[{"_id":"project-settings","settings":{"translateMetaTags":true,"translateAriaLabels":true,"translateTitle":true,"showWidget":true,"isFeedbackEnabled":false,"fv":1,"customWidget":{"theme":"custom","font":"rgb(0, 0, 0)","header":"rgb(9, 129, 240)","background":"rgba(9, 129, 240,1)","position":"right","positionVertical":"bottom","border":"rgb(255, 255, 255)","borderRequired":false,"widgetCompact":true,"isWidgetPositionRelative":false},"widgetLanguages":[{"code":"ja","name":"日本語"}],"activeLanguages":{"es-LA":"Español (América Latina)","pt-BR":"Português (Brasil)","ja":"日本語","en":"English"},"enabledLanguages":["en","es-LA","ja","pt-BR"],"debugInfo":false,"displayBranding":true,"displayBrandingName":true,"localizeImages":false,"localizeUrls":false,"localizeImagesLimit":false,"localizeUrlsLimit":true,"localizeAudio":false,"localizeAudioLimit":false,"localizeDates":false,"disabledPages":[],"regexPhrases":[],"allowComplexCssSelectors":false,"blockedClasses":false,"blockedIds":false,"phraseDetection":true,"customDomainSettings":[],"seoSetting":[],"translateSource":false,"overage":false,"detectPhraseFromAllLanguage":false,"googleAnalytics":false,"mixpanel":false,"heap":false,"disableDateLocalization":false,"ignoreCurrencyInTranslation":false,"blockedComplexSelectors":[]},"version":17422},{"_id":"en","source":"en","pluralFn":"return n != 1 ? 1 : 0;","pluralForm":2,"dictionary":{},"version":17422},{"_id":"outdated","outdated":{"#Unlock real-time audio collaboarion Connect with remote collaborators from anywhere in the world and stream up to 32-bit PCM / 192 kHz multichannel audio direct from your DAW in real-time. Just send a link.":1,"#LISTENTO - Anti Social Camp | Audiomovers":1,"#Connect with remote collaborators from anywhere in the world and stream up to 32-bit PCM / 192 kHz multichannel audio direct from your DAW in real-time. Just send a link.":1,"#Unlock real-time audio collaboarion":1,"#redeem your trial":1,"#Audiomovers sponsors the 2024 Anti Social Camp – offering all participants an exclusive three-month LISTENTO Pro trial.":1,"#Collaborate with LISTENTO":1,"#Windows users may choose to use OPUS codec which sounds great and utilises less bandwidth than PCM.":1,"##DolbyAtmos":1,"#Dolby Atmos Archives | Audiomovers":1,"#If you’re on a mobile phone browser, we recommend instead using our LISTENTO mobile app. You can download Android and iOS versions from the Google Play Store and iOS App Store respectively.":1,"#Hard Refresh to your webpage":1,"#Make sure JavaScript is enabled":1,"#Clear you web browser cache":1,"#Next payment date: 2 July 2025 View invoices":1,"#19 Jun 2021":1,"#Audiomovers recently partnered with Anti Social Camp – the world’s largest writing camp which took place on June 10-15 across some of New York City’s most notable music venues and studios. The event brought together 200 songwriters, artists, and producers from around the world to craft new hits, collaborate, and share their passion for music. […]":1,"#Keep up with the latest from Anti Social Camp here.":1,"#The upcoming Anti Social Camp, Vol. 2 expands on the earlier release of the Anti Social Camp, Vol. 1 compilation album. This edition features a selection of songs written and recorded at this year’s event and is set to be released later this year.":1,"#Each team was provided with LISTENTO licenses, allowing them to complete the songs remotely and maintain the global creative partnerships formed at Anti Social Camp.":1,"#During the writing camp, participants were divided into groups of three: an artist, songwriter and producer.":1,"#The event brought together 200 songwriters, artists, and producers from around the world to craft new hits, collaborate, and share their passion for music.":1,"#Audiomovers recently partnered with Anti Social Camp – the world’s largest writing camp which took place on June 10-15 across some of New York City’s most notable music venues and studios.":1,"#Streaming from Abbey Road to Barbie's Dreamhouse, courtesy of LISTENTO":1,"#Jeff Braun reflects on improvising a makeshift vocal booth to cut Kane Brown’s vocals, with one of the world’s most sought-after vocal producers, Kuk Harrell.":1,"#“Kuk Harrell was producing in LA & we were in Nashville”.":1,"#And, a web browser based version known as 'Web Transmitter'.":1,"#The LISTENTO standalone app (a download, accessible here).":1,"#The LISTENTO plugin (a download, accessible here).":1,"#You can stream, record and collaborate with HQ audio in real time, via:":1,"#LISTENTO comes in a few different formats.":1,"#28 Nov 2022":1,"#Learn more about which LISTENTO version might be most appropriate for your OS here.":1,"#When/if installing a legacy version of LISTENTO due to your OS, make sure to uninstall LISTENTO if installed on your system before installing a legacy version of the plugin/application.":1,"#Next payment date: 31 October 2025 View invoices":1,"#Start date: 24 October 2022":1,"#Whether on Mac or PC, iPhone or Android, you can find the right version of LISTENTO Pro Yearly + INJECT for your needs below.":1,"#Download the right version of LISTENTO Pro Yearly + INJECT for your machine below. View license details.":1,"#Expiry date: 03/2031":1,"#7 Nov 2023":1,"#Learn more on our Audiomovers for Business page.":1,"#View all FAQs":1,"#The Business plan includes all the features in the Pro plan, plus the ability to revoke and reassign licences, dedicated support and additional payment options.":1,"#In this week’s episode, number-one-selling songwriter, record producer, and co-founder of LYRE Music, Alina Smith invited us into her LA home studio, a space adorned with treasured items, music memorabilia and unique furnishings that breathe positive energy and creativity and into her