RECORDING VOICE ONTO COMPUTER
(excerpts
from posts to Storytell)
1) Query: I know we have talked about this before, but could someone who is VERY computer savvy e-mail me off list about equipment needed to do good quality recording on the computer. I know I need a good microphone...I do a have a program that will do it, but I need to fine tune what I need in between mike and computer...specifically for an internet radio program someone wants me to record for.
Stephen
Response: I did some research, and the tool of choice for public radio producers is the "Mbox" by digidesigns, which is a small device that allows you to plug in your mic and send a digital signal to the computer. It comes with a nice piece of studio software to work with your recordings. And that will allow you to format your recordings in a variety of formats and burn them on a cd.
Systems are Mac OSX with 512 MB Ram or Windows XP with 256 RAM, and lots and lots of spare hard drive space. A second hard drive would be a good idea.
There are excellent tutorials on line for how to use it. I was able to plug it into my system and make a little sample three-track recording in about 15 minutes.
Oddly enough, I don't find a lot of information about the Mbox on Digidesign's own web site, but here's a page with a description: http://www.audioamigo.com/mbox.html
L-E
Response: Here's another approach that I have come to prefer, which only costs slightly more. I have a computer-recording setup, but no longer use it. Instead, I use a portable CD recorder, the Marantz CDR-300. I record directly to CD, then simply load the file (if needed) into my computer. You already have a CD reader in your computer!
Advantages:
* Recording is much simpler and easier, and fewer things can go wrong.
* No danger of "hard-drive stutter," which happens in live recordings if your computer is momentarily slower than needed.
* No danger of "digital clipping" which occurs if you speak too loud while recording. The Marantz has an excellent ALC circuit (Automatic Level Control) which prevents clipping. Unlike cheap ALC circuits, this one has never created a recording with an audible artifact caused by the ALC.
* You have a hard-copy (the CD) instantly. No danger of losing your recording if your hard-drive dies. Also, no need to archive and erase from your hard drive.
* Doesn't tie up your computer.
* Has great mike pre-amps that work well with any mic. (The MBox does this well, too, I am told.)
* You can use this for easy recording anywhere that has AC power. No need to lug your whole computer.
* (Optional) If you buy the more expensive cousin of the CDR-300, you get a two-CD machine that can dub CDs and also slow them down for music practice, etc.
* Serves several other functions well. For example, this is a great machine to use in conjunction with a cassette deck (or mini-disc, etc.) to create CD copies of tapes, etc.
* If you invest in the external battery pack, you have a great recorder that you can take anywhere (although it must be stationery when recording).
Disadvantages:
* Only does mono or stereo recording. (The M-Box works well with multi-track software.)
* Slightly more expensive than the MBox. (But you may save on some of the hardware or software extras you'd buy with the MBox, if the Marantz makes them unnecessary.)
* Slightly more complicated to use than a tape recorder. There's two extra buttons to push before recording. And you must "finalize" a CD (takes 2 minutes) before you can use it in your computer.
* It takes 30-60 seconds between the time you insert a new CD and the time you can begin recording (only a problem in some live recording settings).
To keep in mind:
* If you want to edit CD's, you'll still need audio editing software (there is much simple software that's free).
Cost: About $650-700. Look around online. Best vendor for service:
http://www.sweetwater.com/
Doug
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2) Query: Calling all techies! I would like to make the leap from tape recorder to computer recording. Not for anything commercial, but for auditions, etc. What do I need to do to get started? I have a nice hp system, only about 1.5 years old, CD/DVD writing capabilities, etc.
Leanne J. 10/18/06
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Response: Well, I'm not a "techie" but I rigged up my computer to record. I bought a good microphone at Radio Shack, and I needed a do-hickie to convert the kind of plug-in the microphone came with to one that would plug into the computer. Then I downloaded a sound-editing software program (WavePal is what I got) and followed the directions to record my story, and then save it. The free program is a trial one, and it doesn't have all the capabilities of the one you buy, but it does most of what I need for it to do, which is record, play back, edit (delete parts I don't want and add in new parts) and even do some enhancing of the sound. There are several excellent sound-editing software packages out there--most of them have a free trial available, so you can try out some, and decide which one you like the best if you want to buy one.
Oh yes--I suggest getting a mic stand for the microphone--it you try to hold it, it will pick up extraneous sounds from your hands.
