The Hardware and Accessories You ll Need
The Hardware and Accessories You'll NeedWhen it comes to recording, you need components to take care of a handful of jobs: You need something to turn sound into electrical signals; something to record those electrical signals into a digital file; a way to listen to your recording to make sure it sounds the way you want it to; and cables to move signals between all these other components. For most of us, the pieces we use for these jobs will be a microphone, a computer, headphones, and cables. Most of the time, it's easy to make sure that all of the pieces work well together, but there are a few key issues to watch for when you're choosing components to make sure you avoid problems when you're building your studio.
One of the first places you'll want to pay attention to is in the selection of "professional" equipment versus "consumer" equipment. Now, there are pieces of your setup where this doesn't matter at allyour choice of headphones, for example. Whether you buy your headphones from a huge retailer or a recording-industry supplier, the headphones will work the same (though there can be huge differences in the quality of the sound). On the other end of the process, microphones are a component where the difference between professional and consumer equipment can be huge. tip
We'll go into more detail on some differences later in this chapter, but the basic rule is this: You can generally connect professional components into consumer components successfully if you pay attention to your volume controls; professional equipment tends to operate at higher voltages (which translate into higher volume levels) than consumer equipment. That voltage difference makes it difficult to plug consumer equipment into professional equipment with any successthe volume level of the consumer equipment tends to come across as so low that the professional gear doesn't pick it up. Choosing a Computer Platform: Windows, Macintosh, or LinuxOkay, so we'll start by admitting that most people already have chosen a computer operating system, so you won't need our help on this score. We'll also point out that software is available for Windows, Macintosh, and Linux systems that will let you put together a spectacular podcast. We'll get into the specifics for that software a little bit later in this chapter. What follows, then, is a discussion for those who are trying to decide whether to switch from one operating system to another, or for folks who just want to feel superior about the choice they've already made. WindowsIf you want a platform that has a wide array of recording, editing, and posting options, with the range in quality varying widely, as well, then Microsoft Windows should be at the top of your list. More specifically, Windows XP should be at the top of your list. There are many programs out there for the various tasks, with prices ranging from free to hundreds of dollars, and while most do their thing in a unique way, all are tied together through the Windows graphical user interface. The hardware that Windows runs on can be quite inexpensive, with new systems often on sale for as little as $300. There are three things you'll want to think about when buying Windows software, though, and they all have to do with the nature of sound files. Windows's native audio format is the .WAV file, which tends to be much larger than MP3 files for the same recording. You'll want as much RAM as you can afford in your systemyou should consider 512 megabytes the minimum, and go for a gigabyte (or more) if at all possible. The same issues should drive your choice of hard disk and CD-/DVD-ROM drives. Maintaining a library of audio recordings will eat up a good deal of hard disk real estate, so plan to buy as much storage as you can afford. Since even the smallest of podcasting files is unlikely to fit on a floppy disk, you should plan on getting a CD-R or DVD-R drive in your system to back up your files (and you'll want to back up your files). The last thing you should consider is your sound card. Most desktop and laptop PCs come with a sound card, but the standard sound card may not provide the kind of quality you want in your podcast. Investing in a high-quality sound card can make an immediate difference in the quality of your recordings. Most of the higher-quality sound cards now support surround sound, which won't matter to your podcast, but the ability to handle the high-demand surround sound usually indicates that the circuits that convert between analog sound and digital files (and back again) are of higher quality. MacintoshThe Apple Macintosh is the computer that many people think of when the topic is audio or video creation and it is, in fact, the wonderful interface and reputation that keep the Macintosh at the top of the consideration list. There are not quite as many freeware and shareware packages available for the Mac as there are for the PC, but many of the existing software packages are genuinely quite well integrated and easy to use with minimal training. Some people feel that the Macintosh is overpriced, but there are models that are competitive with essentially any Windows computer currently being sold on the market. The Mac is not fully competitive with the lowest-end PCs, but the Mac Mini and various iMacs are inexpensive and capable platforms for very little money. LinuxLinux is growing in popularity because of its low cost and increasingly easy user experience. While many people associate Linux with hackers and computer experts, it's now possible to use Linux with no more depth of computer knowledge than is required for Windows. Since the hardware platforms for Linux and Windows are often the same, the considerations tend to be the same, as well. The biggest difference regards sound cards, and is the question of driversthe very basic software that tells the operating system what to do with the digital information coming from the device. Linux drivers are available for most of the popular sound cards, and more become available each month, but you should check to make sure that a driver is available before you buy a particular sound card for your Linux system HeadphonesHeadphones are important because they let you listen to your podcast as most of your listeners will hear the recording. There are three basic types of headphonesin-ear, open-ear, and isolationand each will color the sound that you hear when you listen to the podcast. There are two reasons why you should care about the differences in headphone sound, and both of them deal with how well