workflow.":1,"#WATCH: #WhereIWork – Alina Smith":1,"#View LISTENTO FAQs":1,"#Ensure that your collaborator has a LISTENTO Pro subscription. They won’t be able to transmit MIDI if you don’t have a LISTENTO Pro subscription.":1,"#You could also check out our Getting Started page.":1,"#Yes. We have User Guides available for all of the products we offer. They can be viewed here.":1,"#OMNIBUS 2.0 software is non-refundable, once purchased.":1,"#Expiry date: 12/2029":1,"#Both have the option to choose your audio input (I/O) source, whether it’s simply an existing audio file, your device’s built in microphone, a usb microphone or audio interface.":1,"#11 Jul 2024":1,"#Términos de uso":1,"#Audio MIDI Setup:":1,"#By implementing these practical tips, you can maximize the quality of your remote music collaborations, providing your creative partners with an engaging, immersive experience, and high-quality audio experience.":1,"#Maximizing Quality: Tips for Remote Music Collaboration":1,"#20 Jun 2024":1,"#30 Mar 2022":1,"#8 Oct 2024":1,"#6 Oct 2023":1,"#Turn your Mac into a networked audio device OMNIBUS has had its biggest update yet – now with networking via NDI & AVB, 256 channels of I/O per device, application capture as well as virtual devices and hardware, and Stream Deck & MIDI controller support. Exclusive new features for OMNIBUS 3.0 Route multichannel audio between […]":1,"#Studio Monitors – A Buyers Guide":1,"#1 Jul 2024":1,"#11 Mar 2024":1,"#6 Jun 2022":1,"#LISTENTO Pro + OMNIBUS 3.0 | Audiomovers":1,"#Expiry date: 08/2030":1,"#Discover how to utilise virtual and hardware I/O from any audio device with OMNIBUS.":1,"#A great example of this is routing 7.1.4 discrete outputs from the Dolby Renderer into the LISTENTO app to be transmitted.":1,"#The LISTENTO application allows you to select your I/O in session settings.":1,"#Production Expert | How to use INJECT":1,"#Expiry date: 08/2026":1,"#Expiry date: 10/2030":1,"#Windows OS:":1,"#11 Oct 2024":1,"#Step 1: Start your video call":1,"#Setting up your session":1,"#In order to get the best audio quality possible for your remote sessions, the person transmitting audio will need to have an active LISTENTO license. Don’t fret if you don’t have one, you can grab a free 2-day trial to test this setup and see how it works for you before committing to the paid subscription.":1,"#The LISTENTO plugin (or desktop application)":1,"#The DAW of your choice":1,"#The most up-to-date version of Zoom":1,"#Today we walk you through how to use Audiomovers’ industry-standard plugin LISTENTO in conjunction with Zoom to enable your remote music collaborations to reach that next level of excellence and mimic the standards achieved during in-person recording sessions.":1,"#LISTENTO creates a remote streaming and recording experience that reflects many of the benefits of the in-person studio experience. With LISTENTO you can stream uncompressed, lossless audio in real-time to anyone, anywhere in the world, allowing you to collaborate on projects in real-time, symbiotically prioritizing audio quality and user experience in tandem. It’s easy to use and is compatible with most DAW’s, you can collaborate seamlessly with your team regardless of their location.":1,"#Although Zoom’s High Fidelity Audio feature is useful for remote music collaboration, it does not trump the power, accessibility, and versatility of LISTENTO.":1,"#A stable internet connection":1,"#The High Fidelity Audio feature is particularly useful for remote music collaborations or other situations where high-quality audio is essential. It supports sample rates of up to 48 kHz and a bit depth of up to 96 bits, which allows for high-resolution audio transmission.":1,"#Zoom’s High Fidelity Audio feature is an advanced audio codec that is designed to improve the audio quality of Zoom meetings. This feature uses a new audio codec called Opus, which provides high-quality, low-latency audio for real-time communication.":1,"#What is Zoom’s High Fidelity audio feature? And why should I still opt for LISTENTO?":1,"#Overall, careful consideration of these factors can help ensure that remote music collaborations over Zoom result in high-quality audio output.":1,"#Additionally, the software and equipment used to record and mix the music can also have an impact on the final sound quality. It is essential to ensure that all collaborators are using compatible software and hardware, and that the recording and mixing processes are carried out carefully to produce the best possible sound.":1,"#Secondly, the type and quality of microphones being used by the collaborators can also affect the audio quality. Low-quality microphones may produce muffled or distorted sound, while high-quality microphones can capture the nuances of the music accurately.":1,"#When collaborating on music remotely via Zoom, there are several factors that can affect audio quality. Firstly, the quality of the internet connection can have a significant impact on the clarity and consistency of the audio. Poor internet connection can lead to drop outs, high latency, and other distortions in the sound.":1,"#Factors that affect audio quality when collaborating via Zoom":1,"#LISTENTO streaming links have been heavily tested in multiple web browsers, but we recommend Google Chrome for optimum performance.":1,"#Before you share the link, you’ll likely want to test that it’s working. You can copy the stream link, and test it yourself. Simply hit ‘thru mute’ to mute the audio from the DAW, and test that the stream is audible by pasting the link in your own web browser or mobile app. NB.":1,"#First, let’s ensure you have everything you need for the remote recording session.":1,"#Press “Start Transmission” to