Judith W. 10/18/06
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Response: Any computer shop will sell basic microphones for computer. If you really don't care about quality they can come very cheap - a few dollars. The easiest is to get a headset mic, which looks like telephone salespeople use but plugs into the computer rather than the phone (take care not to buy one for a phone - different connector). Some of these headsets are reasonable quality, and can even be noise-cancelling which should reduce the sound of your computer whirring in the background.
As for recording software, everyone uses Audacity for starting out with because it's totally free, and pretty capable for fundamentals.
But if you might get into better recording in the future you might want to consider a relatively cheap $100 purpose built solution for commercial quality computer home voice recording. Microphones can cost as much as you have to spend, but this one is quite modest yet rated highly by professionals. Here's an intro from a computer magazine review:
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The downside of condenser technology - apart from the cost - is that the microphone needs a DC power supply to maintain the voltage bias on its diaphragm. This voltage is typically 48V, supplied via the microphone lead from the mixing desk, and it's known as phantom power. The presence of a phantom-power facility on a mixing desk indicates that it was designed for professional recording or live PA applications, but it doesn't half complicate system setup if you just want to plug a decent microphone into your PC to record acoustic instruments or voice.
Californian microphone manufacturer Marshall Electronics Inc (no relation to the UK guitar amplifier company) has now come up with a solution: its MXL DRK (Desktop Recording Kit) contains a low-cost, large-diaphragm condenser microphone targeted at the computer music and home-recording market. What makes it suitable for this application is the fact that it uses an internal battery to provide the bias voltage, which means you can plug this microphone straight into your computer, without first having to connect it to a mixing desk with a phantom-power capability.
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See the rest of the article at
http://www.pcpro.co.uk/realworld/77600/mighty-mikes.html
and a clickable large picture at
http://www.pcpro.co.uk/realworld/85195/turn-on-the-radio/page4.html
or here's a link to a sale on for it
http://www.8thstreet.com/product.asp?ProductCode=30906&Category=Microphones
and another review at
http://www.digitalvideoediting.com/articles/viewarticle.jsp?id=33810
Tim S. England 10/19/06
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3) You can also try "Audacity" - it's a free program, easy to edit and can transform the recording into a variety of formats.
Limor S. Israel 10/19/06
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4) I've been busy (in addition to my part-time public school teaching job and my part-time night college adjunct job) getting materials together so I may be considered to tell at regional events. Last week someone (maybe it was Tim) recommended a mic to buy for recording to your computer. (He recommended a Marshall MXL Desktop Recording Mic.) Anyway, bought the mic and love it except for one serious setback. When I try to record to my MacMini the sound is far too low. I need to boost the levels of the mic (when the levels in the computer are already at maximum). I have seen a device called an iBooster put out by Marshall that does this (for another $45 or so) but wanted to know if anyone had experience with this booster or another amp system that can be used in this type of mic-to-computer recording. Anyone create podcasts or other MP3 files that need a boost? If so, how do you do it?
Mel E. 10/24/06
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Response: I don't have any direct experience with this, but I'm surprised that the mic needs boosting since it's designed to plug straight into a sound card. Firstly I would make absolutely sure there's no other way to connect the mic - is there a different more sensitive socket, perhaps needing a different cable? Is there a switch on the mic to change the sensitivity? Are all the relevant levels on the computer set high enough, not just one (there might be a line level and a master level that affect each other)?
But if the manufacturers make a device especially designed to connect to Macs, perhaps that acknowledges that Macs have a problem with line levels. Personally I'd do a web search and a search of Marshall's customer forums if they have them - there are almost certainly others who have already explored the situation and options. Just search on the kinds of phrases that people would use when complaining about this product and problem.
The device is presumably what is called a pre-amp, so armed with that name you could look for other makes. They certainly exist and are an important part of some recording set-ups, and come at a variety of prices. Just check that the input and output levels are suitable for your situation, and do a web search for reviews if you want to check quality and ease of use - try finding audio equipment or computer audio magazines and search their archives for informed reviews. Check where the pre-amp gets its power - if you want a convenient or portable set-up then drawing passive power from the computer (or even mic itself?) down the cable would be easiest, otherwise you'll need a mains socket and transformer.
Tim S. England 10/25/06
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Response: In an attempt to be clear as recorded mud can be, I'll start with two definitions:
-- Signal "level": the strength of the electrical signal that carries the audio information. Of course, the signal starts with the microphone -- when you make a noise near it, a diaphragm in the microphone vibrates and creates an electrical charge, that is then sent down the wires to your recording device. Microphones often have a much weaker signal (lower electrical power) than the standard or "line level" that most equipment is designed to use (the level that a tape or CD player outputs, for instance).
