Close Microphone Set-up

• Microphones set close to sound sources need less amplification.Jupiterimages/Photos.com/Getty Images
  
  Commercial studios provide a variety of sonic spaces designed to be good acoustically. Living space that is shared with a home studio means compromises. Rooms with parallel surfaces often have questionable acoustics. Using microphones close to a sound source allows you to minimize the effect of poor room sound. Noise proofing is less important when mics are adjusted to capture only the sounds you want. Echo and reverb are easy to add after recording.
  
  

Creating Controlled Space

• This works with mic placement to provide some element of control of room sounds. Moving blankets hung temporarily behind microphones used for vocals help reject sound reflections from entering the mic by reducing the outbound energy from the singer and absorbing reflections that come back from hard surfaces. These reflections can cause odd sounding effects and if they are captured at the time of recording and cannot be removed. Likewise, a moving blanket can be placed over a guitar amp with a microphone set on it to control unwanted sounds.
  
  

Microphone Patterns

• Different microphones have different patterns from which they pick up sound. Most have a heart-shaped pattern called cardioid. These mics reject sound that comes from behind. This is useful if you have a noise source like a computer that you want to minimize. Figure 8 mics reject sounds to the side and are handy for recording two singers at once. Omnidirectional microphones pick up sound equally in all directions and are generally not advisable for use in a home studio. Some mics switch between these patterns. Experiment for best results.
  
  

Direct Injection Recording

• Many recording devices are adapted to accept a guitar or bass signal directly via a 1/4-inch phone plug. Direct Injection (DI) boxes also serve this purpose, converting a guitar level signal to microphone level. The advantage of DI recording is that no sound is produced acoustically. The electronic signal is recorded without noise or room sound. Electric guitars, basses and keyboards are typically recorded like this. Acoustic guitars with built-in pickups can be recorded this way, but the sound is not as natural as a microphone on the guitar.
  
  

Signal Level

• In the days of magnetic tape, recording a strong signal level was essential to keep tape noise far below performance level sounds. Digital recording does not have the inherent noise of tape, but in a home studio, strong signals are still preferred to bury levels of ambient noise louder than those found in soundproofed studios. Care must be taken with digital signals as they will distort when meters indicate 0 dB. Tape was somewhat more forgiving.
  
  

Monitoring

• Good quality reference monitor speakers are invaluable in assessing and mixing tracks. Consumer speakers are designed to produce colored, pleasing sound, while studio monitors should give the unflattering truth. Near-field monitoring, an equilateral triangle 3 feet on each side, placed between a speaker pair and the engineer's head is a common and effective set-up. Many monitors have built-in adjustment for placement against walls or in corners. These should be used if available.
  
  

Sound Proofing and Acoustic Alteration

• Many products are available to help the home studio user improve the sound of her space. If you choose to budget for this, the priority should be for mixing space behind, above and to the sides of the studio monitors. Other products to improve the sound of a home studio are limited only by budget. Home studios must balance between recording and living space.