begin streaming. You can send your session link to anyone you want to share your stream with.":1,"#4. Getting started and testing your stream":1,"#Set your session name, go with the default, or select a random session name. Bear in mind that if you wish to run multiple sessions and use the same session name, anyone with the link will still be able to listen in to your stream.":1,"#3. Prepare your stream and name it":1,"#Launch the plugin and enter your Audiomovers username/email and password and click ‘login’. Once logged in, the ‘Start Transmission’ button will become available and you can begin streaming your audio.":1,"#Now that you can freely communicate with each other, you can now begin setting up the session within your DAW. Open your DAW of choice and insert an instance of the LISTENTO plugin on the master bus of the project that you are collaborating on.":1,"#Step 2: Setting up your DAW":1,"#When using Zoom you can see the latency of your video call by going into Settings, the Statistics and clicking across to Video. You can then match your latency preferences in LISTENTO.":1,"#Your video call will be your main form of communication during remote sessions. We recommend starting with this step to ensure you can easily communicate with each other during the next steps.":1,"#If you collaborate on music remotely via Zoom, the preferred option is to ensure maximum audio quality to create the highest productivity and effective collaboration. Below we will walk you through how to use Audiomovers’ industry-standard plugin LISTENTO in conjunction with Zoom to enable your remote music collaborations to reach that next level of excellence and mimic the standards achieved during in-person recording sessions.":1,"#How can I share high-quality audio via Zoom?":1,"#See it in action":1,"#4. View all User Guides and FAQs":1,"#OMNIBUS installation guide":1,"#Expiry date: 01/2027":1,"#Check out Luke Goddard’s deep-dive of INJECT, out today on PRODUCTION EXPERT. The article breaks down INJECT, its functionality, features and the various ways you can use it to streamline your music production workflow. INJECT is now available as part of the New Year Collection’s Production Essentials bundle. The New Year Collection includes six exclusive suites […]":1,"#discover the suites":1,"#The New Year Collection includes six exclusive suites for audio professionals and studios, covering multiple audio production workflows with a focus on immersive content production.":1,"#INJECT is now available as part of the New Year Collection’s Production Essentials bundle.":1,"#The article breaks down INJECT, its functionality, features and the various ways you can use it to streamline your music production workflow.":1,"#Check out Luke Goddard’s deep-dive of INJECT, out today on PRODUCTION EXPERT.":1,"#You will need to open Apps & features and uninstall LISTENTO Audio plugin.":1,"#To manually uninstall LISTENTO, you will need to remove it manually from the default installation folders:":1,"#To uninstall, LISTENTO use the LISTENTO uninstaller.":1,"#6 Jul 2022":1,"#11 Jan 2024":1,"#You can assign a MIDI output for the MTC generated to go into your DAW to enable remote transport sync.":1,"#VST 2 – C:\\Program Files\\VSTPlugins VST2":1,"#AAX – C:\\Program Files\\Common Files\\Avid\\Audio\\Plug-Ins":1,"#1. What is INJECT?":1,"#Built-in Recorder:":1,"#In your DAW of choice create an AUX track, and insert the INJECT plugin onto it. In the INJECT plugin, select your iPhone or iPad as your external audio device and select stereo channels 1&2. Now any audio from your phone will travel into the INJECT plugin’s external input. This audio can then now be outputted into your DAW two ways, using INJECT’s built in recorder or by routing audio out of INJECT into an audio track.":1,"#With INJECT you can record audio from your iPhone straight into your DAW without having to select your iPhone as your DAWs input device allowing you to utilise your iPhone or iPads audio easily in your session.":1,"#Firstly, you’ll need to plug your iPhone into your Mac and click on ‘trust this iPhone’. From here, open up the Audio MIDI Setup application and navigate to ‘iPhone’ and click ‘enable’. This will now enable your iPhone as an audio device on your machine allowing you to output audio through your cable, into your Mac.":1,"#In this article we’ll be walking through the steps and setup required to bring audio from your iPhone to your DAW using INJECT.":1,"#The INJECT plugin allows you to bring in any external audio device connected to your machine, making it easier than ever to use multiple external audio devices in your DAW of choice without having to change your playback engine. In this article we’ll be walking through the steps and setup required to bring audio from your iPhone to your DAW using INJECT.":1,"#This is a great tool for utilising external audio devices such as synthesisers that support USB audio streaming, virtual audio devices and iOS synth apps.":1,"#Claim your 7-day demo of INJECT today.":1,"#On the AUX Track you have INJECT inserted on, route the output to a designated bus. Then create a new audio track, and make this audio track’s input as the bus assigned to INJECT’s channel output.":1,"#When you’re finished recording, simply click the record button again. Your complete INJECT recording can now be dragged and dropped directly into your session timeline.":1,"#INJECT’s built-in recorder allows you to record any audio coming into the plugin through the external input. Once the audio is incoming from INJECT’s external input, simply click on the record button within INJECT’s built in recorder to capture the audio you wish to record.":1,"#INJECT allows you to bring in any