your listener will be able to understand and enjoy your podcast. The first difference between headphones is the amount of outside, or "room" noise they allow in when you're listening to a recording. The second is whether the sound reproduction of the headphone leans toward sounds that are higher or lower in pitch. Together, these two characteristics will affect what your listeners think of the quality of your podcast. Closed-ear (Isolation) HeadphonesIsolation headphones (the classic "ear muff" headphones) allow relatively little noise to come in to blend with the sound of the recording and will tend to produce sound that's heavier on bass tones than the other types of headphones. While most recording artists and audio engineers use these headphone (which they call "cans") while in the studio, they have two disadvantages that may be important for you; they will isolate you from your surroundings, and they are hot to wear for any length of time. If you're mixing a podcast while wearing cans, be aware that listeners using the other types of headphones may find your mix lighter on bass, or more tinny-sounding, than you intend. Open-ear HeadphonesOpen-ear headphones typically have the least bass boost and allow in far more room noise. If you're putting together a podcast with music (especially club or rock music), and edit a final version that has plenty of bass, or if you equalize a spoken voice (especially a male voice) to have a particularly deep tone in your open-ear headphones, the recording may end up sounding "muddy" if someone with isolation headphones starts listening. In-ear HeadphonesIn-ear headphones have the greatest variation in sound among headphone types, though almost all share the quality of blocking significant noise from outside. Most offer very good reproduction through the middle of the sound spectrum, where the human voice tends to be found. The best of this type, which can cost $400 or more, can have quite extraordinary sound quality. The downside for many people is the comfort factora lot of folks just don't like to have something stuck in their ears. When you choose a headset, the most important factor is comfort. If you start building complex podcasts, you may be wearing headphones for extended periods of time, and you want to be able to concentrate on your show, rather than the uncomfortable headphones. If the sound quality is important to you, try to listen to your podcast, at least occasionally, with headphones other than your main set, so you can make sure that you're not mixing at a level of sound quality that works with your main headphones alone. MicrophonesThe sound of your podcast really begins with your microphone. Microphones convert vibrations traveling through the air into electrical signals that your computer can understand. There are several ways to do this, and we'll look at what the different methods mean for the way the microphone sounds. First, though, we'll learn about the two sets of descriptions you'll see used for the microphones you consider. The first set of descriptions talks about the way that the microphone works; how the sound becomes electricity. Most of the words you'll see are dynamic, condenser, and electret. We'll look at what these words mean in a couple of paragraphs. There are other types, including carbon, ribbon, and pressure response, but you're much less likely to need to run across them in podcasting. The next set of descriptions focuses on how the microphone is used, and where the microphone should be in relation to your mouth. Omni-directional, cardioid, shotgun, lavalier, and parabolic are the terms we'll be visiting in a few short paragraphs. Dynamic MicrophonesMost microphones work, in some way, like a speaker in reverse. Where a speaker shakes a diaphragm, using vibrations to produce sound, microphones allow vibrations to shake a diaphragm in order to capture sound. In a dynamic microphone, the diaphragm is connected to a coil of wire. The coil either surrounds or is next to one or more magnets. As the diaphragm makes the coil move in the magnetic field, a changing electric current is generated, and that current is translated into the sound file that can be stored. Figure 6.1. Dynamic mics convert vibrations into changes in a magnetic field, which generates changing voltages that are recorded as sound. Dynamic mics are nice because they don't require an additional, external power source in order to operate. The downside is that it takes (relatively speaking) a lot of vibration to move the coil enough to register a sound. That means that dynamic mics aren't the most sensitive microphones you'll find, but they are pretty tough to destroy; a high wind (or exceptionally loud noise) that might damage a sensitive condenser microphone is much less likely to harm your sturdy dynamic mic. Condenser MicrophonesIn a condenser mic, the diaphragm is given an electrical charge and placed next to a flat plate that has an opposite electrical charge. As the diaphragm moves toward and away from the plate, a changing electrical current is generated. Now, this current is much weaker than that generated by a dynamic mic, so there has to be a small amplifier (or "pre-amplifier") in the microphone to make the signal strong enough to make it all the way to the rest of the equipment. It doesn't take much of a vibration to start the weak current flowing, so a condenser mic can be very, very sensitive. Most of the microphones used in commercial recording studios and radio stations are condenser mics. In these very controlled environments, the biggest limitation of the condenser mic isn't an issue; most condenser microphones require an outside electrical source to charge the diaphragm and plate, and to power the pre-amp. Most commercial recording equipment can provide this electricity through a service called "phantom power" that's available on some or all of the microphone input jacks on the equipment. Some condenser mics, especially those that are less expensive, use a chemical process (applied at the factory) to generate the electrical charge required to make the microphone work. These mics, called electret microphones, don't require the external power source, though they trade some sensitivity for the flexibility. Most small portable microphones, like those used on video cameras, computer headsets, or portable recorders, are electret mics. Figure 6.2. The diaphragm and charged plate of the condenser mic make it more sensitive than the dynamic microphone. So which type should you buy? If you're getting started and want to use the