-- Preamp: a device (or component of a device) that is solely designed to electrically raise the signal coming from a mic from the low microphone level to the standard "line level". This has the effect that the computer (or whatever is recording) is getting a "louder" basic volume.
That said, I looked up your mic on the web. Just noting that on the description it says "providing professional sounding music recordings into home PC or MAC (with optional MXL Mic Boost)," that says to me that they expect it to have low levels on a PC or Mac, and they designed the "iBooster" preamp to compensate for that. This is not surprising, since as I said above, a condenser mic such as this usually outputs a very low signal level, and is almost always plugged in to a preamp in a studio setting (or a mic input with a built-in preamp) to get it to the higher "line" level.
So, assuming you've checked your battery (if it's weak that could be the problem right there) your options are three, as I see it (appropriate for a storyteller, no?)
1. get the iBooster that is designed for the mic. This has the benefit that they probably designed this to solve exactly the problem that you have, for the mic you have, and it is relatively cheap.
2. get another kind of preamp or an input device that includes a pre-amp (as Tim Sheppard suggests). This has the benefit that it allows you a wide range of quality and control, and might provide you other features. There is a huge range of possibilities in this category, and it might be a bit overwhelming (and expensive) if you're not experienced with recording. If you're curious, see my notes below.
3. you could eschew the whole preamp idea, and simply boost the signal of your recording after you've recorded it. If you like the quality of the recording but just think it's too "quiet", this is what I would do. The simplest way to do this is to "normalize" it, which means the sotware finds the loudest point in the recording, raises that to the maximum possible level (or whatever you set as maximum, I usually set 98% to avoid "clipping"), and raises everything else up to match. This ends up sounding like you just "turned up the volume", while guarding against boosting it so high that it "clips" (which sounds awful and is definitely to be avoided). Assuming you are using some software package that has a normalization feature, this is the cheapest way to go, though it requires an extra step every time you record.
So one of those options should solve your problem. If you want to go a bit deeper into a couple related recording issues, read on...
For the software route: in the rare case that normalization is not enough (for instance if you have a very loud passage followed by a very soft passage) you can use a tool called a "limiter" or "maximizer" which will raise the volume of the low passages while still not "clipping" the loud passages. L-1 made by the company Waves is the most famous piece of this kind of software, but most recording packages come with some kind of limiter or maximizer built-in.
As for hardware: as I said there is a huge range of options, which also includes a huge range of prices (from double digits to thousands of dollars). There are stand alone preamps and there are those built-in to another piece of equipment. Most audio recording peripherals -- if they allow a mic to be plugged in (such as mixing boards or computer audio interfaces) -- will include built-in preamps, of varying quality. I would look up reviews in Magazines such as Mix Magazine (http://www.mixonline.com/) or Pro Audio (http://www.proaudioreview.com/), or just look at what's available at an online store like musiciansfriend.com, and then search on the web if you find a make and model in your price range that you are curious about.
If you are interested in doing so, I am certain that you can get a much better tone and sound quality in your recording, in addition to fixing your levels issue, if you use a high-quality preamp. After the microphone itself, the preamp has the greatest effect on the quality and "color" of your sound of anything else in the recording chain. (As a metaphor, think of a really high-quality video recording played on an old black and white TV. You can do it, but obviously you will not see many of the details that were recorded by the video. Then again, an old black and white film shown on a High Definition digital TV wouldn't look any better than it would on the black and white.) So the preamp should match the quality of your mic. This could mean that the preamp the manufacturer sells would work great, but without listening to it, one can't say for sure. The closest you could get would be searching the user forums as Tim suggested.
I am currently using a Digidesign MBox interface to record into my powerbook, which has two mic inputs with built-in preamps. The primary reason I use it is that it came with the ProTools recording software package which is (slightly scaled-down version of) what the most professional studio engineers use. So it allows me to make very sophisticated recordings with processing and multi-tracking, etc., while it is still quite inexpensive for an audio interface plus software package, and is pretty good quality overall (definitely much higher quality than my built-in microphone jack on the powerbook). A real pro would probably want a better preamp for studio recording, but for podcasting and making mp3's it's actually more than I've ever needed. (I actually have a very high quality preamp made by Grace Designs, but I only use it for CD-quality music & voice and on-location recordings).
So to sum up, I would advocate getting the highest quality equipment you can afford (and can afford the time to learn to use); with the caveat that, as with all recording equipment, I think about the rest of the chain and whether an improvement in, say, the preamp, is going to be appreciated, or wasted -- because to hear the value of it, I'd have to eliminate the noise created by my powerbook's whirring fan, which would require me to have a soundproof recording room separate from my computer -- and after all, when I convert the recording to MP3, you can't hear any of that high-pitched sound after all, and what I'm recording is voice, not a violin quartet...