external audio device connected to your machine, making it easier than ever to use multiple external audio devices in your DAW of choice without having to change your playback engine or deal with troublesome I/O limitations.":1,"#Mix bus play: The final track in the set-up: This is going to be your master outputs 1+2 for you to monitor audio. Add a delay plugin here to make sure your local playback audio and the incoming audio from the artist are coming in at the same time.":1,"#Cloud playback 1&2: Once you’ve compensated for the delay (this will be explained shortly) you can use these tracks to play your clients' audio back to them by routing them to the mix bus send.":1,"#Cloud record 1&2: Your cloud receive track will be routed down to these two tracks to record the incoming audio from the artist.":1,"#Cloud receive: Add the LISTENTO receiver plugin on it. This is where you’ll receive the incoming audio from your client.":1,"#Cloud send: Add the LISTENTO plugin here.":1,"#Mix bus send: This is the track you’ll send all of your audio to for your client to perform along with.":1,"#Talkback track: Sent to the artist, so you can communicate with them.":1,"#Repeat the testing process again. This time once you’ve nudged your clients track back, they should be in time with your grid. Drag this down to your Cloud playback 1&2 and play this back to your client. They should also be able to hear themselves clapping along in time with the click.":1,"#From here, split the recording at the transient of the first click and click on the blank portion. In the top left corner on Pro Tools, the length will appear and this is the number you enter into the delay plugin on your Mix bus play and your nudge value in the top menu.":1,"#In this scenario, bus 3 will be a send back to yourself of your incoming audio to your client. This will allow you to see the delay between when you sent the audio and when you received it back.":1,"#Stream the click track to your client and ask them to clap along as they receive it. Record their incoming stream on your Cloud record track.":1,"#Ask your client to open their Cloud receive track and open bus 3.":1,"#Exchange LISTENTO links and paste them into your LISTENTO receiver plugins and press 'connect’.":1,"#Start a call with your client: This can be through any external software you choose.":1,"#Setting your delay":1,"#Setting up the tracks in your DAW:":1,"#Headphones vs Loudspeakers - A guide to immersive mixing | Audiomovers":1,"#Streaming to and from Pro Tools is incredibly simple with LISTENTO. LISTENTO allows you to stream uncompressed audio with as little as 0.1 seconds of latency directly from any DAW. Getting started in Pro Tools Place the LISTENTO plugin onto your stereo out channel – make sure it’s last in the plugin chain so that […]":1,"#Start streaming from Pro Tools":1,"#Place the LISTENTO plugin onto your stereo out channel – make sure it’s last in the plugin chain so that all effects are applied to your stream.":1,"#Getting started in Pro Tools":1,"#Streaming to and from Pro Tools is incredibly simple with LISTENTO.":1,"#You already have a demo license for Binaural Renderer.":1,"#2 of 150":1,"#Download the latest version of INJECT below.":1,"#Download the right version of INJECT for your machine below. View license details.":1,"#First-Ever Live-Streamed Masterclasses in Dolby Atmos and Spatial Audio to be Presented by PMC Speakers, Audiomovers and Dolby Laboratories | Audiomovers":1,"#19 Jun 2024":1,"#11 Aug 2024":1,"#11 Dec 2023":1,"#Cutting Vinyl at Abbey Road Studios: The Neumann VMS Cutting Lathes | Audiomovers":1,"#Error: Passwords do not match.":1,"#Read the full article here or continue to watch the video.":1,"#OMNIBUS 3.0 software is non-refundable, once purchased.":1,"#Streaming to and from FL Studio LIVE is incredibly simple with LISTENTO. LISTENTO allows you to stream uncompressed audio with as little as 0.1 seconds of latency directly from any DAW. Getting started in FL Studio Place the LISTENTO plugin onto your master bus – make sure it’s last in the plugin chain so that […]":1,"#Stream directly to FL Studio with LISTENTO | Audiomovers":1,"#Start streaming in FL Studio":1,"#Place the LISTENTO plugin onto your master bus – make sure it’s last in the plugin chain so that all effects are applied to your stream.":1,"#Getting started in FL Studio":1,"#Streaming to and from FL Studio LIVE is incredibly simple with LISTENTO.":1,"#You are currently logged in.":1,"#Password and confirm password must match.":1,"#How can I share high-quality audio via Zoom? | Audiomovers":1,"#buy now for $49.99":1,"#Simplify your audio device integration. Route to and from any audio device in your system, including USB synths, iOS applications, web browsers and audio interfaces.":1,"#Route multi-channel audio between applications and virtual hardware audio devices, split audio from one source to several destinations and combine audio input devices for DAW outputs":1,"#Hear how your Dolby Atmos 7.1.4 track will sound when uploaded to Apple Music. Binaural Renderer for Apple Music guarantees 100% accuracy when referencing immersive audio content for Apple Music.":1,"#Start free trail":1,"#buy now for $79.99":1,"#Hear how your Dolby ATMOS track will sound when played on Apple Music.":1,"#Genuine lossless streaming from your DAW to the world. Set up in three minutes. Just send a link.":1,"#Bundle - Audiomovers Full Suite | Audiomovers":1,"#Page 1":1,"#Bengali - বাংলা":1,"#Yiddish - יידיש":1,"#Esperanto - esperanto":1,"#Click to show TTS button":1,"#Untitled":1,"#Simplify Your Digital Audio Routing – OMNIBUS 3.0 | Audiomovers":1,"#No email given":1,"#How to stream Dolby Atmos sessions to remote collaborators using