Getting a Lot From a Little

Some days, I’m really shocked at how much quality can come from small or inexpensive gear.  You’re not going to get a full range audio from your tiny laptop speakers, but I’m listening to The Current from Minnesota Public Radio, and The High Road by Broken Bells sounds pretty good.  From the first laptop I had (which was a Compaq with ‘nice, large’ speakers) to this MacBok Pro, the quality has gotten better and better, while the speakers have gotten smaller and smaller.  And sure, it’s internet radio, but Cee Lo just came on, and it doesn’t sound bad at all.

These are the earbuds I use when listening to my iPod:

CX300 Earbuds from Sennheiser

Sennheiser CX300 Earbuds

For what they are, they sound amazing.  And they are tiny.  And about $30 dollars.  A major upgrade from the earbuds that come from Apple.

Money wise, the cost of fairly high quality equipment is coming down as well.  While it isn’t a mainstay in radio studios around the world, my number two microphone is the Rode Procaster:

Rode Procaster

Rode Procaster with Popless Pop Filter

This mic sounds great.  It is in the similar field of the EV RE20 and (my favorite) Heil PR40, but the Rode costs about half the price (most places have it for $229, but I got this one for $189 somehow).  That’s a broadcast quality microphone for half the price of the leader in the field, and you wouldn’t be able to tell much of a difference at the end of the day.  And if you are recording mostly for mp3 files, no one is going to care.

The point is, you really can get a lot of quality from a modest budget, if you know what you are looking for, and what you want to do.  The first part of that is actually not that hard to answer, but it is dependent on the second part, which is sometimes a little harder to answer.

Hopefully, we are going to work on both parts of that equation.

Got some cheap gear you love?  Tell me what it is. We all need good stuff at a budget.

Normalize Your Worries Away

When you record your audio, you want to get close to the peak volume (0db) as possible without going over.  You won’t always have complete control over that situation, and caution should always be employed when dealing with recording levels.  If your loudest peak is around -6db, then you have a bit of a safety net to save you from those popping ‘P’s and volume changes.

When you are finished with your recording, you will want to maximize the volume of your tracks.  The simplest and most effective way to do this is by using normalization.  Normalizing your audio raises the volume of your audio evenly, so that the highest peak is as loud as possible (0db, or a little less if that is what you want).  Normalizing does not change the dynamic range of your audio (the differences between the loud and soft parts), it just raises the volume of the file.

Lets see what that looks like in Audacity:

Audacity before Normalizing

This is just a conversation in Skype.  You can see how low the audio is, not getting close to the top volume.  This is great as a safety net, since you can’t undo an overloading signal, but not ideal.  First thing I want to do before doing any more processing or editing is to normalize each track.  From the menu, select Effect > Normalize, and you will be given this dialog box:

Normalize dialog

I usually set the db to -0.1db, just because it’s a safety net.  It probably isn’t necessary, but I know that I’m not the only one who does it.  You should keep the DC offset box checked. For an explanation of DC offset, here is a dull Wikipedia article (it’s short but boring).

One thing to remember about normalizing is that it is a destructive process.  That means that changes you make here will be permanently written to the file.  You can not undo this process.  But since the character and sound of your file isn’t being changed, it shouldn’t make a difference.  If the file is too loud in the mix, that is what the mixer is for. :)

Press OK, and viola!

Normalized

You can see how the audio is much louder, but also that it is even across the board.

Here is an A-B comparison. The top is the original file, the bottom is a copy of the same file, only this one was normalized.

Normalize A B

Now the file is ready to be processed with effects like compression and de-essing.

Keep in mind that everything in the file will be boosted in volume.  If you record at too low a level, or speak too quietly into your mic, your noise floor will be more obvious.  If you peak out at -15db, you are going to be raising the volume of the underlying noise more than if your audio peaks at -6db.  In other words, normalizing isn’t going to completely compensate for low recording levels.  This isn’t a cheat as much as it is a useful tool.

Hope this helps.  We will get into other effects in another tutorial soon.

Splitting Stereo Audio in Audacity

In the last tutorial, I showed you how to record a Skype call using Audio Hijack Pro.  There are several programs out there for recording call, but AHP is the one I use.

After you have recorded your conversation, you will want to split your recording into the two separate tracks available to you, one side of the conversation on the left channel, and the other on the right. If you are talking to multiple people, you are still restricted to two tracks, you and them (this is just how Skype works).  This function is one of the only things I use Audacity for, as it is a fairly straight forward process.  I do all of my podcast editing in Logic, and it has the ability to do the same thing, but Audacity is very easy to do this in, and many podcasters use it.  I’ll do a tutorial on how to do this in Logic a little later.

We are going to start out with the Skype conversation as it was recorded, with me on one channel (bottom / right), and the lovely Skype Test Call on the other (top / left):

Skype Stereo

From the drop down menu to the left of the track (the down arrow), select Split Stereo Track:

Split Stereo Track menu

We now have two seperate tracks, but one is on the left channel, and one is on the right channel.  Go back to the drop down menu for each track, and select Mono:

Make Mono

From that same drop down menu, you can then rename each track to something more descriptive.

rename split track

If you are using a different DAW to edit your audio, export the tracks (File > Export Multiple) to whatever folder you want.  This will create two new tracks, while keeping the old one.  You can export to mp3, wav, or any supported Audacity format.

Export Multiple

 

That should do it. Enjoy your editing. :)

RTFM (or don’t)

I was going to look up a few things in the Apple Logic (Logic Studio? Logic Audio?) manual the other day, so I downloaded a copy .  While it was downloading, I thought to myself, I should just read the whole thing.  Get myself a real grip on the program.  There are a lot of bells and whistles, and while I probably won’t use them all,some of them would be nice to add to the bag of tricks.

Then I looked at the manual, and thought better.

1342 pages.  That’s how long the manual is.

That’s a hefty read.  Add to that the 266 pages in the Studio Effects manual (most of which I want to use at some point), and the 561 pages of the Studio Instruments manual.  That’s a grand total of 2,169 pages to read.  That’s a lot.

And it’s a lot when what you really want to do is get on with making your podcast, or your project.  Logic is a deep program, and it isn’t necessary to use it to make podcasts.  I’m a bit of an audio geek (really), so I wanted the effects and tools that came with Logic Pro (I used Logic Express when I started podcasting, and upgraded soon after).

I’m sure I will get around to reading some of the manual, but for now, it waits, staring at me from it’s virtual shelf on my hard drive.  It isn’t happy with me.

RTFM (Read The F’ing Manual)