Ok, I hope this was not too far off topic or too boring or confusing. I've thought about putting together a self-recording seminar for storytellers, going through the basic definitions and options and then trying out some recording, to demonstrate mic techniques and issues that are specific to storytellers. Or is that need already being filled?
Micha F. 10/26/06
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3) Note from JB: I'm going to include all the contents of a recent e-mail I received from Doug Lipman below because he gives us such valuable information so freely that he deserves a commercial here!
Here is eTips from the Storytelling Coach #69:
How to Record Yourself
Contents:
1) HOW TO RECORD YOURSELF
2) "12-12-12" SPECIAL: THE NEW STORY-POD - AND RECORDER
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1) HOW TO RECORD YOURSELF
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When I coach storytellers, I often encourage them to to make their stories, their thinking, or their story methods available in audio.
First they say, "Why?"
In response, I tell them about the three uses of recordings:
First, you can listen to your performances (or presenations, etc.). This can help you learn stories or remember them later. It can help you improve them. Sometimes, it can even be useful for documenting them: "You said you were concerned about the story that one child told in the workshop. Here are his exact words..."
Second, you can use them as samples or give-aways. After all, people want to hear what you sound like. They can better imagine you succeeding with their group if they can hear you succeeding with another group. You can offer recordings as free samples via CD or your website. Without necessarily having a commercial recording, you can still use informal recordings as "audio business cards." And you can have samples of your most recent work, not just of your last studio visit.
Third, of course, you can sell recordings. Even though I have made over a dozen studio recordings, in fact, my latest storytelling recordings have been recorded live in performance. My instructional audios have been recorded at home. This has saved me thousands of dollars in studio costs and allowed me to use my time more efficiently.
In all these cases, there is a great advantage to owning your own recording device. Now that digital recording equipment is available at a fifth of what it cost a few years ago (and in a much smaller size), you can have the convenience of recording as a routine part of your telling. You can record nearly every storytelling job (as I do) and listen back over them when it suits you. No more do you have to say, "That was my best presentation. I wish I had recorded THAT!"
***But What Should I Use to Record Myself With?***
I have been answering this question for two decades. But the answer has changed a lot over the last 4 years.
In 2002, I attended a workshop by the man who buys recording equipment for NPR (National Public Radio, in the U.S.) reporters. He listed the dozens of recording formats available and concluded by saying, "Everything I've listed is either not yet a standard or is soon to be obsolete. What I'm waiting for is the day when the iPod will be able to make CD-quality recordings."
That day has come!
***Which Technology Is Best For Me?***
Here are the available digital formats you can stick in your pocket - to record yourself in rehearsal, in performance, or at home in the quiet of your office. They are listed roughly in order of increasing quality. Each has pros and cons, but the last two categories barely existed in 2002.
--Digital Memo Recorders--
Pros: Small and easy to use. Moderate expense. Most of them allow transferring digital files onto a computer via USB.
Cons: The quality isn't much better than audio cassettes. Recording time may be limited. They rarely have an external mic input (which is essential for the best sound).
Uses: Okay for recording for your own archives and reference.
Example: Philips Pocket Memo 9360
--Minidisc Recorders--
Pros: Small. Some are inexpensive. They usually have inputs for an external mic. They allow unlimited recording time with additional minidiscs: mono recording (if your recorder allows it) of 2 hours 40 minutes per disc.
Cons: Quality is good, but not up to CD standards. Portable consumer models lack digital output, so you would need either a pro model or a consumer Minidisc deck with digital output as well, to make digital transfers. Pro models are expensive.
Uses: In my opinion, Minidisc recorders have just barely good enough sound quality for recordings to give away or sell. I have published Minidisc recordings of several telephone seminars. Excellent for your own archives and reference as well.
Example: My favorite model, only available on eBay and used: Sharp MD-SR60, which works on AA batteries.
--Flash Recorders--
Pros: Most are small to medium sized; some are very small. They allow transferring digital files onto a computer via USB or card-reader. They usually have inputs for an external mic, perhaps through an optional adapter. The best ones accept professional mic connections. They may have unlimited recording time with additional digital memory cards; these allow up to 3.5 hours of stereo recording on a 2GB card. A recorder with 8GB of fixed memory allows up to 14 hours of recording, subject to battery life. The newer ones have CD quality or above. Some even allow 4-track recording.