OMNIBUS and LISTENTO.":1,"#LISTENTO can also sit as a 7.1.4 plugin allowing you to transmit immersive mixes to clients for real time session feedback.":1,"#The LISTENTO Plugin is an audio effect plug-in that comes in VST, VST3, AAX and AU formats.":1,"#LISTENTO allows you to transmit up to lossless quality audio directly from your DAW with as little as 0.05s of latency.":1,"#https://developer.apple.com/documentation/avfaudio/avaudiosession/port/3563920-avb":1,"#Audiomovers OMNIBUS 3.0":1,"#Click track:":1,"#Download OMNIBUS | Audiomovers":1,"#Once you know where you are going to be working and what kind of work you want to do, the next consideration is budget. Choosing and buying gear is of course exciting, but when planning your budget be aware that the less exciting things like cables and stands all need to be factored in or you’ll end up in an environment which will make your life more, rather than less, difficult. When it comes to choosing gear, I’d recommend buying gear you won’t outgrow. A few pieces of quality gear which will stay with you as your experience and your studio grows is far better than an Aladdin’s cave of budget gear you’ll end up selling, or binning when it breaks. I’ve still got a pair of Genelec 1029a, my first proper monitors, which I use as secondary monitoring over by my keyboards now that they have been replaced by something bigger. And I still use the first condenser mic I ever bought: A Neumann TLM103 which I had to save for but it still stands up to the alternatives now that my mic locker has grown. If you can’t buy once and keep, buy no more than twice. Get something which will get you started and, when you can afford it, move up to something you’ll keep forever. Upgrade, but avoid moving sideways in terms of quality.":1,"#How much should you spend on a home studio?":1,"#For example some instruments don’t record as well in smaller spaces. A drum kit might fit in your space at home but a low ceiling will cause reflections which will color the overhead mics which are so crucial to capturing the sound of the kit. A smaller room will limit your choices when it comes to placing room mics and even using very close miking you can never entirely avoid the sound of your room. Bigger rooms can be more forgiving to work in so it can be very worthwhile to find a suitable space you can hire. if you’re bringing your own gear it doesn’t have to be a studio, as long as it sounds good, is quiet and you can make a noise without upsetting anyone it can be a great option.":1,"#The second consideration you need to take into account is what space you have available. The majority of equipment doesn’t necessarily have to be all that expensive, instead it’s the space in which you do your work which will be the most expensive part of your studio, and the part you have the least ability to fundamentally change. You might well have the gear and the skills necessary to record your band, but unless you have a suitable space, you’ll probably be better off recording elsewhere. This doesn’t have to mean hiring a recording studio, though that is often a great idea. If you want to record bands then consider making the core of your studio easily transportable and rather than bringing the musicians to your studio, take the studio to the musicians. There are always options.":1,"#What space do you have available for your home studio?":1,"#Setting up a home studio is a natural step for anybody who is interested in music production, but the options can at first appear bewildering. While I’m yet to meet anybody who claims to have ‘finished’ their home studio, broadly speaking the studios I’ve encountered fall into two camps – those which grow and develop […]":1,"#Written by Julian Rodgers – Julian Rodgers has been working in professional audio for thirty years in recording studios, live sound and education. He has been a Pro Tools user for over twenty years and as well as being Editor of the Production Expert blog writes for other publications such as Sound On Sound.":1,"#If you are thinking about setting up a studio for the first time it can seem that there is a bewildering number of things to consider. There are but don’t be discouraged. It’s both achievable and rewarding. Nobody’s studio is perfect so don’t think that because you have to compromise you’re doing it wrong. And remember, nobody ever finishes their studio. they might think they do but before long they will change it!":1,"#Something which is very overlooked is the need for suitable stands, cables and even furniture. If you are going to be working for long periods, get a suitable chair. Your monitors need to be at the right height and position to provide the best stereo image. Similarly, mics need good quality stands so they stay where they are put. The need for significant amounts of cabling is vastly reduced compared to how things were in the days of mixers and tape but even these modest amounts of cabling can unexpectedly erode a budget. And lastly, once you have everything in place and you can create to your heart’s content, do you have a way to make backups of all these multitrack sessions you have created? You will need a backup one day, so start backing up now!":1,"#Don’t forget stands and cables, and everything else":1,"#I haven’t said anything at all about which premium bundle of plugins you should buy. My advice for somebody setting up a studio would be to get to know the stock plugins in your DAW really well. Good mixes are about good decisions, not about slightly better plugins. There are some fantastic free plugins available – the quality of which sometimes rivals their paid-for counterparts. The exception to this is buying plugins which enable you to do