same range is the number and type of I/O (input and output) ports. Another factor in choosing a sound card is the way it connects to your computer -- PCI, Firewire, USB or PCMCIA.

In theory PCI is faster than Firewire, which is faster than USB etc, but in the real world, you are much more restricted by your hard drive and CPU than soundcard/interface performance. So before you buy, you should check that the interface used by the soundcard will work with your PC. If you have a laptop, for example, you wont be able to use PCI cards.

Drivers are also an important issue, as they can make or break a sound card's real-life performance. The importance of mature, stable drivers cannot be overstated. Also, the type of driver should be taken into account. ASIO and WDM drivers perform better than other types.

Specific Sound Cards and Audio Interfaces

Consumer (Low-End)

Soundblaster (Anything)

If you're using a Soundblaster, stop. Forget about software, plug-ins, mixers, mics, preamps and everything else -- your next purchase needs to be a semi-pro sound card.

User Comments

  • Been there. Done that. Great if you like a theremin by the seashore added to every track, though!

Semi-Pro (Mid-Range)

M-Audio Delta44

  • Interface : PCI + Breakout Box
  • Bit/Sample Rates: 24 bit / 96kHz
  • Internal Rates: 36 bit internal mixing / routing
  • Inputs: 4 TRS plugs
  • Outputs: 4 TRS plugs
  • Price: US$200 (MSRP)

The M-Audio Delta44 is an old standby in home studios. It consists of a PCI card, a special cable, and a breakout box with 4 TRS inputs and 4 TRS outputs. The breakout box places the signal processing components far away from the internal noise generated by computers.

Its compatible with ASIO, MME, DirectX and other audio drivers.

The latest drivers can be downloaded here, as can the Delta44 manual.

User Comments

  • I've been using my Delta44 for about 6 years and don't have a single complaint about the hardware. It's simply worked, and worked well. It did take M-Audio a couple years to develop near-perfect Windows drivers (I can't speak for other OSes), but the current ones are flawless, as far as I can see. SMS 17:46, 14 September 2006 (EDT)

NAME

  • Interface :
  • Bit/Sample Rates:
  • Internal Rates:
  • Inputs:
  • Outputs:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

NAME

  • Interface :
  • Bit/Sample Rates:
  • Internal Rates:
  • Inputs:
  • Outputs:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

Professional (Top-End)

Monitors (Audio)

Classes and Types of Monitors

There are two basic classes of studio monitors -- powered (active) and unpowered (passive). Powered (active) monitors come with their own built-in amplifier, while unpowered (passive) ones require that you purchase a separate, dedicated amplifier and connect the monitors to it.

In home studios you will typically find near-field monitors, which are designed to reduce the effects of room acoustics as much as possible. These monitors are smaller and less powerful that their bigger cousins, mid-field monitors, and are designed to be placed close to the user.

Specific Monitors

Behringer Truth B2031A

  • Class: Active
  • Type: Nearfield
  • Frequency Response: 50Hz-16kHz
  • Inputs: XLR and TRS
  • Price: US$500 (MSRP)

The Behringer Truth B2031A are active nearfield monitors with a nominal frequency response of 50Hz-21kHz, with what the manufacturer claims to be an "extremely flat response". Each monitor includes two amplifiers, a 150 Watt amplifier for the 8 ¾" woofer and a 75 Watt amplifier for the tweeter, respectively. Each amplifier includes an automatic overload warning which triggers a red warning light on the front of the monitor when active, and which will turn off the amplifier under extreme loads.

User Comments

  • The Behringer company has anything but a sterling reputation among audio pros and semi-pros, but I find my pair of B2031As to be excellent for their price range. SMS 17:12, 14 September 2006 (EDT)

NAME

  • Class:
  • Type:
  • Frequency Response:
  • Inputs:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

NAME

  • Class:
  • Type:
  • Frequency Response:
  • Inputs:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

Headphones

Control Surfaces

Types of Control Surfaces

Specific Control Surfaces

Frontier Design TranzPort

  • Type: Remote
  • Price: US$200

Frontier Design's TranzPort is a wireless remote control for SONAR and many other audio applications. It's especially useful for home recordists that want to track in a room other than their control / computer room, typically to work in a quieter environment. It is also used by many while in the control room due to the increased ease of use it provides for working with SONAR.

The TranzPort is radio-frequency based, which means that it does not require a line-of-sight to its USB receiver unit in order to function. Nominal range is about 30 feet, though some have used the TranzPort at greater distances, while a few can't use it at more than 10 to 12 feet.

The TranzPort downloads page has up-to-date installers for Windows and Macintosh and plug-ins for specific audio apps, including a SONAR plug-in.

It also has a tutorial for recording with SONAR's layers, a SONAR-specific manual and a layout guide to the TranzPort's specific functions in SONAR.

User Comments

  • It may be possible to increase the TranzPort's range slightly by putting the left side of the remote unit toward the USB receiver, as the remote's antenna is located there. SMS 17:19, 14 September 2006 (EDT)
  • I've been really happy with this controller. If you record without an engineer, the ability to control Sonar without having to sit next to your PC is really liberating. Highly recommended.


NAME

  • Type:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

NAME

  • Type:
  • Price:

DESCRIPTION GOES HERE

User Comments

  • User comments go here

Outboard Effects

Home Page * Getting Started * Workflow * Tips, Techniques and Tutorials * Errors and Workarounds * Making Music * Composing, Arranging & Songwriting * Optimizing Your DAW * Recording Gear * Included Components * Third-Party Effects * Third-Party Virtual Instruments * Computer Systems and Components * Free Downloads * External SONAR resources


















Retrieved from "http://editthis.info/sonar/Recording_Gear_For_Use_With_Sonar"
Personal tools