Cons: Moderate to expensive. Some are bulky.
Uses: Excellent for all recording, within your device's capacity limits.
Example #1: iPod Nano, 2nd Generation (8 GB model; flash card not replaceable) with optional Belkin Tune Talk.
Example #2: M-Audio MicroTrack 24/96.
Example #3: Marantz PMD660 Portable Solid State Recorder.
--Hard Disk Recorders--
Pros: Small. They allow transferring digital files onto a computer via USB. They usually have inputs for an external mic, perhaps through an optional adapter. They boast very large capacity (30-140 hours of stereo recording).
Cons: Moderate to expensive. Their capacity cannot usually be added to.
Uses: Excellent for all recording, including very long sessions (such as all day or even multi-day events).
Example: Video iPod (5.5 Generation) with optional Belkin Tune Talk.
***Recommendations***
Storytellers who want professional quality recordings have several pocket-sized alternatives that cost less than $400, not counting the cost of a mic. The newest flash recorders are small and expandable. The newest iPods (this September's Nano and Video iPod) finally allow CD-quality recording and can be used with external microphones.
If you are willing to expend the time and effort to find a recommended one, a used portable minidisc recorder will cost you less than $100. To get digital output, though, you'll either have to find a studio that can copy to CD or else buy a Minidisc deck with a digital output, such as the Sony MDS-JE530. Keep in mind that the Minidisc format, though quite functional, is nearing obsolescence.
***Add a Mic for Good Sound***
To get the best out of any of these recorders, including those with built-in microphones, you'll need an external mic. My three classic choices are:
1. AUDIO TECHNICA ATR-35S Lavalier Microphone. This offers quite good quality for a very low price (List $40).
2. AUDIO TECHNICA AT-831b Lavalier Microphone. With this, you get pro quality in a clip-on (lavalier) mic. Because it is less obtrusive than a headset mic, this is the one I use to record my presentations. Cost: List $242 with the necessary adapter cable.
3. AKG C 420 Headset Microphone. When I'm recording at home, I prefer this light, securely fitting microphone. Because it's a headset, it follows when I turn my head. Because the mic is close to my mouth, it picks up fewer background sounds. When used with most pocket recorders it requires an optional battery module. Cost: List $295 with necessary battery module and adapter cable.
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2) "12-12-12" SPECIAL: THE NEW STORY-POD - AND RECORDER
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The Story-Pod is the complete, 37-recording Storytelling Workshop in a Box - pre-loaded on a brand-new iPod.
The "12-12-12" special is valid through Dec 12 ("12-12") and for the first 12 people to order it. It brings you three new things with the Story-Pod:
1. The Story-Pod now comes installed on a new iPod Nano (your choice of 5 colors) or a new Video iPod (2 colors; up to 80GB of storage)
2. The new iPods can now be used as CD-quality recorders. If you like, you can get EVERYTHING YOU NEED to record yourself - iPod, adapter, and microphone - and the Storytelling Workshop in a Box, too.
3. I am including a bundle of three free gifts with the Story-Pod, including free coaching, a $50 certificate, and a free ebook!
Read more at http://www.storydynamics.com/pod
Don't delay: this offer expires December 12 and is only for the first 12 people who order!
All the best,
Doug
P.S., Don't miss this information, on the web:
* Read about the Story-Pod that is also a CD-quality recorder:
http://www.storydynamics.com/pod
* Order before December 12, 2006 - and be one of the first 12:
http://www.storydynamics.com/pod.order
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About the Storytelling Coach
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Storytelling coach Doug Lipman is the creator of the acclaimed Storytelling Workshop in a Box - the only comprehensive storytelling workshop that comes to you!
If you liked this newsletter, you'll love this step-by-step course, guaranteed to be the most complete and enjoyable guide to meaningful, commanding storytelling.
Read more and hear an audio sample at
http://www.storydynamics.com/swb
Doug also offers free articles and other resources to help you master storytelling, become a transformative artist, and integrate storytelling into your work life - including how to market your telling by creating a supportive community around you. Learn more now at
http://www.storydynamics.com
Doug Lipman, P.O. Box 174, Edmond, OK 73034
Toll-free: 888-446-4738. From outside the U.S.: 405-348-6060
http://www.storydynamics.com/etips
For permission to reprint this or any article from "eTips," please contact
permissions@storydynamics.com
Please send all other comments and inquiries to
doug@storydynamics.com
Contents copyright 2006, Doug Lipman
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(Updated 1/3/05; 10/19/06; 12/3/06; 2/18/07)