something which would be unachievable with the tools you already have available to you. A loving re-creation of a vintage compressor is great fun, but you probably already have a compressor. However, if you need to do something which falls outside the capabilities of the plugins you already have, then of course buying a new plugin that fulfils that role is perfectly justified.":1,"#It might be tempting to say “everything”, but for a successful studio I would suggest that that’s not a good answer. What do you do now and what do you want to do next? Trying to accommodate those two questions is probably as far as I would consider planning for. Are you a producer or a beat maker? Are you In a band? Are you a songwriter? If so, what if any audio recording do you think you’re going to need to do? Will you be completing your projects with the help of others, or do you imagine you’ll be working entirely solo? If you have answers to these questions then you’re in with at least a fighting chance of avoiding potentially costly mistakes.":1,"#Choosing the right plugins for a home studio":1,"#Your monitoring system is the limiting factor on the quality of results you can achieve in your home studio and rather than spending your initial budget on things which might appear to be more fun, my advice would always be to spend any spare money on acoustic treatment. Even if you’re in rented premises there are ways you can treat a room without upsetting your landlord, but rather than sticking carpet and egg boxes on the walls (both terrible ideas) do some research first.":1,"#Almost all monitors are active these days. This means that the amplifiers are built in to the speakers, which is both more convenient and also means that the designers can precisely match the amplification with the other components in the speakers resulting in some excellent performance for relatively little cost. For a typical home studio a two-way active monitor with a tweeter and a 6 inch bass/mid driver is an excellent place to start. There are many popular models available and, while the very cheapest might be best avoided, you don’t have to spend a great deal of money before you start getting something that’s extremely usable. Recommended brands would include Genelec, ADAM, Neumann and Dynaudio and at the more affordable end check out IK Multimedia and Kali Audio. Combine this with some acoustic treatment and some speaker calibration software and excellent results can be achieved without spending as much as you might think.":1,"#Choosing the right studio monitors for a home studio":1,"#There are products available which some people refer to as ‘room correction’ products. More correctly they are speaker calibration products, and what they do is they measure the output of speakers in the room via a microphone and calculate the difference between that sound and the original sound and correct these differences. This sounds ideal and they can be extremely effective, but only for certain problems. One problem that they cannot solve is dips in low end response caused by ‘room modes’. These modes are caused by standing waves in rooms and cannot be fixed using the solutions. This is not well understood. Bass problems in home studios are difficult to deal with which is why so many people use alternative references like checking mixes on headphones, in the car, and in other rooms.":1,"#Acoustic treatment is different. Acoustic treatment changes the way the room affects sounds made in it, whether that is performances being recorded or recordings being played back over loudspeakers. Acoustic treatment principally uses sound absorbing materials to soak up sound energy. The thicker the absorber material the lower the frequency it can absorb. Thin lightweight foam products or similar will not be effective at anything other than high frequencies. Many of the acoustic problems encountered in home studios tend to be at bass frequencies and these require the building of large, thick bass traps.":1,"#If you’re recording in a room using microphones then the sound of the room will be recorded too. In typical domestic rooms this is usually undesirable. This can be addressed to some extent using acoustic treatment. Treatment is also part of the solution to issues with monitoring over loudspeakers and mix translation so treating your room is always a good idea if you can. However, there is a great deal of confusion around this subject. Firstly, acoustic treatment and soundproofing are different. Soundproofing is what you need if you need to stop sound from escaping your studio and disturbing your neighbours or if you’re working in a noisy environment and need to keep sound out of your studio. The bad news is that this is very hard to do. It requires significant expense and a lot of additional material.":1,"#Acoustics":1,"#Unfortunately, there is an inescapable fact about listening to music over loudspeakers – what you hear is always influenced significantly by the room that you are listening in. While the music might sound good in your studio, frequently the music sounds different when it’s played back on a different system in a different room. This is known as poor mix translation and is a really intractable issue with home studios. I’ll cut to the chase here. There’s no magic solution. It’s just a fact of how sound behaves. However there are some things which you can do to help yourself. The behaviour of speakers in rooms is a big subject but when looking at your space and deciding how suitable it is, the size, shape and layout of the room is going to affect the results that you get.":1,"#Here is some general advice on choosing your first pair of monitors.":1,"#What are you going to use your home