Regarding an inexpensive but effective Home Recording Studio, the first thing to do is to carefully go over your budget, because once you get going it will be the little bits and pieces that can nickel and dime you to death. Know how much you can safely spend without putting yourself into financial jeopardy. So many people talk about getting Financial Backers but that isn’t always the best answer since they will often want the lion’s share of any rewards plus interest until the debt is paid back in full. Backers are also very impatient about repayment and don’t want to hear excuses as to why you had to pay your Rent before you pay them! When it comes to Bank loans, the Banks usually look at the Music Business as if it were smoke, something that you can see but cannot touch or hold in your hands.
They are very practical and cautious when it comes to giving out money for the Music Industry despite the incredible amount of money that is generated every year from it. Unless you have a lot of collateral to back such a loan, wait until you can show regular income from your initial endeavors first. Thinking big is fine, but starting out small and wisely is the best policy in putting together your own studio. The terms “Starving Artists” and “Starving Producers” come from the usual way of supplying your musical interests by means of a Day Job until you can wisely transition from one to the other IVR voice recording studio in Dubai. Almost everyone does it and there is no shame in admitting it. Only the most obnoxious of Industry Professional will criticize you for it.
The choice of microphone is an important key to capturing the best vocal quality. On stage, most people use the familiar handheld vocal mics that you see everywhere, the Shure SM-58 being the most common choice by far. These types of mics are classified as dynamic mics. They use a magnet and moving-coil design to capture the sound waves at the mic’s diaphragm, and as a result they’re very rugged. But dynamic designs, while providing excellent sound, often lack that extra degree of clarity and openness that you’d want for a studio recording. In the studio, it’s more common to use condenser mics.
Condenser mics utilize a lightweight charged plate as a diaphragm, and this endows them with better transient response, and a more open, airy, sound quality—perfect for capturing the subtle nuances of the human voice, in all its variety. Large-diaphragm, “side-address” condensers are the usual choice for serious vocal recording, and high-end models can cost thousands of dollars, but nowadays there are plenty of reasonably-priced alternatives that any small studio or home recordist can afford.
If you’re reading this article you might already know that EDM stands for Electronic Dance Music. The styles range over a wide gammet of musics, from House to Dubstep, Drum-n-Bass, and IDM (Intelligent Dance Music). While the specifics of each style are extremely diverse (even within different styles there are dozens of sub-styles) – certain attributes remain consistent.
If you are just getting into EDM, or just want a fresh perspective on it, this article should offer some great food-for-thought.
The purpose of EDM is to make people dance. Period. The rhythmic elements and the movement of the record are sacrosanct. Once you find the pulse of the record, you make that as clear as possible. That means pushing the rhythm elements way up, exaggerating any kind of pumping movement and articulating the attacks of anything that is outlining that rhythm.
In addition, it’s best when people not only hear what they want to dance to, but feel it as well. One of the biggest challenges with EDM is packing that heavy bass into the mix. The first key is to remember that physical bass is a much wider range than just the sub. In fact, club systems tend to be very unreliable when it comes to the sub range. Pay special attention to what’s happening between 80 Hz and below 300 Hz. There’s a still a lot of physical bass there, and a little love in that zone can go a long way.
In fact, most instruments have “physical” ranges. For a snare, you might be looking at 100 Hz – 500Hz. For a hi-hat you might be looking at 1 kHz. To say exactly where the physicality of a certain sound exists is almost pointless – it varies widely. But when you feel it, you know.