microphone that's attached to your headset, then you'll be using an electret mic, and that's okay. If your podcast is going to involve taking your recording studio around to lots of different places, then your first microphone upgrade should be to a good dynamic mic because it will sound good and stand up to the rigors of being thrown around in a field bag or backpack. The condenser mic? When sound quality is the only consideration and you've moved up to an all-professional recording studio, then you'll be ready to shell out for the condenser that comes in its own wooden box and makes you sound like a million dollars. Microphone PatternsIf recording your podcast involves you and a microphone then the pattern won't really matter all that much. If you're going to be recording a group of people, recording things that aren't right next to the microphone, or trying to limit the extra "noise" that gets into the microphone then the pattern starts to matter a great deal. The first pattern you may hear about is omni-directional. Omni-directional mics pick up sound equally well no matter where the source sits in relation to the microphone. This is great if you're trying to record a group of people, or if you don't want to have to worry about precisely where the microphone is, but it's not so good if you want the microphone to help eliminate noise that exists in the room, or if you want to pick up sound that is far away from the mic in a particular direction. A cardioid pattern is, as its name implies, somewhat heart-shaped. This means that there is one direction in which the microphone is most sensitivewhich usually translates into being able to pick up sound at a greater distance in that direction. Greater sensitivity in one direction means less sensitivity in the others, so unwanted noise doesn't make it into the recording quite as much as with omni-directional microphones. Figure 6.3. Your direction to the microphone doesn't matter with an omni-directional pattern. Figure 6.4. The cardioid pattern extends much farther in one direction. CablesThe home stereo industry has worked very hard to convince people that they simply must have cables made of precious metals, created by exotic processes, in order to get good sound. You might think that the same is true of recording, but for podcasting, the fact is that some very simple, low-cost cables will work perfectly well to carry your recording from place to place. Now, let's stop for a moment to state, without question, that there are differences in cables, and that those differences can have an effect on the sound that goes into a recording. For most podcasters, though, the sound difference that comes from a top-of-the-line cable versus a good cable will be masked by the limitations of the microphone, the sound card, or the encryption rate you select for your MP3 file. We recommend that you choose good cablesthose in the middle of the price rangebut that you not obsess over the quality of a component that doesn't have the greatest effect on the sound of your podcast. The biggest difference that you're likely to see in your cables comes from the connector type and the words "balanced" or "unbalanced." Both of these issues tend to pop up when you start mixing professional equipment with consumer components. Now, we'll take a look at when you might see those differences, and what you should do about them as a podcaster. Let's start with balanced and unbalanced cables. If you're using the cable that's already connected to a microphone (like the one on a headset or a low-cost lavalier mic) then you're using unbalanced cable. This means that there are two wires, each one carrying audio signal, and no separate grounding conductor. Figure 6.5. There is no separate ground on an unbalanced cable. A balanced cable has three conductors, with two carrying the audio signal and one (often a braided-metal wrapper surrounding the other two wires) that is dedicated to providing the ground. Why is the ground important? A grounded system is better at keeping noise out of the linethe hums, crackles, pops, and assorted sonic gremlinsthat can detract from the substance of the recording. The more sensitive your microphones, and the longer your cables, the more this matters. Now, here's the big thing to remember about balanced and unbalanced cables: If you're working with the type of cables and microphones you're going to find in most computer stores, you'll be using all unbalanced cables, and that's okay. You'll need to think about balanced cables when one of the following things happens:
Figure 6.6. A balanced cable has a separate ground conductor. Figure 6.7. The XLR connector has three separate signal pins. Figure 6.8. The phone connector has two or three signals on a single shaft. One of the components you're likely to buy as you begin to build more sophisticated podcasts is a mixing boarda way to use several microphones or inputs to make everything sound great. A Mixing BoardA mixing board is, to many people, the symbol of a "real" recording studio. At its most basic, this is a tool that lets you take multiple microphones (or other sound sources) and route them to a single output. For podcasters, a mixing board can be the route to giving everyone in an interview situation their own microphone. When you start looking at mixing boards, you'll see input counts ranging from 2 to 64. You'll see small metal boxes with one knob, and huge consoles with phalanxes of sliders, knobs, switches, and meters. Fortunately, for podcasting, your mixing needs are modest and the equipment required is simple. If you want to have multiple microphones, plan to keep the count to six or less, and buy only as much mixing board as you need. If you truly need phantom power for a condenser microphone, XLR sockets, a mix of balanced and unbalanced inputs, and multiple meters for monitoring the level of each input channel, then by all means get them. If, on the other hand, you simply need a way to get four microphones mixed into a single output that goes into your sound card for recording, then you should be able to find a mixing board for $100 or less that will give you what you need. Figure 6.9. A small six-channel mixer can be found for less than $100. Choosing a mixer that has only the features you need has several advantages. They tend to be less expensive; they are easier to learn how to use; and they are smaller, allowing them to be more easily carried if you want to move your recording out of your studio and into the field. |
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