studio for, and how?":1,"#This leads us to the subject of monitoring. You have a DAW and an interface and you will also need a way to hear your work. Headphones are a given. Very few people don’t already own a pair of headphones which are suitable for use in a home studio. For studio use, bluetooth headphones are best avoided. They introduce latency and can also involve data compression which changes the audio quality. With wired headphones the main distinction to be drawn is between closed and open-back headphones. Closed-back headphones leak less sound to the outside world than open back headphones and so are more useful when recording in front of a microphone where open back headphones would produce sound, which can be heard by the microphone. They are also easier to wear for long periods. It is possible to produce and mix entirely on headphones, but most people agree that it is necessary to hear your music on loudspeakers at some point and the choice when it comes to buying a pair of monitor loudspeakers is bewildering.":1,"#For somebody setting up a studio at home for the first time it’s probably going to be used for stereo work, but if an immersive format like Dolby Atmos or Sony 360 were a consideration, that would have a bearing on the selection of an audio interface as it would need to have sufficient outputs and monitoring facilities for these purposes.":1,"#Monitoring":1,"#Latency occurs because it takes a certain amount of time for a computer to do the necessary work to calculate the results of all of the mixing and processing which happens in a DAW. During mixing this doesn’t affect the user significantly. There is a very short pause between hitting play and hearing the music, but it makes little practical difference. This is not the case when recording into a DAW. Even the shortest of delays between singing or playing and hearing the result in one’s headphones can be very distracting. A powerful computer can reduce this latency significantly but not completely. If you’ve ever heard about how expensive Pro Tools HDX systems are compared to a copy of Logic Pro, the different ways these two systems handle latency is a lot of the reason this difference exists. Latency can be worked around in various different ways, but it presents a rather intractable technical issue to new users, and new users are by definition the least well equipped to navigate these problems. Some of the more advanced audio interfaces offer DSP mixers to help manage latency while recording, simpler systems provide a mix control which while less sophisticated can also be very successful at avoiding latency problems while recording.":1,"#The other aspect of an audio interface, which needs careful consideration is the number of outputs. For basic productions two outputs, one for a pair of monitor loudspeakers and one for a pair of headphones is sufficient. If you are recording someone other than yourself you’ll probably want a second headphone output and if you are recording a whole band it is usually desirable to give everyone a separate headphone mix via its own output. But things get more complicated still with live tracking of bands because of latency. It is the often unexpected ‘fly in the ointment’ for computer-based studios which initially seem relatively straightforward.":1,"#If you are recording acoustic instruments, guitar amplifiers or singers, you’re going to need a microphone. If you’re buying a first microphone, consider a condenser mic. You can get a good quality cardioid pattern condenser for surprisingly little money. You won’t go far wrong with well-known brands and if you’re interested in recording in stereo then looking for a cardioid-only model which has a multi-pattern version also available means that you could buy that multi-pattern version at a later date and try recording stereo using various different techniques using your cardioid mic with your multi-pattern mic. If you’re recording vocals or podcasting then dynamic microphones can be useful. They sound ‘drier’ and as a result can be more suitable in poorly treated or noisy rooms. Be aware that while you need phantom power to use a condenser microphone (most interfaces provide this).":1,"#With only two inputs, it is possible to record all the elements of a typical band recording apart from the drums. Drum kits typically require several microphones. Many people want to record bands performing together all at the same time, and this increases the requirements in terms of equipment considerably. 16 simultaneous inputs is a good number to aim for in the first instance. It’s important to identify how many of these inputs are for microphones as while it’s possible to record keyboards and guitars via line and Hi Z inputs, if you’re trying to record a drum kit at the same time as vocals and acoustic instruments you’re inevitably going to need more than eight simultaneous inputs.":1,"#Recording a Band":1,"#If you already have a clear idea about what kind of work it is you want to do in your studio you’ll be halfway towards choosing an appropriate audio interface because you’ll have a reasonable idea about how many inputs and outputs you’re going to need. If you don’t anticipate needing to record drums or a whole band together then in terms of inputs, you probably don’t need more than two. Most audio interfaces provide facilities for recording using a microphone via an XLR input and the phantom power necessary for using condenser microphones. They will also provide a line input, usually via a quarter inch jack though this might be presented as a ‘Combi’ connector, which is a combined XLR/Jack socket in one. There will also probably be a ‘hi Z’ input which is necessary for recording the output of electric guitars and basses. If you are a DJ you might think you need phono connectors but for anything other than turntables a converter is all you need.":1,"#To avoid making the wrong decisions when setting up your studio, it’s important first to ask yourself the most important question. What do you want to do in your studio?":1,"#Audio interfaces can cost anywhere from comfortably under $100 to several thousand dollars and while all interfaces do the same job, the quality and facilities vary hugely. In 2024 the choice of data connection between interface and computer is usually between USB3 and Thunderbolt. Thunderbolt is available as standard on current Apple computers but is not standard on PCs. It provides greater bandwidth and speed than USB but USB 3 is fast enough for most tasks and the quality of stability of the device’s software driver also has a significant role to play here. Two things to be aware of here are that Thunderbolt there are many interfaces which use the older Thunderbolt 2 but most current computers have Thunderbolt 3 ports. You can use Thunderbolt 2 interfaces with Thunderbolt 3 computers but the necessary converters are quite expensive. Secondly, many USB interfaces are ‘Class Compliant’. this means that they don’t need you to install a software driver. This is very convenient and means that devices have a good chance of being suppoirted for longer. Better performance is often available using a dedicated driver though. For example RME interfaces have an excellent reputation, largely due to the quality of their drivers. This is an area where research is necessary but my advice is go with the better known companies.":1,"#With a computer, a DAW, and a space in which to work, whether that is a corner of a bedroom or a dedicated room in your house, the next decision which has to be made is choosing an audio interface. If you want to produce music entirely within your DAW and don’t anticipate needing to record any external audio at all then you might not even need an interface. You could probably get by using just the audio I/O of your computer but a dedicated audio interface is still a good idea: Having a dedicated volume control for your monitor speakers and a separate set of outputs for both monitors and your headphones is preferable, and a basic USB audio interface isn’t expensive.":1,"#Audio Interfaces":1,"#Broadly speaking all the major DAWs are suitable for any and all types of music production, but certain DAWs will be preferred in different scenarios and for producing different genres. For example, Ableton Live is extremely popular with producers of entirely electronic music, and Pro Tools is particularly prevalent in professional studios, especially for tracking, but these preferences probably aren’t what should guide your choice as much as your peer group and their choices should. Using the same DAW as other people you know who share your interests can be very beneficial in terms of support and sharing knowledge and sessions.":1,"#While hardware recorders still exist, computers are now overwhelmingly the default choice for recording and audio production. As such, your choice of DAW (Digital Audio Workstation) software should be made with care as you’ll invest many, many hours learning to use this software. While there is no such thing as the wrong choice when it comes to choosing between the principal contenders, this is a decision which will stay with you throughout your involvement in audio production.":1,"#Which DAW?":1,"#Don’t assume your computer should be a laptop. Desktop computers feel rather old-fashioned as I write this in 2024, but while modern laptops are more than powerful enough for studio use there are some practical benefits to having a dedicated studio computer, and desktops are extremely suitable for this purpose. One of the disadvantages of using a laptop is noise. Laptops are inherently less able to stay cool without relying on small, noisy fans. Fan noise is unwelcome in studios.":1,"#The most obvious difference between using a PC and using a Mac for people starting a home studio is how it affects their choice of DAW. Logic Pro is very popular but it’s Mac only. The downsides to using Macs are that they are significantly more expensive than PCs and they are unsuitable for people who like to upgrade, rather than replace their computers. As well as a computer and some software, don’t overlook the need for a mouse or trackball. An extended keyboard is necessary for proper control of some DAWs and assuming you’re going to work with MIDI, a MIDI keyboard controller is very desirable too.":1,"#The exception to the rule of trying to buy something you will keep forever is your computer and its software. Computers are effectively disposable. While they serve a purpose, they have to be replaced arguably sooner than any other bit of gear. Exactly which type of computer – Mac or PC – you choose is a matter of preference. The debate between Windows and Mac users rages online and will continue to do so but if you are happy using a PC then use one. Likewise if you prefer using a Mac then that is your choice. That said, in my opinion, here are a couple of advantages to using a Mac for music production. One is Core Audio, which makes life very simple for people using their computers for audio and for tasks like routing audio between applications due to the availability of very elegant software solutions which are very difficult to match without access to this technology. MacOS also supports AVB networking which, for users of hardware which uses this non-proprietary method of routing audio over ethernet networks, is significant.":1,"#Computers And Software":1},"version":17422}]